This work deals with the growing offer of film tours by tourist destinations, and focuses on the city of Seville, analysing the potential of the four new tours designed by the Seville City Office. The aim is to find out whether the spaces and films on these itineraries have the real capacity to attract tourists and decentralise the flow of visitors from the historic city centre. To this end, the key characteristics of the locations and neighbourhoods proposed in the films are examined, on the one hand, and, on the other, their reception, taking into account the number of spectators who went to the cinemas and the awards obtained.

The results suggest an important targeting error, derived from the participation of two professional location scouts with no links to the tourism sector. Thus, most of the films selected are national productions, ignoring products as important as series and resorting to indoor and spoofing locations that have a low impact on the collective imagination, to disappeared places, or even to areas that are not advisable for tourist visits. It is concluded that the itineraries lack spatial connection and the long-term effectiveness of screen tourism actions, in which the fashion factor plays an important role, is questioned, conditioning them for the implementation of a sustainable tourism strategy in the city.