One of the most famous Venezuelan films, even to date, is the 1976 film Soy un delincuente by Clemente de la Cerda, which won the Special Jury Prize at the 1977 Locarno International Film Festival. Soy un delincuente was one of nine films for which the state gave substantial funding to produce, made in the year after the Venezuelan state began giving financial support to cinema in 1975. The support likely came from increased oil wealth in the early 1970s, and the subsequent 1973 credit incentive policy. At the time of its production the film was the most popular film in the country, and took a decade to be usurped from this position, even though it was only one in a string of films designed to tell social realist stories of struggle in the 1950s and '60s. Equally famous is the 1977 film El Pez que Fuma (Román Chalbaud). In 1981 FONCINE (the Venezuelan Film Fund) was founded, and this year it provided even more funding to produce seventeen feature films. Though a few years later, in 1983 with Viernes Negro, oil prices depreciated and Venezuela entered a depression which prevented such extravagant funding, film production continued; more transnational productions occurred, many more with Spain due to Latin America experiencing poor economic fortune in general, and there was some in new cinema, as well: Fina Torres' 1985 Oriana won the Caméra d'Or Prize at the 1985 Cannes Film Festival as the best first feature. Film production peaked in 1984–5,:37 with 1986 considered Venezuelan cinema's most successful year by the state, thanks to over 4 million admissions to national films, according to Venezuelanalysis. Venezuelan capital Caracas hosted the Ibero-American Forum on Cinematography Integration in 1989, from which the pan-continental IBERMEDIA was formed; a union which provides regional funding.