Professional Documents
Culture Documents
En un tiempo tan complejo y cambiante como el que vivimos, el documental se ha convertido en un instrumento esencial para descubrir y analizar las mltiples aristas y los insalvables obstculos a los que nos enfrenta, con toda crudeza, una realidad caprichosa e incierta. Enterarse, estar al tanto, de cuanto sucede, cerca y lejos; sopesar necesidades e inconvenientes; apoyar o rechazar desde logros esplndidos a abusos intolerables. Todas estas acciones resumen la labor de un documentalista. Pero, al mismo tiempo, estos tambin nos entretienen, nos hacen sonrer, o quiz llorar, con la belleza de historias ferozmente humanas. Porque el cine documental nos reta a observar la realidad, imponindose como nica meta la sinceridad del propio relato. Por ello, despierta adhesiones, siembra solidaridades y, en definitiva, ayuda a construir nuestro pensamiento. Consciente de todo ello, el rea de Las Artes aborda la sptima edicin de Documenta Madrid con la ilusin de seguir creciendo en calidad y prestigio internacional. Como en aos anteriores, el festival se dividir en dos grandes bloques: proyecciones y actividades paralelas. Y, junto a una ineludible mirada a lo esttico no olvidemos que la cinematografa es un arte, primarn los contenidos ticos, el afn del artista por evidenciar errores, convencionalismos, injusticias o crueldades. Documenta Madrid volver a estar marcado por una potente presencia internacional, que se refleja en sus cifras. Se han presentado 1.153 trabajos de 92 pases diferentes. De ellos, 233 son de nacionalidad espaola. La suma total de pelculas que se proyectarn en el festival asciende a 224 y casi un tercio de las cuales participa en competicin. En cuanto a las secciones informativas, haremos un recorrido por la obra de la documentalista canadiense Alanis Obomsawin, que ha puesto su experiencia cinematogrfica al servicio de los problemas de los indgenas. Pero, adems, seremos testigos de los enfrentamientos y dificultades que vive Armenia tras su independencia, a travs de los ojos del cineasta Harutyun Khachatryan, y conoceremos al realizador chino Wang Bing, uno de los documentalistas ms relevantes del momento, premiado por obras como Al oeste de los rales, Fengming, crnica de una mujer china o El dinero del carbn.
El festival tambin dedicar una retrospectiva a Hanns Eisler, uno de los compositores ms importantes de la Alemania de entreguerras. Con la llegada del nazismo dio el salto a Nueva York, donde puso msica a pelculas de directores tan afamados como Joris Ivens, Joseph Losey, Alain Resnais. El director cataln Gonzalo Herralde y el realizador italiano Tommaso Cotronei recibirn especial atencin en Documenta Madrid 2010, adems de Joseph Strick y Ben Russell, quienes sorprendern por su temtica y modernidad. Tambin se abordar el trabajo del estadounidense Peter Hutton, deudor de un documentalismo experimental, que filma en blanco y negro. Esta retrospectiva es la ms amplia dedicada a su obra en Europa. Por ello contaremos con la presencia del propio autor, que desgranar en una clase magistral las claves de su trabajo. El xito del festival se basa en la calidad de su programacin, pero tambin en el compromiso que mantiene con l el resto de la ciudad. Instituciones como Filmoteca Espaola, Academia de Cine, Crculo de Bellas Artes, Casa de Amrica, Casa rabe, Instituto Goethe, Instituto Francs o los Cines Princesa acogen cada ao intensas jornadas de cine. En esta edicin, adems de todos estos espacios, contamos con nuevas sedes, que han decidido franquear sus puertas al gnero documental, como el Museo Nacional Centro de Arte Reina Sofa, Cine Palafox, Casa Asia, el Centro HispanoMarroqu o el Centro Cultural San Juan Bautista. Quiero agradecer a todas ellas, as como al resto de colaboradores del certamen, la generosidad con la que ao tras ao nos brindan su apoyo. Y quiero tambin mostrar mi gratitud a los profesionales que componen los diferentes jurados y al resto de invitados, por el entusiasmo con el que siempre responden a nuestra llamada. Pero, sobre todo, quiero dar las gracias al pblico, que, cada edicin en mayor nmero, asiste a las citas que les preparamos, evidenciando la necesidad de un festival de estas caractersticas en la ciudad. Espero que, un ao ms, Documenta Madrid les depare gratas sorpresas cinematogrficas. Alicia Moreno Delegada de Las Artes
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At a time as complex and changing as the one we live in, documentary film has become a key element in discovering and analyzing of the numerous worldviews and obstacles set before us, in all its rawness, by a whimsical and uncertain reality. To be informed of what is happening, from up close and far away; to weigh needs and disadvantages; to support or reject from marvelous achievements to intolerable abuses. All these actions make up the work of the documentary maker. But at the same time these also entertain us, they make us smile or perhaps cry, with the beauty of fiercely human stories. Because documentary film challenges us to observe reality by setting its only goal as sincerity in telling the story itself. For this reason, it awakens interest, raises solidarity and, in short, helps in shaping our thoughts. Aware of all this, the Department of the Arts undertakes this seventh year of Documenta Madrid in the hope of continuing to grow its quality and international prestige. As in previous years, the festival is divided into two main sections: screenings and parallel activities. And while keeping an eye on aesthetics (let us not forget filmmaking is an art form), ethical content will be key, the artists eagerness for demonstrating errors, conventionalisms, injustice or cruelty. Documenta Madrid will once feature a significant international presence, as is shown in its numbers. 1,153 films from 92 different countries have been submitted. Of those, 233 are Spanish productions. The total number of films to be screened at the festival comes to 224, a third of which are in competition. As far as informative sections, we will do an overview of the films by Canadian director Alanis Obomsawin, who has devoted her film work to issues faced by indigenous peoples. We will also get a chance to witness the confrontations and difficulties faced by Armenia after its independence, through the eyes of filmmaker Harutyun Khachatryan. We will get to know the Chinese director Wang Bing, one of todays most important documentary filmmakers and award-winner for such films as Tie Xi Qu: West of the Tracks, Fengming: A Chinese Memoir and Coal Money. The festival will also put on a retrospective of Hanns Eisler, one of the most important German composers in the inter-war period. With the arrival of the Nazis, he
made the leap to New York, where he did soundtracks for such famous directors as Joris Ivens, Joseph Losey, Alain Resnais. The Catalan director Gonzalo Herralde and the Italian filmmker Tommaso Cotronei will get special attention at Documenta Madrid 2010, as will Joseph Strick and Ben Russell, who will surprise with their subject matter and modernity. The work of the American filmmaker Peter Hutton will also be featured, with his experimental documentary filmmaking in black and white. This retrospective is the most comprehensive ever of his work in Europe. For that reason, the director himself will be joining us for a master class, in which he will flesh out the keys to his style of filmmaking. Every year the festivals success is based on the quality of its programming, as well as the commitment it holds with the rest of the city. Such institutions as Filmoteca Espaola, Academia de Cine, Crculo de Bellas Artes, Casa de Amrica, Casa rabe, the Goethe Institute, French Institute and the Princesa Cinemas host intensive days of programming every year. This time, in addition to these places, new venues have opened their doors to the documentary genre, such as the Reina Sofa National Art Museum, Cine Palafox, Casa Asia, the Spanish-Moroccan Center or the Cultural Center San Juan Bautista. I would like to thank all of them, as well as everyone who has collaborated with the competition; their generosity provides us support every year. And I would also like to give my thanks to the professionals on the different juries and the other invited guests, for the enthusiasm with which they always answer our call. But most of all I would like to thank the annually increasing public attending the events we organize, who bear witness to the need this city has for a festival of this kind. I hope that once again, Documenta Madrid affords you pleasant surprises. Alicia Moreno Delegate of the Arts
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DE SAPOS Y DOCUMENTALES
(Leopoldo Mara Panero es el autor de todos los poemas que aparecen en estas pginas)
V I No insertos en un plan, los sapos existen sin objeto. Clido el sol de la maana los envuelve, suavemente los acaricia el viento. Como la vida de un rbol o del viento as es la vida del sapo sin objeto. II No busques ojos al sapo que no tiene. No le busques las orejas que no tiene. De qu le sirve la boca no lo entiende. III Un sapo es un crculo, un sol hacia adentro. Como los bueyes camina lento como el tiempo. No hay cielo que no se vuelva de espaldas cuando levanta hacia arriba su mirada. IV Vienen los sapos del Norte a buscar a los del Sur. Encuentran un mismo rostro y la misma baba azul. No hablan del sapo los hombres que viven en la ciudad. Se refugian en sus casas cuando le oyen pasar. VI Como un geranio se pudre los sapos viven su vida. Escuchan pasar las moscas las espantan cuando pueden. Como a los cuervos la noche les es siempre favorable. VII Tienen miedo de los nios y de las aves, los sapos. Un color puede matarlos acostumbrados al negro. VIII Surge en el cielo la aurora, se esconde el sol tras los montes. Igual el paso del sapo por los bosques. IX Los sapos y las culebras levantan la piedra y salen cuando el da se oscurece y llueve fuego del cielo.
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X Son hermanos de los buitres, se parecen a los cuervos, con las serpientes se hablan y enmudecen ante un mirlo. XI No tienen fe en el futuro los sapos como las aves. Caminan sobre las tumbas dejando en ellas su baba. XII Los das de luna llena se esconde el sapo en los bosques. Cuando amanece, la aurora lo persigue por los montes. XIII Invade el jazmn los campos mientras el sapo se arrastra con una espina en el flanco. XIV No tienen los sapos nombre cuando mueren en el monte.
RILKIANA Qu sentido tiene el cielo que habita en los ojos de un sapo de un sapo que ladra y babea esperando que los muertos concluyan su viaje y afirmen su odio a la vida en el cementerio de los sapos. GREGORIO SAMSA (Kafka) Todo hombre es una cucaracha y un poema cercado por los sapos que ululan en el viento en el viento feroz del poema donde reinan los sapos y se coronan de estircol la plida frente.
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Dios es la simetra de un sapo y sus ojos me buscan en la oscuridad como una serpiente que buscase el corazn de la tiniebla mientras un japons atisba en la esquina en la esquina cruel del poema en donde las guilas se vuelven para mirar y no encuentran sino la nada, mi nica terrible compaera la nada que se vuelve para mirar.
En otro de sus poemas, el titulado Parbola del diccionario, Leopoldo Mara Panero escribi: Una palabra reenva a otra palabra, un sentido a otro sentido: el sentido se extiende como la cabellera de una dama rubia, en la orilla, tocando el mar y los barcos.
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Durante estos das de cierre del Festival, das en que andamos todo el equipo rebozados en documentales, por pura necesidad de oxigenarme suelo recurrir a la poesa en los escasos ratos libres de que dispongo. ltimamente he vuelto a leer a Panero en la edicin de Visor de su Poesa Completa a cargo de Ta Blesa e, inevitablemente, me ha chocado el aluvin de referencias a los sapos que he ido encontrando entre sus versos. Comoquiera que son fechas en las que, por mucho que lo intente, no consigo evadirme, ya que siempre anda rondndome por el magn el trmino documental, no es del todo extrao que, de cuando en vez, caiga en episdicos momentos de inusitada confusin. Hasta tal punto es as que lo que me ocurri, en esta ocasin, mientras lea los poemas es que se me fueron embarullando los pensamientos y, en plena disminucin de la capacidad para discernir, mi sesera acab intercambiando palabras y conceptos, sustituyendo sapos por documentales y viceversa, de tal suerte que ya no me era fcil deslindar si andaba leyendo poesas acerca del oscuro e incierto destino del documental o estaba metido de lleno en la direccin de un festival internacional dedicado a los batracios. Lo que en principio pudiera parecer tan solo un desatino mental, releyendo los poemas bajo esta nueva ptica, se me antoj (bien es cierto que de un modo harto paradjico y un tanto surrealista) que comenzaba a adquirir un cierto sentido Con esta son siete ediciones de Documenta, siete aos de mi vida laboral dedicados casi por completo al gnero de la no ficcin, que me han llevado a ver miles de pelculas, a conocer a sus directores y, en ocasiones, a sus protagonistas, a viajar a muchos otros festivales y pases y, en definitiva, a enamorarme del documental. En este tiempo, el cine de lo real me ha deparado mayores sorpresas y satisfacciones de las que me haya producido cualquier otro gnero a lo largo de toda mi vida como espectador. Me ha hecho consciente de problemas y realidades que ni siquiera saba
que existan. Me ha abierto los ojos a temas desconocidos para m. Me ha regalado con innovaciones, tanto estilsticas y formales como de contenido, que no se estn produciendo con tanta celeridad y generosidad en el territorio de la ficcin. En definitiva, me ha abierto miles de puertas y ventanas y me ha arrastrado a su remolino de espumeante creatividad. Y, con todo y con eso, la percepcin que tengo en los momentos ms pesimistas es de que, para el comn de los mortales, contina siendo ...un sapo! Como en los versos de Leopoldo Mara, el documental no parece inserto en el plan; a veces pienso que, para la mayora, existen sin objeto, son como un crculo cerrado, un sol hacia adentro del que no hablan los hombres que viven en la ciudad; viven su vida y mueren sin dejar un nombre tras de s que recordar. Mientras hay pelculas inanes y hueras que se ufanan y pasean engredamente su vana opulencia por las salas de exhibicin de todo el planeta, en la inmensa mayora de las ocasiones el documental, instrumento pintiparado de denuncia para gritar los males que atosigan al mundo, cuando logra llegar a esas mismas pantallas (lo que ya supone un excepcional triunfo), suele pasar por ellas sin pena ni gloria, algo as como el smil que estableca la doctrina catlica, en el catecismo del papa Po X, para explicar la virginidad de Mara como un rayo de sol que atraviesa el cristal sin romperlo ni mancharlo. No puedo evitar traer a estas lneas otro poema del mismo autor. Uno que (curiosa coincidencia) lleva un ttulo que hace referencia a uno de los sntomas que, por su excesiva repeticin, diagnostica con rotundidad la grave enfermedad que viene aquejando a la ficcin actual: REMAKE El martirio del sapo cuyos ojos ya no brillan cuyas patas tiemblan atravesando el poema como un dios de la oscuridad como un sapo que ladra y ladra a la oscuridad, ms feroz de lo que el hombre puede.
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Ojal que la situacin del documental no alcance tanta gravedad que le termine llevando a engrosar algn martirologio, pero lo cierto y verdad es que su destino est totalmente en nuestras manos. No corren malos tiempos para la produccin en el terreno del cine de no ficcin. El aumento en el nmero de pelculas que recibimos, tanto nacionales como internacionales, es una constante que se repite ao tras ao cuando cerramos el plazo de admisin de trabajos en Documenta Madrid. Tampoco escasean, sino ms bien al contrario, la creatividad ni la abundancia de temas a tratar. Entonces dnde est el problema? Pues el quid de la cuestin, lo que en definitiva es el taln de Aquiles de la proyeccin en salas comerciales de filmes documentales, es una pescadilla que se muerde la cola. Es claro que no existe excesivo inters por parte de la distribucin y la exhibicin en incluirlo en las salas, por lo que sera fcil hacerles enteramente responsables de que los espectadores no tengan suficientes oportunidades de verlo en los cines de sus ciudades. Pero este sera un diagnstico precipitado, dado que, en las escasas ocasiones en que s se programan, los espectadores raramente responden al envite con la suficiente afluencia que permita a los responsables cubrir su apuesta rentabilizndola de una manera holgada. Si el porcentaje de pelculas de ficcin estrenadas en cines es abrumadoramente superior al de documentales en cualquier pas, del nuestro, que est comenzando a remontar su secular falta de tradicin y apego hacia estos y su casi inexistente atencin al gnero, casi lo mejor es que no hablemos. Sin embargo, el momento no es tan dramtico como podra parecer, ya que es cierto que va paulatinamente en aumento el nmero de filmes que, por una u otra razn (obtencin de grandes premios internacionales, empujn de algn que otro intermitente xito en las taquillas, avales de seeras figuras de relumbrn), se van abriendo paso a codazos, eso s en nuestras salas. Pero el panorama dista mucho de ser halageo. Estoy convencido de que andamos embarcados en un maratn de larga distancia y de que tenemos que sustituir la energa del esprn por la constancia, resistencia, paciencia y confianza de los corredores de fondo. Constatando la buena salud del documental en otros espacios de difusin (canales televisivos, galeras de arte, museos, ediciones para venta o alquiler y, sobre todo, en Internet), desde un festival como el nuestro nos sentimos obligados a seguir
reivindicando su hueco en las salas de cine y reclamando que este se vaya ensanchando cada vez ms y ms. As lo venimos haciendo en nuestra ciudad desde hace siete aos. Cada edicin de Documenta es un llamamiento que, tanto el equipo organizador como nuestro pblico e invitados, lanzamos a distribuidores, exhibidores y al resto de los espectadores para que sean osados y apuesten por la diferencia. O, lo que es lo mismo, para que se atrevan a acercarse a besar al sapo. Tras el sculo muchos incrdulos quedarn sorprendidos al ver cmo se transforma en prncipe ante sus atnitos ojos. Tengan confianza y recorran junto a nosotros, durante diez das, nuestro pantano. Sus recovecos estn llenos de prncipes; arrisguense a encontrarlos! Antonio Delgado Liz Director de Documenta Madrid
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EL PANTANO A Toi, In memoriam Ven, es de noche, recorramos el pantano y el ocaso de los reyes ven, es de noche, todos los reyes han muerto recorramos como por primera vez el pantano: el cielo se retuerce en los ojos de la sierpe y es como si amaneciera para siempre y nuestros ojos no pudieran cerrarse, slo ver y volver a ver el pantano cuando amanece en los ojos de la sierpe.
V I Not inserted in a plan, toads exist aimlessly. The suns morning warmth envelopes them, the wind softly caresses them. Like the life of a tree or of the wind thus is a toads life aimless. II Do not look for the eyes the toad does not have. Do not look for the ears it does not have. What good is a mouth it does not understand. III A toad is a circle, a inward sun. Like oxen walk slow like time. There is no sky that does not turn its back when raising its gaze upward. IV The Northern toads come looking for those from the South. They find a single face and the same blue slime. Men living in the city do not speak of toads. They take refuge in their homes upon hearing them pass. VI Like a geranium rots toads live life. They listen to the passing flies frightening them when they can. Like for ravens, the night is always favorable. VII They are afraid of children and of fowl, the toads. A color can kill them accustomed to black. VIII Dawn looms in the sky, the sun hides behind the hills. As does the toad walking through the forests. IX Toads and snakes lift the stone and leave when the day darkens and fire rains from the sky.
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X They are vultures brothers they resemble ravens, they speak with serpents and go dumb before a blackbird. XI They have no faith in the future neither toads nor fowl. They walk over tombs trailing behind their slime. XII The days of full moon the toad hides in the forests. At daybreak, the dawn chases it through the hills. XIII Jasmine invades the fields while the toad drags along with a thorn in its side. XIV Toads have no name when they die on the hill.
RILKEAN What meaning has the sky inhabiting a toads eyes of a toad that barks and drools waiting for the dead to conclude their voyage and state their hatred for life in the cemetery of toads.
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GREGOR SAMSA (Kafka) Every man is a cockroach and a poem surrounded by toads howling in the wind in the poems fierce wind where toads reign and crown themselves with manure on their pallid foreheads.
God is the symmetry of a toad and their eyes search for me in the darkness like a serpent looking for the heart of darkness while a Japanese man watches in the corner in the cruel corner of the poem in which the eagles turn back to look and find but nothingness, my terrible companion the nothing turning back to look.
In another one of his poems entitled Parable from the Dictionary, Leopoldo Mara Panero writes: One word leads to another word, one meaning to another: meaning is extended like the hair of a blonde lady, on the shore, touching the sea and boats. During these days of closing the Festival, days in which the entire staff is awash with documentaries, I often turn to poetry during the little free time I have, out of a sheer need for fresh air. I have been reading Panero of late, the Visor edition of his Complete Poetry put together by Ta Blesa and, invariably, I have been stunned by the flood of references to toads found in his verse. As much as I try to avoid it this time of year, it is something I cannot help as my mind is beset by the term documentary; so it is hardly surprising for me to fall into sporadic moments of unusual confusion from time to time. This was the case to such an extent that what occurred to me this time while reading the poems was my thoughts got mixed up and, just as my capacity for discernment was diminishing, my brains started switching words and concepts, replacing toads with documentaries and vice versa, so much so that I could no longer easily make out whether I was reading poems about the dark and uncertain fate of documentary film, or I was fully immersed in directing an international festival of batrachians. What might at first have seemed to be just a mental blunder, re-reading the poems through this new lens, I got it into my head (indeed in a truly paradoxical and rather surreal way) that it was starting to make a kind of sense This year makes the seventh Documenta, seven years of my working life dedicated entirely to the genre of non-fiction, which has led me to see thousands of films, to meet the directors and occasionally the protagonists, to travel to many other festivals and countries, and, in short to fall in love with documentary film. During this time, the cinema of the real has afforded me greater surprises and satisfaction than has any other genre in my entire life as a spectator. It has made me aware of problems and situations that I did not even know existed. It has opened my eyes
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to issues I knew nothing about. It has provided me with innovations both stylistically, formally and in content, which is not happening with such speed and generosity in the field of fiction film. In short, it has opened up thousands of doors and windows, and it has sucked me into its swirling foam of creativity. And, with everything and with this, the perception I have at the most pessimistic of moments is that, for common mortals, it continues to be A toad! Like in Leopoldo Maras verses, the documentary does not seem to be inserted in a plan, at times I think that for most, they are aimless, they are like a closed circle, an inward sun, about which men living in the city do not speak; they live life and die without leaving a name behind to remember. While there are inane and vapid films that smugly and boastfully strut through cinemas all over the world, in most cases documentary films (this instrument so suited for loudly denouncing the evils befalling the world), when they do end up making it to these screens (which is already an exceptional achievement), they usually go largely unnoticed. Something like the simile from the Catholic doctrines in the catechism of Pope Pius X to explain Marys virginity like a sunbeam that passes through the glass without breaking or staining it. I cannot help including these lines from another poem by the same author. One that (odd coincidence) has a title making reference to one of the symptoms that, because of its excessive repetition, fully diagnoses the serious illness suffered by present-day fiction: REMAKE The martyrdom of the toad whose eyes no longer shine whose legs shake crossing the poem like a god of darkness like a toad barking and barking at the darkness, more fiercely than what man can.
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I hope the state of documentary film never reaches such a point of gravity that it ends up filling the books of martyrs, but it is certainly true that its fate is entirely in our hands. The field of non-fiction film production is not experiencing hard times. The increasing number of both national and international films we receive consistently repeats itself year after year when the submission deadline for Documenta passes. Nor is there any shortage in creativity or issues to be treated, on the contrary: So then where is the problem? Well the crux of the matter, what is in short the Achilles heel for the screening of documentaries in commercial cinemas is a fish biting its own tail. There is clearly no excessive interest on the part of distribution and exhibition to include them in cinemas, which would make them easy to blame for the fact that spectators do not have enough opportunities to see them in cinemas in their cities. But this would be a hasty diagnosis since on the few occasions that they are programmed, spectators rarely take up the offer in sufficient numbers to allow those in charge to cover their commitment with a comfortable margin. If the percentage of fiction films released in cinemas is vastly superior to the percentage of documentaries in any country in Spain, which is starting to take back up its age-old lack of tradition and reluctance toward it, and its almost non-existent attention to the genre we had best not talk about it. However, things are not as drastic as they might seem, since it is true that little by little an increasing number of films, for one reason or another (winning international grand prizes, pushed by some sporadic box-office success, glowing endorsement from outstanding people), are pushing and shoving their way into our cinemas. But the outlook is far from gratifying. I am convinced that we are embarking on a marathon in which we have to replace the energy of a sprint with the pacing, stamina, patience and confidence of long-distance runners. Noticing the strength of documentary film in other media and spaces (television channels, art galleries, museums, releases for sale or rent, and especially, internet), we at the festival feel the need to continue to fight for a place in cinemas and claim that this needs to become more and more widespread.
And this is what we have set out to do in our city for the past seven years. Every Documenta Madrid is a call that both the organizational team and our audiences and guests make to those who distribute, screen and view, to dare to commit to making a difference. Or, in other words, to dare to lean over to kiss the toad. After which, many skeptics will be surprised at how it turns into a prince right before their astonished eyes. Have faith and join us in our ten day trip through the swamp. Every nook and cranny is full of princes, take the risk of finding them! Antonio Delgado Liz Director of Documenta Madrid
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THE SWAMP For Toi, In memoriam Come, it is night-time, let us travel the swamp and the decline of kings come, it is night-time, all the kings are dead let us travel the swamp as though for the first time: the sky twists in the serpents eyes and it is as though day were breaking forever and our eyes could not close just see and see again the swamp when it dawns in the serpents eyes.
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Cristina Conde
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El Ayuntamiento de Madrid y el rea de Las Artes, organizadora de DOCUMENTA MADRID 10, no se responsabilizan ni coinciden necesariamente con las opiniones o las producciones incluidas o derivadas del festival. The Madrid Council and its Arts Department, organizer of DOCUMENTA MADRID 10, accept no responsibility and dont necessarily agree with the opinions or the works included in the festival or deriving from it.
NDICE INDEX
36 PREMIOS AWARDS 38 COMIT ASESOR ADVISORY BOARD 50 MIEMBROS DE LOS JURADOS MEMBERS OF THE JURIES SECCIONES COMPETITIVAS COMPETITIVE SECTIONS 63 Certamen nacional. Cortometrajes National Competition. Short Films 81 Certamen nacional. Cortometrajes. Biofilmografas National Competition. Short Films. Biofilmographies 91 Certamen nacional. Largometrajes National Competition. Full-length Films 105 Certamen nacional. Largometrajes.Biofilmografas National Competition. Full-length Films. Biofilmographies 113 Competicin Documental Documentary Film Contest 137 Competicin Documental. Biofilmografas Documentary Film Contest. Biofilmographies 151 Concurso Documental de Creacin. Cortometrajes Original Documentary Film Competition. Short Films 173 Concurso Documental de Creacin. Cortometrajes. Biofilmografas Original Documentary Film Competition. Short Films. Biofilmographies 183 Concurso Documental de Creacin. Largometrajes Original Documentary Film Competition. Full-length Films 205 Concurso Documental de Creacin. Largometrajes. Biofilmografas Original Documentary Film Competition. Full-length Films. Biofilmographies SECCIONES INFORMATIVAS INFORMATIVE SECTIONS 219 221 233 243 249 263 269 279 281 299 303 NOMBRES PROPIOS PROPER NAMES Homenaje Alanis Obomsawin Alanis Obomsawin Tribute Harutyun Khachatryan Wang Bing Hanns Eisler Gonzalo Herralde Tommaso Cotronei INDEPENDIENTES USA USA INDEPENDENTS Peter Hutton Joseph Strick Ben Russell 323 PANORAMA NACIONAL NATIONAL SCENE 335 PANORAMA INTERNACIONAL INTERNATIONAL SCENE 336 Pantalla latinoamericana: Voces diferentes en el documental colombiano Latin American Film: Different Voices in Colombian Documentary Film 348 Panorama rabe contemporneo IV Arabic Contemporary Scene 4 360 Panorama asitico Asian Scene 367 TRABAJO: (R)EVOLUCIONES? WORK: (R)EVOLUTIONS? 373 ACTIVIDADES PARALELAS PARALLEL ACTIVITIES 375 Encuentros Matadero Matadero Encounters 378 Clase magistral Peter Hutton: La imagen en el cine y su eclipse Peter Hutton Master Class: The Image and its Eclipse 380 Clase magistral Valentina Leduc: Los caminos hacia la construccin de una emocin Valentina Leduc Master Class: Ways Toward Constructing Emotion 384 Conferencia: Hanns Eisler en Espaa Conference: Hanns Eisler in Spain 386 Textos Documenta. La casa abierta. El cine domstico y sus reciclajes contemporneos Documenta Texts: The Open House: Home Movies and Contemporary Recycling Thereof 390 Espacio ONG. Fundacin CEAR-Habitfrica.CineFrum NGO Section. CEAR-Habitfrica Foundation. Film Forum 394 Espacio ONG. Presentacin Festival de Cine Invisible NGO Section. Presentation Festival of Invisible Film 397 Presentacin Mster Documental de Creacin Presentation for Masters in Original Documentary Filmmaking 399 La noche del Super 8 Super 8 Night 403 Archivo Documenta Documenta Archive 405 REFLEXIONES EN TORNO A UN CONCEPTO MEDITATIONS AROUND A CONCEPT 439 GUA DEL FESTIVAL FESTIVAL GUIDE 440 442 445 461 464 466 471 Sedes Festival Venues Entradas y abonos Tickets and Voucher Programacin Festival Program Equipo Organizador Documenta Madrid 10 Documenta Madrid 10 Organizational Team Agradecimientos Acknowledgements ndice de Realizadores Index by Director ndice de Pelculas Index by Films
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PREMIOS AWARDS
Entre todas las pelculas seleccionadas para las secciones oficiales a concurso, los jurados formados por profesionales de los medios cinematogrficos, artstico y cultural, y el pblico que participe con sus votos y,en el caso del PremioFilmotech.com, con sus visionados legales de pelculas, decidirn la concesin de los siguientes premios oficiales: FILMOTECH.COM PREMIO FILMOTECH.COM, dotado con 3.000 y diploma. CERTAMEN NACIONAL CORTOMETRAJES PRIMER PREMIO DEL JURADO, dotado con 4.000 y trofeo. SEGUNDO PREMIO DEL JURADO, dotado con 3.000 y trofeo. PREMIO DEL PBLICO, dotado con 2.000 y diploma. PREMIO AVID al mejor montaje. Dotado con un software Avid. LARGOMETRAJES PRIMER PREMIO DEL JURADO, dotado con 8.000 y trofeo. SEGUNDO PREMIO DEL JURADO, dotado con 4.000 y trofeo. PREMIO DEL PBLICO, dotado con 2.000 y diploma. COMPETICIN DOCUMENTAL PRIMER PREMIO DEL JURADO, dotado con 10.000 y trofeo. SEGUNDO PREMIO DEL JURADO, dotado con 5.000 y trofeo. PREMIO HONORFICO DEL JURADO, dotado con diploma. PREMIO DEL PBLICO, dotado con 3.000 y diploma. CONCURSO DOCUMENTAL DE CREACIN CORTOMETRAJES PRIMER PREMIO DEL JURADO, dotado con 5.000 y trofeo. SEGUNDO PREMIO DEL JURADO, dotado con 3.000 y trofeo. PREMIO HONORFICO DEL JURADO, dotado con diploma. PREMIO DEL PBLICO, dotado con 3.000 y diploma. LARGOMETRAJES PRIMER PREMIO DEL JURADO, dotado con 10.000 y trofeo. SEGUNDO PREMIO DEL JURADO, dotado con 5.000 y trofeo. PREMIO HONORFICO DEL JURADO, dotado con diploma. PREMIO DEL PBLICO, dotado con 3.000 y diploma. The juries (to be made up of professionals from the worlds of film, art, culture), the public (who will participate by voting), and in the case of the Filmotech.com Award, the viewings of its legal downloads, will determine which of the films from among all the Official Sections of competition are to be granted the following official awards. FILMOTECH.COM FILMOTECH.COM AWARD, to be awarded 3,000 and a diploma. NATIONAL COMPETITION SHORT FILMS FIRST PRIZE OF THE JURY, to be awarded 4.000 and a trophy. SECOND PRIZE OF THE JURY, to be awarded 3,000 and a trophy. AUDIENCE AWARD, to be awarded 2.000 and a diploma. AVID AWARD, for Best Editing. To be awarded with Avid software. FULL-LENGTH FILMS FIRST PRIZE OF THE JURY, to be awarded 8,000 and a trophy. SECOND PRIZE OF THE JURY, to be awarded 4,000 and a trophy. AUDIENCE AWARD, to be awarded 2.000 and a diploma. DOCUMENTARY FILM COMPETITION FIRST PRIZE OF THE JURY, to be awarded 10,000 and a trophy. SECOND PRIZE OF THE JURY, to be awarded 5,000 and a trophy. HONORABLE MENTION OF THE JURY, to be awarded a diploma. AUDIENCE AWARD, to be awarded 3.000 and a diploma. ORIGINAL DOCUMENTARY FILM COMPETITION SHORT FILMS FIRST PRIZE OF THE JURY, to be awarded 5,000 and a trophy. SECOND PRIZE OF THE JURY, to be awarded 3,000 and a trophy. HONORABLE MENTION OF THE JURY, to be awarded a diploma. AUDIENCE AWARD, to be awarded 3.000 and a diploma. FULL-LENGTH FILMS FIRST PRIZE OF THE JURY, to be awarded 10,000 and a trophy. SECOND PRIZE OF THE JURY, to be awarded 5,000 and a trophy. HONORABLE MENTION OF THE JURY, to be awarded a diploma. AUDIENCE AWARD, to be awarded 3.000 and a diploma.
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Directora hispanochilena de cine y vdeo, lleva ms de veinte aos trabajando en la creacin audiovisual y ha realizado obras de diversas caractersticas, gneros y formatos. Dentro del gnero de ficcin, destaca su primer largometraje, Times Up!, que obtuvo varios premios en festivales internacionales y fue seleccionado en el Festival Internacional de Cine de San Sebastin (2000). En documental tambin destacan obras importantes por su arriesgado estilo de creacin muy personal, como La herida de mi ojo, documental realizado en Cuba en 1996, en un formato radicalmente domstico que narra un espontneo paseo por las calles de La Habana. El camino de Moiss (2003) es uno de los diez documentales ms importantes emitidos por Documentos TV y trata de una forma muy abierta e innovadora el tema del transgnero. Ni locas ni terroristas (2005) propone un retrato colectivo de madres que lucharon contra los narcotraficantes en Galicia y fue emitido por Televisin Espaola en La noche temtica. Dentro del gnero experimental destaca su vdeo Meeting Two Queens (Encuentro entre dos reinas, 1991), considerado un trabajo de culto por muchas universidades internacionales y que ha participado en varias muestras internacionales de arte. El vdeo experimental El origen de la violencia (2004) particip en la muestra Crcel de Amor, del Museo Reina Sofa. Su pelcula Ojo eje (2008) fue presentada en el Festival Internacional de San Francisco. Hispanic-Chilean director of film and video, she has been working in audiovisual creation for more than twenty years and has made films of different kinds, genres and formats. One of her most notable films in the genre of fiction was her first feature Times Up!, which earned several awards at international festivals and was selected at the International Film Festival of San Sebastian (2000). In documentary film, her most important work stands out for its bold and very personal style, such as La herida de mi ojo, a documentary made in Cuba in 1996 using a radically amateur format to depict a spontaneous stroll through the streets of Havana. El camino de Moiss (2003) is one of the ten most important documentaries broadcast by Documentos TV, and deals with the transgender issue in a very open and innovative way. Ni locas ni terroristas (2005) is a collective portrait of mothers fighting drug traffickers in Galicia and was broadcast on Spanish Television on La noche temtica. In the genre of experimental film, her outstanding video Meeting Two Queens (1991) is considered to be a cult film at many international universities and has taken part in several international art showings. The experimental video El origen de la violencia (2004) participated in the Crcel de Amor showing at the Reina Sofa Museum. Her film Ojo eje (2008) was presented at the International Festival of San Francisco.
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2. CRISTINA BERNALDO Barakaldo, Vizcaya, 1978 Licenciada en Comunicacin Audiovisual por la Universidad Carlos III de Madrid, cursa estudios de doctorado en Historia del Cine en la Universidad Autnoma de Madrid, especializndose en Documental, Arte y Compromiso Poltico, y de posgrado en Formacin de Profesorado, en la especialidad de Historia. Ha sido responsable de la seccin competitiva de Documenta Madrid en las ediciones de 2008 y 2009, y de Animadrid de 2007 a 2009. Ha trabajado en la produccin de festivales como el FIB (Benicssim), Almera en Corto, Animacor o Emisin Cero, as como en el Departamento de Prensa del Festival de Cine Independiente de Barcelona, lAlternativa. A graduate in Audiovisual Communication from the Carlos III University of Madrid, she did her doctorate studies in Film History at the Autonomous University of Madrid, with a specialization in Documentary film, Art and Political Activism, and she did post-grad work in Professor Training in History. She was in charge of the competitive section of Documenta Madrid in 2008 and 2009 and of Animadrid from 2007 to 2009. She has worked on the production teams for such festivals as the FIB Benicssim, Almera en Corto, Animacor and Emisin Cero, as well as in the press department for the independent film festival lAlternativa of Barcelona. 3. NOEM GARCA DAZ Madrid, 1973 Licenciada en Ciencias de la Imagen (UCM) y en Antropologa Social y Cultural (UAM). Realiza estudios de posgrado en Historia del Cine en la UAM y de Antropologa Visual en la UNAM de Mxico, especializndose en cine documental y etnogrfico. Ha trabajado como realizadora y editora de reportajes documentales para las televisiones La Cinquime (Pars), Canal Satlite Digital, Localia TV y Canal +. Durante el perodo 2004-2005 fue responsable de la seccin competitiva del Festival Internacional Documenta Madrid. Desde 2006 forma parte del comit asesor de Documenta Madrid y ha coordinado los siguientes libros de la lnea editorial Textos Documenta: De la foto al fotograma: fotografa y documental, dos miradas sobre la realidad, editado por Rafael R. Tranche; Espejos rotos. Aproximacin al documental norteamericano contemporneo, editado por Mara Luisa Ortega, y Caminar sobre hielo y fuego. Los documentales de Werner Herzog, editado por Antonio Weinrichter. Es coeditora del libro Cine directo. Reflexiones en torno a un concepto, editado por el Festival de las Palmas en colaboracin con T&B Editores. Desde 2007 dirige la Diplomatura de Direccin y Guin Documental del Instituto del Cine. Forma parte del colectivo de educacin audiovisual La Claqueta.
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She graduated with majors in Image Sciences (UCM) and Social and Cultural Anthropology (UAM). She did her post-grad studies in Film History at the UAM and Visual Anthropology at the UNAM of Mexico, with a specialization in documentary film and ethnography. She has worked as a director and editor of documentary programs for the television stations La Cinquime (Pars), Canal Satlite Digital, Localia TV y Canal +. From 2004 to 2005 she was in charge of the competitive section of the International Festival Documenta Madrid. Since 2006 she has been on Documenta Madrids advisory board and has coordinated the following books for the publishing line Textos Documenta: De la foto al fotograma: fotografa y documental, dos miradas sobre la realidad, edited by Rafael R. Tranche; Espejos rotos. Aproximacin al documental norteamericano contemporneo, edited by Mara Luisa Ortega, and Caminar sobre hielo y fuego. Los documentales de Werner Herzog, edited by Antonio Weinrichter. She co-edited the book Cine directo. Reflexiones en torno a un concepto, published by the Festival of Las Palmas in collaboration with T&B Editores. Since 2007 she has directed the documentary directing and screenwriting diploma for the Film Institute of Madrid. She is a member of the audiovisual education collective La Claqueta. 4. LAURA GMEZ VAQUERO Madrid, 1976 Licenciada en Historia del Arte y doctoranda en Historia del Cine en la Universidad Autnoma de Madrid. Ha participado en diversos congresos nacionales e internacionales y, desde hace cuatro aos, imparte clases sobre cine documental en el Instituto del Cine (NIC) de Madrid. Ha escrito diversos artculos y reseas para revistas (Secuencias. Revista de Historia del Cine, Archivos de la Filmoteca, Tarbiya. Revista de Investigacin e Innovacin Educativa), catlogos y libros colectivos: Nada es lo que parece. Falsos documentales, hibridaciones y mestizajes del documental en Espaa, coordinado por M. Luisa Ortega para Documenta Madrid (2005); Miradas para un nuevo milenio. Fragmentos para una historia futura del cine espaol, coordinado por Hilario J. Rodrguez para el Festival de Cine de Alcal de Henares (2006); y David Lean, coordinado por Jess Angulo, Roberto Cueto y Antonio Santamarina para la editorial Nosferatu (2008), entre otros. Es miembro del Consejo de Redaccin de Secuencias. Revista de Historia del Cine (UAM / Ocho y Medio) y, desde 2006 hasta 2009, ha sido responsable de la edicin del catlogo de Documenta Madrid. Recientemente, ha coordinado dos volmenes en torno al cine: Piedra, papel y tijera: collage y cine documental, junto a Sonia Garca Lpez, y El espritu del caos. Representacin y recepcin de las imgenes durante el franquismo, con Daniel Snchez Salas. Actualmente se encuentra finalizando su tesis sobre la entrevista en el documental durante la Transicin espaola (Universidad Autnoma de Madrid). With a BA in Art History and doing PhD work in Film History at the Autonomous University of Madrid, she has participated in different national and international conferences and
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for the past four years has been giving classes on documentary film at the Film Institute (NIC) of Madrid. She has written articles and reviews for magazines (Secuencias. Revista de Historia del Cine, Archivos de la Filmoteca, Tarbiya. Revista de Investigacin e Innovacin Educativa), catalogues and collective books: Nada es lo que parece. Falsos documentales, hibridaciones y mestizajes del documental en Espaa, coordinated by M. Luisa Ortega for Documenta Madrid (2005); Miradas para un nuevo milenio. Fragmentos para una historia futura del cine espaol, coordinated by Hilario J. Rodrguez for the Film Festival of Alcal de Henares (2006); and David Lean, coordinated by Jess Angulo, Roberto Cueto and Antonio Santamarina for the publishing company Nosferatu (2008), among others. She is on the Editors Board for Secuencias. Revista de Historia del Cine (UAM / Ocho y Medio) and from 2006 through 2009 she was in charge of the catalogue for Documenta Madrid. She has recently coordinated two publications on cinema: Piedra, papel y tijera: collage y cine documental, along with Sonia Garca Lpez, and El espritu del caos. Representacin y recepcin de las imgenes durante el franquismo, with Daniel Snchez Salas. She is currently finishing her dissertation on the interview in documentary films during Spains transition to democracy (Autonomous University of Madrid). 5. ANDREA GUZMN URZA Madrid, 1969 De origen chileno, creci y estudi en La Habana. Diplomada en Direccin de Fotografa por la Escuela Internacional de Cine y TV de San Antonio de los Baos (Cuba) y licenciada en Ingeniera Informtica en La Habana, trabaja como profesional del medio audiovisual desde 1993. Ha sido ayudante y operadora de cmara, as como foto fija en rodajes durante ms de doce aos, y ayudante de direccin y directora de produccin en largometrajes documentales junto a Patricio Guzmn. Desde la fundacin del Festival Internacional de Documental Fidocs (Chile), en 1997, hasta 2007 ha colaborado en la programacin y produccin del mismo. A partir de 2005 trabaja en el equipo de Documenta Madrid como coordinadora del jurado y de actividades paralelas. Desde 2009 ha formado parte del Comit de Seleccin del festival. Fue la coordinadora y jefa de produccin del primer pitching forum (encuentro entre creadores y productores audiovisuales) en Docusur Market 2006 (Tenerife). Tambin fue coordinadora del mercado en 2007 y form parte del comit de seleccin en las dos primeras ediciones del festival. Ha trabajado, adems, en la seccin oficial de documentales del Festival de Mlaga-Cine Espaol. En 2007, junto a varios profesionales del documental, funda Docma, Asociacin de Cine Documental, que preside, creada con los objetivos de difundir este gnero cinematogrfico y apoyar la creacin de documentales en Espaa, as como la formacin en este mbito. Como parte de las actividades de Docma, ha coordinado varios seminarios en Madrid impartidos por prestigiosas figuras del gnero y ha
contribuido enormemente a la divulgacin del cine documental, distribuyendo informacin de gran inters y manteniendo una permanente colaboracin con entidades que programan y promocionan este tipo de cine. Of Chilean origin, she grew up and studied in Havana. She got a diploma in Direction of Photography from the San Antonio de los Baos International School of Film and TV (Cuba). She majored in computer engineering in Havana. She has been working as an audiovisual professional since 1993. She has been an assistant and camera operator on both still photo and film shoots for more than twelve years. She was assistant director and production director on full-length documentaries by Patricio Guzmn. Since it was founded in 1997, through to 2007, she collaborated on the programming and production of the International Documentary Festival Fidocs (Chile). Starting in 2005, she has been working on the Documenta Madrid team as coordinator of the juries and parallel activities. She has been on the festivals Selection Committee since 2009. She was coordinator and production manager of the first pitching forum at Docusur Market 2006 (Tenerife). She was also the market coordinator in 2007 and on the selection committee the first two times the festival was held. She has also worked on the official selection of documentaries for the Spanish Film Festival of Malaga. In 2007 she and other documentary professionals founded Docma, the Documentary Film Association, which she oversees and created for the purpose of disseminating this kind of cinema and for aiding in the creation of, and training in, documentary filmmaking in Spain. As part of her activities in Docma, she has coordinated several seminars in Madrid given by prestigious figures in the genre, and has contributed enormously to teaching about documentary film through spreading highly interesting information and through keeping up continuous collaboration with entities that program and promote this kind of cinema. 6. CARLO MAGNESI Turn, Italia / Turin, Italy, 1979 Ha estudiado en la Beijing Language and Culture University de Pekn, en la Universidad Jean Moulin de Lyon y en la Universidad Ca Foscari de Venecia, donde se licenci en Historia del Arte Oriental. En 2004, despus de regresar de China, se traslad a Espaa, donde trabaja desde hace ms de cuatro aos como coordinador del Departamento de Cultura y Exposiciones en Casa Asia. He studied at the Beijing Language and Culture University of Beijing, at the Jean Moulin University of Lyon and at the Ca Foscari University of Venice, where he finished his studies with a major in History of Oriental Art. In 2004, after returning from China, he moved to Spain where he has been working for over four years as coordinator of the Culture and Exhibitions Department at the Casa Asia.
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7. LOLA MAYO Villanueva de la Serena, 1970 Es licenciada en Ciencias de la Informacin. En 1996 cre junto a Javier Rebollo y Damin Pars la productora Lolita Films, cuya filmografa ha cosechado ms de un centenar de premios en festivales de todo el mundo. Es coguionista de los cinco cortometrajes de Javier Rebollo, En medio de ninguna parte (1997), Hola, desconocido! (1998), El equipaje abierto (1999), El preciso orden de las cosas (2000) y En camas separadas (2002). Estos cortometrajes renen numerosos premios nacionales e internacionales, entre ellos dos nominaciones a los Premios Goya. Entre 1991 y 1998 fue redactora de programas informativos y documentales en la televisin autonmica Telemadrid (El semanal, 7 das, 30 minutos). Desde 1998 ha escrito y dirigido varios documentales de gran formato para Documentos TV, de TVE. En 2006 coprodujo a travs de Lolita Films el primer largometraje de Javier Rebollo, Lo que s de Lola, de cuyo guin es coautora. La pelcula, estrenada en la Seccin Oficial del Festival Internacional de Cine de San Sebastin, ha sido nominada al Goya a la Mejor Direccin Novel y ha obtenido, entre otros, el Premio FIPRESCI en el Festival de Cine de Londres y el Gran Premio del Festival de Sel. En 2006 recibi el prestigioso Premio Reina Sofa de Periodismo, por su documental A travs del cristal. Es premio de poesa ngel Urrutia por su libro Perfil del abordaje y finalista del Premio Bruguera de Novela en 2007. En 2009 escribi y produjo el largometraje de Javier Rebollo La mujer sin piano, que gan la Concha de Plata en el Festival de Cine de San Sebastin. A graduate in Information Sciences. In 1996 she and Javier Rebollo and Damin Paris created the production company Lolita Films, which has earned more than a hundred awards at festivals worldwide. She was co-screenwriter on five short films by Javier Rebollo, En medio de ninguna parte (1997), Hola, desconocido! (1998), El equipaje abierto (1999), El preciso orden de las cosas (2000) and En camas separadas (2002). These short films have won numerous national and international awards, including two Goya Award nominations. From 1991 to 1998 she was a writer for news programs and documentaries at the local television station Telemadrid (El semanal, 7 das, 30 minutos). Since 1998 she has written and directed several large-format documentaries for Documentos TV on TVE. In 2006 she co-produced, through Lolita Films, Javier Rebollos first feature film Lo que s de Lola, which she also co-wrote. The film, which premiered in the Official Section of the International Film Festival of San Sebastin, was nominated for the Goya Award for Best New Director and has won, among others, the FIPRESCI Award at the London Film Festival and the Grand Prize at the Seoul Film Festival. In 2006 she receive the prestigious Reina Sofa Award for Journalism for her documentary A travs del cristal. She won the ngel Urrutia Award for poetry for her book Perfil del abordaje and was a finalist for the Bruguera Novel Award in 2007. In 2009 she wrote and produced Javier Rebollos feature film La mujer sin piano, which won the Silver Shell at the San Sebastin Film Festival.
8. BASEL RAMSIS El Cairo, Egipto / Cairo, Egypt, 1973 Realizador y productor cinematogrfico, estudi cine en El Cairo y Madrid. Ha realizado y producido varios cortometrajes de ficcin, videoarte y documentales como El otro lado Un acercamiento a Lavapis (2002) y Columpios (2007). Ambos largometrajes han participado en festivales de cine tanto en Espaa como en el extranjero. Ha participado como tutor en cursos, talleres y jornadas sobre cine documental, cine egipcio o cine de inmigracin, en diferentes universidades espaolas y extranjeras. Desde comienzos de 2003 ha impartido talleres prcticos de documental y de anlisis cinematogrfico en distintas ciudades espaolas, as como en Egipto, Jordania, Chile y Cuba. Ha sido miembro del jurado en diversos festivales de cine, tanto de mbito nacional como internacional. Es comisario del programa Panorama del Documental rabe Contemporneo, que se celebra en Casa rabe desde septiembre de 2007, y forma parte del equipo asesor de proyectos de la European Cultural Foundation (msterdam, Holanda) desde 2008. Film director and producer, he studied film in Cairo and Madrid. He has directed and produced several fiction short films, video art pieces and documentaries such as El otro lado Un acercamiento a Lavapis (2002) and Columpios (2007). Both full-length films have participated at film festivals in Spain and abroad. He has been a tutor for courses, workshops and work sessions on documentary film, Egyptian film and cinema about immigration at different Spanish and foreign universities. Since early 2003 he has given practical workshops in documentary filmmaking and on film analysis in different Spanish cities, as well as in Egypt, Jordan, Chile and Cuba. He has been a member of the jury at different national and international film festivals. He organizes the program Panorama del Documental rabe Contemporneo, which has been held at the Casa rabe since September 2007 and has been on the advisory board for projects of the European Cultural Foundation (Amsterdam, Netherlands) since 2008. 9. JAVIER REBOLLO Madrid, 1969 Cre en 1996, junto a Lola Mayo y Damin Pars, Lolita Films, con la que ha producido sus trabajos y los de otros directores. Entre 1997 y 2002 dirigi los cortometrajes En medio de ninguna parte (1997), Hola, desconocido! (1998), El equipaje abierto (1999), El preciso orden de las cosas (2000) y En camas separadas (2002). Con ellos obtuvo dos nominaciones a los Premios Goya y gan un centenar de premios. Su trabajo ha sido objeto de retrospectivas en festivales como Brest y Essone (Francia), Tubinga (Alemania) y Bruselas (Blgica), entre otros. En 2006 dirigi el largometraje Lo que s de Lola, que se estren en la Seccin Oficial del Festival Internacional de Cine de San Sebastin y particip en cincuenta festivales internacionales. La pelcula fue nominada al Goya a
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la Mejor Direccin Novel y obtuvo el Premio FIPRESCI de la crtica internacional en el London Film Festival, el Premio a la Mejor pera Prima en los festivales de Chicago (Estados Unidos), Guadalajara (Mxico) y Madridimagen (Espaa), el Premio Julio Verne del Festival de Cine Espaol de Nantes (Francia), el Gran Premio del Festival de Cine Espaol de Marsella (Francia) y el Gran Premio del Festival de Cine de Sel (Corea), entre otros. En el ao 2004 Documenta Madrid dedic una retrospectiva a sus trabajos documentales para la televisin en colaboracin con Lola Mayo. Por sus documentales para el programa Documentos TV, de La 2 de Televisin Espaola, ha recibido, entre otros, el Premio Reina Sofa de Periodismo en el ao 2006. En 2009 dirigi su segundo largometraje, La mujer sin piano, con el que gan la Concha de Plata en el Festival de San Sebastin. In 1996 he and Lola Mayo and Damin Pars created Lolita Films, with which he has produced six of his own films and those made by other directors. Between 1997 and 2002, he directed the short films En medio de ninguna parte (1997), Hola, desconocido! (1998), El equipaje abierto (1999), El preciso orden de las cosas (2000) and En camas separadas (2002). For these he has earned two Goya Awards nominations and won around a hundred awards. His work has been featured in retrospectives at such festivals as Brest and Essone (France), Tbingen (Germany) and Brussels (Belgium), among others. In 2006 he directed the feature film Lo que s de Lola, which premiered in the Official Section of the International Film Festival of San Sebastin and participated in around fifty international festivals. The film was nominated for a Goya for Best New Director and won the FIPRESCI award from the international critics at the London Film Festival, the Award for Best Opera Prima at the festivals of Chicago (United States), Guadalajara (Mexico) and Madridimagen (Spain), the Jules Verne Award from the Festival of Spanish Film of Nantes (France), the Grand Prize at the Festival of Spanish Film of Marseille (France) and the Grand Prize at the Seoul Film Festival (Korea), among others. In 2004, Documenta Madrid did a retrospective of his documentary work for television in collaboration with Lola Mayo. For his documentaries for the program Documentos TV on Channel 2 Televisin Espaola, he has received, among other awards, the Reina Sofa Award for Journalism in 2006. In 2009 he directed his second feature-length film, La mujer sin piano, which won the Silver Shell at the San Sebastin Film Festival. 10. HILARIO J. RODRGUEZ Santiago de Compostela, 1963 Licenciado en Filologa Anglogermnica y en Filologa Hispnica, ha dado clases de lengua y literatura en Espaa, Repblica de Irlanda, Gran Bretaa y Estados Unidos. Se encarga de la seccin de cine de Revista de Occidente; colabora habitualmente con ABC, La Vanguardia, Clarn, Rockdelux e Imgenes de actualidad; y adems trabaja como asesor y programador para varios festivales de cine. Ha escrito estudios sobre
gneros cinematogrficos, pelculas y cineastas, como Eyes Wide Shut: los sueos diurnos (Ediciones de la Mirada, 1999), Museo del miedo (JC, 2003), Lars von Trier: el cine sin dogmas (JC, 2003), El cine blico (Paids, 2006), Tim Burton (JC, 2006), Despus de la revolucin. El cine de los hermanos Taviani (Festival de Cine de Huesca / Calamar Ediciones, 2007) o Voces en el tiempo. Conversaciones con el ltimo cine espaol (Festival de Cine de Alcal de Henares / Comunidad de Madrid, 2006); y ha coordinado libros colectivos como Las miradas de la noche (Ocho y Medio, 2005), Miradas para el nuevo milenio. Fragmentos para una historia futura del cine espaol (Festival de Cine de Alcal de Henares / Comunidad de Madrid, 2006), Elegas ntimas (Documenta Madrid / Ocho y Medio, 2008) o En las ciudades (Festival de Cine de Cceres / Notorious Ediciones, 2009). Su obra de ficcin la componen los libros de relatos Aunque vuestro lugar sea el infierno (Ediciones de la Mirada, 1998) y Mapa mudo (Ediciones Traspis, 2009) y las novelas Construyendo Babel (Tropismos, 2004) y El otro mundo (Ediciones del Viento, 2009). With a BA in Anglo-Germanic Philology and another in Hispanic Philology, he has given classes in language and literature in Spain, the Republic of Ireland, Great Britain and the United States. He is in charge of the film section of Revista de Occidente magazine, is a regular contributor to ABC, La Vanguardia, Clarn, Rockdelux and Imgenes de actualidad, and also works as an advisor and programmer for several film festivals. He has written papers on film genres, films and filmmakers, such as Eyes Wide Shut: los sueos diurnos (Ediciones de la Mirada, 1999), Museo del miedo (JC, 2003), Lars von Trier: el cine sin dogmas (JC, 2003), El cine blico (Paids, 2006), Tim Burton (JC, 2006), Despus de la revolucin. El cine de los hermanos Taviani (Festival de Cine de Huesca / Calamar Ediciones, 2007) and Voces en el tiempo. Conversaciones con el ltimo cine espaol (Festival de Cine de Alcal de Henares / Comunidad de Madrid, 2006). He has also collaborated on collective books such as Las miradas de la noche (Ocho y Medio, 2005), Miradas para el nuevo milenio. Fragmentos para una historia futura del cine espaol (Festival de Cine de Alcal de Henares / Comunidad de Madrid, 2006), Elegas ntimas (Documenta Madrid / Ocho y Medio, 2008) and En las ciudades (Festival de Cine de Cceres / Notorious Ediciones, 2009). He has also written fiction, including the books of stories Aunque vuestro lugar sea el infierno (Ediciones de la Mirada, 1998) and Mapa mudo (Ediciones Traspis, 2009) and the novels Construyendo Babel (Tropismos, 2004) and El otro mundo (Ediciones del Viento, 2009). 11. SANDRA RUESGA Madrid, 1975 Licenciada en Ciencias Polticas por el Institut dtudes Politiques de Toulouse, ciudad en la que residi desde los 9 aos. De regreso a Espaa se licencia en Periodismo por la Universidad Complutense de Madrid y realiza el postgrado universitario de Guin de Cine Documental Histrico. Profundiza en el cine documental a travs de diversos
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talleres de la mano de Patricio Guzmn y Michael Rabiger, entre otros. Ha trabajado en cine y televisin como ayudante de direccin y como realizadora de reportajes y spots publicitarios. Ha dirigido varios cortometrajes documentales, como Caricaturas (2003), producido para el IORTV, y 8 aos de trabajo bien hecho (2004). Como miembro del colectivo Discusin14, dirigi el largometraje documental 200 km, estrenado en el Festival de Cine de San Sebastin y premiado en numerosos festivales, una de las piezas del largometraje documental Entre el dictador y yo (2005), y el cortometraje Haciendo memoria. Ha sido responsable de la seccin competitiva de Documenta Madrid en 2006 y 2007. Forma parte del comit de seleccin de Documenta Madrid desde su VIII edicin. Actualmente compagina su trabajo de realizadora con el de responsable de relaciones pblicas en diversos festivales internacionales, entre ellos Documenta Madrid. A Political Science graduate of the Institut dtude Politiques of Toulouse, she has been living in that city since the age of 9. In Spain she majored in Journalism at the Complutense University of Madrid and did her post-graduate work in Historical Documentary Film Screenwriting. She has furthered her documentary knowledge in workshops led by Patricio Guzmn and Michael Rabiger, among others. She has worked in film and television as an assistant director and as a director on reports and advertising spots. She has directed several documentary short films such as Caricaturas (2003), produced by IORTV and 8 aos de trabajo bien hecho (2004). As a member of the collective Discusin 14, she directed the full-length documentary 200km, which premiered at the Film Festival of San Sebastin and won awards at numerous festivals, one of the pieces in the full-length documentary Entre el dictador y yo (2005) and the short film Haciendo memoria. She was in charge of the competitive section of Documenta Madrid in 2006 and 2007. She has been on the selection committee for Documenta Madrid since its 8th edition. She is currently combining her work as a director with her job doing public relations for different international festivals, including Documenta Madrid. 12. JARA YEZ Madrid, 1980 Licenciada en Historia del Arte por la Universidad Autnoma de Madrid, obtuvo en esa misma universidad el DEA (Diploma de Estudios Avanzados), dentro del programa de doctorado en Historia del Cine, con un trabajo de investigacin sobre las relaciones entre la imagen y la msica en el cine de las vanguardias histricas. Comenz trabajando como periodista para el grupo PRISA, en el rea de Progresa (Promotora General de Revistas), revista El Dominical, y ha colaborado en otras publicaciones, como Esquire o Clone, adems de la revista acadmica, especializada de cine, Secuencias. En la actualidad es redactora en la revista Cahiers du cinma. Espaa. Ha coordinado el libro Cine espaol para el nuevo siglo. La mirada contempornea (edicin bilinge, 2007) para el Festival Internacional de
Cine de Tesalnica; particip en el libro La piel y la mscara. Entrevistas con actores del cine espaol, de Lola Mayo (2009), como autora de la introduccin, y es autora del libro La aritmtica de la creacin. Entrevistas con productores del cine espaol contemporneo (2009, con la colaboracin de Luis L. Carrasco), editado por el Festival Internacional de Cine de Alcal de Henares. Ha colaborado como programadora con el Festival de Cine Chico de Canarias-La Palma (Festivalito) y ha sido jurado en diversos festivales. With a BA in Art History from the Autonomous University of Madrid, she also got a DEA (Advanced Studies Degree) in Film History within the PhD program at that same university, with research work done on the relationship between image and music in the film work of historical avant garde movements. She started working as a journalist for the PRISA group in the Progresa area (General Magazine Promotor), the magazine El Dominical and has contributed to other publications such as Esquire and Clone, in addition to the academic film journal Secuencias. She is currently a writer for the magazine Cahiers du cinma, Spain. She has coordinated the book Cine espaol para el nuevo siglo. La mirada contempornea (bilingual edition, 2007) for the International Film Festival of Thessaloniki, wrote the introduction to Lola Mayos book La piel y la mscara. Entrevistas con actores del cine espaol (2009), and authored the book La aritmtica de la creacin. Entrevistas con productores del cine espaol contemporneo (2009, in collaboration with Luis L. Carrasco), published by the International Film Festival of Alcal de Hernares. She has collaborated as a programmer for the Cine Chico Festival of Canarias-La Palma (Festivalito) and has served on the jury of different festivals.
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asesora de proyectos de cine de ficcin y documental. Actualmente es coordinadora del Tribeca Latin America Media Arts Fund para el Tribeca Film Institute, cuyo fin es apoyar a cineastas latinoamericanos en la realizacin de nuevos proyectos. Anteriormente dirigi las Becas para Artes Audiovisuales de la Fundacin Rockefeller, las cuales brindaron apoyo financiero a cineastas en Estados Unidos y Amrica Latina de 1988 a 2008. Tambin trabaj con el Independent Feature Project (IFP) y el Latin American Video Archive (LAVA). Es integrante del consejo directivo del Flaherty Film Seminar y forma parte del consejo de asesores y el comit de programacin de Rooftop Films. Su colaboracin con festivales de cine se extiende al Festival Margaret Mead en NY, Festival Internacional de Cine de Morelia en Mxico, Mostra Invideo en Italia y Festival Internacional de Cine de Huesca en Espaa, para el cual contribuye como delegada en Estados Unidos. Ha participado como jurado en el festival Media That Matters, los Premios Emmy Internacionales, el Festival de Cine de Morelia y el Festival Internacional de Cine Contemporneo de la Ciudad de Mxico (FICCO). Tambin ha contribuido en equipos de seleccin para organizaciones como la Fundacin Jerome, el Funding Exchange, el Gucci Tribeca Documentary Fund y el TFI Sloan Filmmakers Fund en Estados Unidos y la Beca Gucci Ambulante en Mxico. Ha participado como ponente en mesas redondas en el Festival de Cine de Guadalajara, el Rose Goldsen Archive de la Universidad de Cornell, el Frum Universal de las Culturas en Monterrey y el festival MexicoNow en NY, entre otros. Su labor como productora asociada comprende las series documentales The New Americans (2002), para la cadena de televisin PBS, y Shocking and Awful (2005), de Deep Dish TV, que se exhibi como parte de la Bienal del Museo Whitney en 2006. A graduate of Philosophy from the Iberoamerican University where she gave classes from 1991 through 1995, she has been living in New York since 1996. Since then she has continuously collaborated with the independent film community of New York with support organizations for the audiovisual arts, film festivals and as a consultant on fiction film and documentary projects. She is currently the coordinator of the Tribeca Latin America Media Arts Fund for the Tribeca Film Institute, whose aim is to lend support to Latin American filmmakers on new projects. She previously directed the Audiovisual Arts Fellowships for the Rockefeller Foundation, which provided financial aide to US and Latin American filmmakers from 1988 to 2008. She also worked with the Independent Feature Project (IFP) and the Latin American Video Archive (LAVA). She is on the Board of Directors of the Flaherty Film Seminar and is on the advisory council and programming committee of Rooftop Films. Her collaboration on film festivals has included the Margaret Mead Festival in NY, the International Film Festival of Morelia in Mexico, the Mostra Invideo in Italy and the International Film Festival of Huesca in Spain, where she served as the US Delegate. She has been a member of the jury at the festival Media That Matters,
the International Emmy Awards, the Film Festival of Morelia and the International Festival of Contemporary Film of Mexico City (FICCO). She has also served on the selection panels for organizations such as the Jerome Foundation, the Funding Exchange, the Gucci Tribeca Documentary Fund and the TFI Sloan Filmmakers Fund in the US and the Gucci Ambulante Fellowship in Mexico. She has been a speaker at round tables at the Film Festival of Guadalajara, the Rose Goldsen Archive of the University of Cornell, the Universal Forum of Cultures in Monterrey and the MexicoNow festival of NY, among others. Her work as an assistant producers includes the documentary series The New Americans (2002) for PBS and Shocking and Awful (2005) for Deep Dish TV, which was shown as part of the Whitney Museum Biennale in 2006. 3. JUAN CARLOS VZQUEZ VELASCO Barakaldo, Vizcaya, 1961 Director de la organizacin no gubernamental para el desarrollo Kultura Communication y Desarrollo KCD, cuyo fin principal es fomentar la comunicacin social y cultural como herramienta de desarrollo. Tambin es fundador de Filme Sozialak, Festival Internacional de Cine Invisible de Bilbao y de la red de Comunicacin Social CAR. Desde 1988 trabaja en el mbito de la cooperacin y la sensibilizacin para el desarrollo y durante diecisis aos dirigi una muestra de cine social en cuatro ciudades y varios pueblos del Pas Vasco. Desde 2005 hasta 2009 fue asesor de CLACPI, Coordinadora Latinoamericana de Cine y Comunicacin de los Pueblos Indgenas. Tambin ha participado como jurado en el Festival Internacional de Cine y Vdeo de los Pueblos Indgenas (Wallmapu, Chile, 2004), Festival de Cine Pobre de Gibara (Cuba, 2007), Festival Internacional de Cine Chico de Canarias Festivalito en 2007, y entregando el Premio Tele Sur en el Festival Internacional de Cine y Vdeo de los Pueblos Indgenas (Bolivia, 2008). J. Carlos Vzquez Velasco (Basque Country, Spain) is the Director of the NGO Kultura, Communication and Development (KCD). KCDs goal is to utilize communication as a tool for social and cultural development. Carlos is also the Founder of Filme Sozialak, the International Invisible Cinema Film Festival in Bilbao and the Network of Communicators, CAR. Since 1988, Carlos has been working in the area of Cooperation and Education for Development and for 16 years directed a socially-engaged film series in four cities and various small towns in the Basque Country. From 2005 to 2009 he was a consultant to the Coordinator for Latin American Indigenous Film and Communication (CLACPI). Carlos has been a juror at the International Indigenous Film and Video Festival, Wallmapu (Chile, 2004); Cine Pobre Film Festival, Gibara (Cuba, 2007); International Small Film Festival, Canary Islands, 2007; and awarded the Telesur Prize at the IX International Indigenous Film and Video Festival (Bolivia, 2008).
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Cinematogrfica de Lorca y tres caros a la Mejor Pelcula Centroamericana en 2006, y otra docena de premios ms en diversos festivales nacionales e internacionales. Como director, guionista y productor tambin ha realizado los cortometrajes documentales Amor callejero y Triste borracha, que recibi el Primer Premio del Jurado en Documenta Madrid 2009. En el mbito televisivo ha realizado ms de cuarenta documentales emitidos en TVE y en diversas operadoras internacionales. Entre sus trabajos figuran las series Sahel, la frontera herida, La llamada de frica, Vivir en el agua y Lamerica 4, entre otras, as como la TV movie de dos captulos Maras, para Antena 3 Films y New Atlantis. Tambin ha sido guionista y realizador de la serie Al filo de lo imposible, de TVE, adems de escribir, dirigir y presentar los programas El barco de Ulises (Geoplaneta, 2002) y Viaje al sur (Canal Sur, 2006). Ha escrito dos libros sobre viajes (El diente de la ballena [1999] y Anochece en Katmand [2002]) y varios reportajes para El Pas Semanal y El Mundo. Colabora regularmente con la Cadena SER desde 1991 y es el fundador y director de la revista Cartographica. He is a director, screenwriter and producer for film and television. In 2009 he participated in the Berlinale Panorama with Coyote, a film that won the 2009 Documenta Madrid Second Jury Prize and the First Jury Prize and the Audience Award at the LAFF of Utrecht. His feature-length documentary Estrellas de la lnea received the Second Audience Award at the 2006 Panorama Berlinale, the First Prize at the Primavera Cinematogrfica de Lorca and three caros for Best Central American film in 2006, in addition to another dozen awards at different national and international festivals. As a director, screenwriter and producer, he has also made the documentary short films Amor callejero and Triste borracha, which received the First Jury Prize at the 2009 Documenta Madrid. In television, he has made more than forty documentaries broadcast on TVE and on different international stations. Some of his work includes the series Sahel, la frontera herida, La llamada de frica, Vivir en el agua and Lamerica 4, among others, as well as the 2-episode TV movie Maras, for Antena 3 Films and New Atlantis. He was also the screenwriter and director of the series Al filo de lo imposible on TVE, in addition to writing, directing and hosting the programs El barco de Ulises (Geoplaneta, 2002) and Viaje al sur (Canal Sur, 2006). He has written two books on travel (El diente de la ballena [1999], and Anochece en Katmand [2002]) and several reports for El Pas Semanal and El Mundo. He has been a regular contributor to the Cadena SER since 1991 and is the founder and director of the magazine Cartographica. 6. KARINA SCARONE ROS Montevideo, Uruguay, 1969 Tras comenzar la carrera de arquitectura en la Universidad de la Repblica Oriental del Uruguay se traslada a Barcelona para completar sus estudios. En su pas de origen comenz a colaborar con diferentes cineclubes, en los que se despert la vocacin
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cinematogrfica que, ya en Espaa, desemboca en una estrecha relacin con el Festival de Cinema Independent de Barcelona, lAlternativa, en el que comienza a trabajar en 1996. Paralelamente realiza un curso de Escritura de Guin Cinematogrfico en la ECIB y cursa la licenciatura en Publicidad y Relaciones Pblicas en la Universitat Oberta de Catalunya. Desde 1997 hasta diciembre de 2006, junto a otros miembros del equipo, desarrolla en lAlternativa su labor como programadora de la seccin Escuelas de Cine y Sinergias de la Historia. Form parte de los comits de seleccin para las secciones oficiales y fue la responsable de los contenidos web. En sus ltimos aos en Barcelona form parte del Equipo Directivo del festival. En enero de 2007 llega a Madrid para poner en marcha el proyecto del Teatro Circo Price como directora de Comunicacin, cargo que delega para continuar con sus proyectos personales. Actualmente es la responsable de publicidad del mismo. After starting her architecture career at the University of the Oriental Republic of Uruguay, she moved to Barcelona to finish her studies. In her home country, she started collaborating with different film clubs, which sparked her interest in the film trade and in turn led her to start up her relationship in Spain with the Independent Film Festival of Barcelona, lAlternativa, where she started working in 1996. At the same time she did a course in Screenwriting at the ECIB and majored in Advertising and Public Relations from the Universitat Oberta of Catalonia. From 1997 through December 2006, she and the other members of the team did the programming for lAlternativa in the section Escuelas de Cine y Sinergias de la Historia (Film Schools and Synergies in History). She was on the selection committees for the official sections and was in charge of web content. In her last years living in Barcelona, she was on the festivals Management Team. In January 2007 she arrived in Madrid to put into motion the project Teatro Circo Price as Communications director, a post holds to continue with her personal projects. She is currently in charge of advertising there.
Oscar a la Mejor Pelcula Extranjera y del jurado del Festival de Cine Cientfico de Ronda. Su carrera cinematogrfica, que se extiende a lo largo de 27 aos, arranc con papeles clave en el Festival Internacional de Cine de Montreal, como directora del Mercado Cinematogrfico, y Cinma Plus Distribution Inc., como directora de Marketing. She has been running the National Film Board of Canadas Festivals Office since 1996, entering films such as When the Day Breaks (Cannes Palme dOr winner), Up the Yangtze (boxoffice giant) and The Danish Poet (Oscar winner) into over 300 film festivals and events. She delivers high-calibre programming of animations and documentaries around the world at prestigious festivals such as Sundance, Cannes, Berlin, Amsterdam and Toronto. She also sits on the Oscars selection committee for Best Foreign Film, and the jury of the Ronda International Scientific Film Festival, among other panels. Her career in film spans 27 years and began with key roles at the Montreal World Film Festival as Director of the Film Market and Cinma Plus Distribution Inc as Marketing Director. 8. CARLOS MUGUIRO Elizondo, Navarra, 1967 Crtico, programador y cineasta. Fundador del Festival Internacional de Cine Documental de Navarra Punto de Vista, del que fue su director artstico hasta 2009, profesor de Esttica Cinematogrfica en la Universidad de Navarra y de Documental en la Escuela de Cine de Madrid (ECAM), ha sido tambin coordinador de la Ctedra de Direccin en la Escuela Internacional de Cine de San Antonio de los Baos de Cuba (EICTV). Estudioso del cine ruso y de los pases del Este, fue comisario del Proyecto Ver sin Vertov, en La Casa Encendida de Madrid, que reconstrua la tradicin documental ruso-sovitica desde la muerte de Dziga Vertov hasta el ao 2005. Con motivo del ciclo public Ver sin Vertov. Cincuenta aos de no ficcin en Rusia y la URSS (1955-2005). Ha editado tambin, Ermanno Olmi, seis encuentros y otros instantes; El cine de los mil aos. Una aproximacin al cine documental japons; The Man Without the Movie Camera: The Cinema of Alan Berliner, y publicado en obras colectivas como Una Diagonale Baltica. Diplomado en Direccin por la ECAM, ha sido guionista de Notes on the Other (Sundance, Clermont-Ferrand, Ann Arbour, Varsovia, IDFA, Hot Docs) y Goodbye, America, entre otras pelculas. Jurado en FidMarseille, en el Festival dei Popoli (Florencia), en el Doc BsAs (Buenos Aires) y en Alcances (Cdiz). Actualmente trabaja en su tesis doctoral en el Departamento de Estudios Eslavos del Instituto Universitari de Cultura de la Universitat Pompeu Fabra de Barcelona. En la presente edicin de Documenta Madrid ha comisariado la retrospectiva dedicada a Peter Hutton. Critic, programmer and filmmaker, he founded the International Documentary Film Festival of Navarra Punto de Vista, of which he was the artistic director until 2009. A professor of Film Aesthetics at the University of Navarra and of Documentary Film at
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CONCURSO DOCUMENTAL DE CREACIN. CORTOMETRAJES ORIGINAL DOCUMENTARY FILM COMPETITION. SHORT FILMS
7. MADELEINE BLISLE Ottawa, Canad / Canada Directora del Departamento de Festivales del National Film Board of Canada desde 1996, ha llevado ttulos como When the Day Breaks (ganadora de una Palma de Oro en Cannes), Up the Yangtze (xito de taquilla) y The Danish Poet (ganadora de un Oscar) a ms de 300 festivales y eventos. Proporciona una programacin de cine documental y animacin de alta calidad a prestigiosos festivales de todo el mundo, entre los que figuran Sundance, Cannes, Berln, msterdam y Toronto, adems de formar parte, entre otros, del comit de seleccin de los
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the Film School of Madrid (ECAM), he has also coordinated the Directing professorship at the San Antonio de Los Baos International Film School in Cuba (EICTV). As a scholar of Russian and Eastern European film, he was in charge of organizing the Project Ver sin Vertov in La Casa Encendida of Madrid, which reconstructed the Soviet-Russian documentary tradition from the death of Dziga Vertov through to 2005. For the purposes of the series, he published Ver sin Vertov. Cincuenta aos de no ficcin en Rusia y la URSS (1955-2005). He has also published Ermanno Olmi, seis encuentros y otros instantes; El cine de los mil aos. Una aproximacin al cine documental japons; The Man Without the Movie Camera / The Cinema of Alan Berliner, and has been published in collective books such as Una Diagonale Baltica. With a degree in Film Directing from the ECAM, he wrote the screenplays of Notes on the Other (Sundance, Clermont-Ferrand, Ann Arbour, Varsovia, IDFA, Hot Docs) and Goodbye, America, among other films. He served on the jury at FidMarseille, the Festival of Popoli (Florence), at the Doc BsAs (Buenos Aires) and in Alcances (Cdiz). He is currently working on his PhD dissertation in the department of Slavic Studies at the University Institute of Culture at the University Pompeu Fabra of Barcelona. For this years Documenta Madrid, hes been put in charge of organizing the retrospective dedicated to Peter Hutton. 9. BEN RUSSELL Springfield, Massachusetts, 1976 Comisario de exposiciones y artista multimedia itinerante cuyas pelculas y presentaciones se han expuesto en espacios que abarcan desde monasterios belgas del siglo xiv, hasta edificios de la Compaa de las Indias Orientales del siglo xvii, pasando por stanos de comisaras, exteriores de casas okupas punk, cinematecas japonesas y fachadas parisinas. Se han realizado proyecciones individuales de sus pelculas en el MoMA y el Festival de Cine de Rterdam. En 2008 recibi una beca Guggenheim y en 2010 un Premio FIPRESCI. Posteriormente, empez la serie de proyecciones Magic Lantern en Providence, Rhode Island. En la actualidad es codirector del espacio artstico Ben Russell de Chicago y profesor de la Universidad de Illinois, Chicago. Ben Russell is an itinerant media artist and curator whose films and performances have been presented in spaces ranging from 14th Century Belgian monasteries to 17th Century East India Trading Co. Buildings, police station basements to outdoor punk squats, Japanese cinematheques to Parisian storefronts, and solo screenings at the Rotterdam Film Festival and the MoMA. A 2008 Guggenheim Fellowship and 2010 FIPRESCI award recipient, Ben began the Magic Lantern screening series in Providence, Rhode Island, is co-director of the artist-run space Ben Russell in Chicago, and he currently teaches at the University of Illinois at Chicago.
CONCURSO DOCUMENTAL DE CREACIN. LARGOMETRAJES ORIGINAL DOCUMENTARY FILM COMPETITION. FULL-LENGTH FILMS
10. WANG BING Xian, China, 1967 Director y productor de cine, entre 1992 y 1995 estudi en el Departamento de Fotografa de la Escuela de Bellas Artes de Lu Xun y se especializ en el Departamento de Fotografa Cinematogrfica de la Academia de Cine de Pekn. Entre 1997 y 1999 trabaj como operador de cmara para la televisin y para el cine. Desde que empez a producir sus propias pelculas de forma independiente ha realizado varios largometrajes que han sido premiados en festivales de todo el mundo. Su primera pelcula, Tie Xi Qu (Al oeste de los rales, 2003), cuyo rodaje comenz en 1999 y se prolongara a lo largo de cuatro aos, obtuvo el Gran Premio del Jurado en DocLisboa 2002 y en FidMarseille 2003, y el Premio Robert y Frances Flaherty en el Yagamata Film Festival 2003, entre otros. He Fengming (Fengming, Crnica de una mujer china, 2007) fue presentada en la seccin oficial del Festival de Cannes y en el Festival Internacional de Cine de Toronto en 2007, entre otros festivales internacionales. Su ltima pelcula, Largent du charbon / Tong Dao (El dinero del carbn, 2008) fue seleccionada en el festival de documentales Cinma du Rel de Pars (Francia) y obtuvo el Premio del Jurado en la VI edicin de Documenta Madrid. Film director and producer, from 1992 to 1995 he studied in the Photography Department of the Fine Arts School of Lu Xun and specialized in the Department of Cinematography at the Film Academy of Beijing. Between 1997 and 1999 he worked as a camera operator for television and cinema. Since he started producing his own films independently, he has made several full-length films that have won awards worldwide. His first film Tie Xi Qu (West of the Tracks, 2003), the shooting of which began in 1999 and lasted four years, won the Grand Prize of the Jury at DocLisboa 2002 and at FidMarseille 2003 and the Robert and Frances Flaherty Award at the 2003 Yagamata Film Festival, among others. He Fengming (Chronicle of a Chinese Woman, 2007) was presented at the official section of the Cannes Film Festival and the International Film Festival of Toronto in 2007, in addition to other international festivals. His latest film Largent du charbon / Tong Dao (Coal Money, 2008) was selected at the documentary festival Cinma du Rel of Paris (France) and won the Jury Award at the 6th Documenta Madrid. 11. FERNANDO LARA Madrid Periodista. Trabaj en las revistas Nuestro Cine, Triunfo, Tiempo de Historia, La Calle y Gua del Ocio, especializado desde un principio en la informacin y crtica
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cinematogrficas. Entre sus publicaciones figuran 18 espaoles de posguerra; Espaa, primera pgina; 7 trabajos de base sobre el cine espaol; Valle-Incln y el cine y Miguel Mihura, en el infierno del cine. Desde 1984 a 2004 fue director de la Semana Internacional de Cine de Valladolid, donde en 1997 organiz el Congreso sobre Promocin y Difusin del Cine Europeo, que dio origen a la Carta de Valladolid. Tambin desempe las labores de delegado en Espaa del Festival de Cine de Berln y de coordinador de las actividades cinematogrficas de los Cursos de Verano de la Universidad Complutense, en El Escorial. Fue, en 1994, uno de los fundadores de la Coordinadora Europea de Festivales de Cine, para cuyo Comit Ejecutivo result elegido. En 2002 coordin el Encuentro sobre el Cine Europeo El autor y su obra, organizado con ocasin de la eleccin de Salamanca como Ciudad Europea de la Cultura. Ha formado parte de los jurados internacionales de los festivales de Berln, Cannes (Cmara de Oro), Karlovy-Vary, Bruselas, Florencia y Guadalajara (Mxico), as como de diversos certmenes espaoles. Desde enero de 2005 a abril de 2009, ha sido director general del Instituto de la Cinematografa y de las Artes Audiovisuales (ICAA), en el Ministerio de Cultura. Durante ese tiempo, elabor la Ley del Cine (diciembre de 2007) y el real decreto que la desarrolla (diciembre de 2008). Posee la distincin de Caballero de la Orden de las Artes y las Letras de Francia, otorgada en 2007. Journalist. He has worked at the magazines Nuestro Cine, Triunfo, Tiempo de Historia, La Calle and Gua del Ocio, with a specialization at first in information and film critique. Some of his publications include 18 espaoles de posguerra, Espaa, primera pgina, 7 trabajos de base sobre el cine espaol, Valle-Incln y el cine and Miguel Mihura, en el infierno del cine. From 1984 through 2004 he was the director of the International Film Week of Valladolid, where in 1997 he organized the Congress on the Promotion and Dissemination of European Cinema, which led to the creation of the Valladolid Charter. He was also the Spanish Delegate at the Berlin Film Festival and the coordinator for film activities for the Summer Courses at the Complutense University in El Escorial. In 1994 he was one of the founders of the European Coordinator of Film Festivals and was elected to its Executive Committee. In 2002 he coordinated the Meeting on European Cinema (Filmmakers and Their Work), organized on the occasion of the election of Salamanca as the European City of Culture. He has been on the International Juries at the Festivals of Berlin, Cannes (Camra dOr), Karlovy-Vary, Brussels, Florence and Guadalajara (Mexico), as well as at different Spanish competitions. From 2005 to 2009 he was General Director of the Institute of Cinematography and of the Audiovisual Arts (ICAA) in the Ministry of Culture. During this time, he drew up the Cinema Law (December 2007) and the Royal Decree that carried it out (December 2008). He was made a Knight of Order of Arts and Letters of France in 2007.
12. JAVIER PACKER-COMYN Bruselas, Blgica / Brussels, Belgium, 1969 Director del Festival Internacional de Cine Documental Cinma du Rel de Pars desde hace dos aos. Nacido en 1969, de padre ingls y madre espaola, creci y estudi principalmente en Blgica. De 1992 a 2004 trabaj en el Festival de Cine Documental Filmer tout Prix de Bruselas y, durante doce aos, estuvo tambin al frente de Ptit Cin, una empresa de distribucin y proyeccin de cine documental que abarca diversas zonas de Blgica. Durante varios aos trabaj como docente en el IHECS (Instituto de Altos Estudios en Comunicacin Social) de Bruselas, en el ISCAP y en la Universidad de Lille. Ha publicado numerosas entrevistas a cineastas de la talla de Claire Simon, Denis Gheerbrant y Jean-Louis Comolli, y trabajado en diversas pelculas y programas de televisin del canal Arte y la RTBF. En 2008 obtuvo el Premio Coq de la Comunidad Francesa por su trabajo en el campo de la distribucin documental. Director of Cinma du Rel International Documentary Festival in Paris for the past two years. Born in 1969 of British and Spanish parents, he grew up and studied mainly in Belgium. From 1992 to 2004 he worked for the Filmer tout Prix (Shoot or die) Documentary Film Festival in Brussels. For 12 years he also headed the Ptit Cin, a documentary screening and distribution company that programs documentary film in various locations in Belgium. He also taught several years at the Institut des Hautes Etudes en Communications Sociales (IHECS) in Brussels, at the ISCAP and at the University in Lille. He has published various interviews with filmakers such as Claire Simon, Denis Gheerbrant, Jean-Louis Comolli and worked on several films and TV programs for Arte and the RTBF. In 2008, he was awarded the Prix Coq by the Communaut Franaise for his work in documentary distribution.
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1929-2009
DIEGO HERRANZ ANDJAR Betacam / 5 / 2009 / Espaa / Spain V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
OPEN 24 HOURS XAVI CAMPRECIS Betacam / 29 / 2009 / Espaa / Spain V. O. CHINO / CHINESE. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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El escritor F. Scott Fitzgerald vivi el crac del 29 y muchas ms cosas. Qu mejor momento para recuperar su reflexin sobre la ruina de su vida? The writer F. Scott Fitzgerald experienced the bust of 1929 and much more. What better time then to take back up his reflection on the downfall of his life?
En el norte de Shanghi se encuentra un pequeo restaurante con mucha personalidad donde se pueden degustar unos excelentes fideos chinos las 24 horas. Est regentado por una familia de musulmanes de la etnia hui procedentes de la provincia de Qinghi, al noroeste de China. Tomando como leitmotiv el cautivador proceso de confeccin a mano de los fideos, penetramos en la vida de esta familia retratada sobre el teln de fondo de su establecimiento. A travs de sus declaraciones y sus comportamientos, nos adentramos en su universo de costumbres y tradiciones y en su mentalidad. In northern Shanghai there is a small restaurant with great personality, where fantastic Chinese noodles can be had 24 hours a day. It is run by a Muslim family of the Hui ethnicity from the province of Qinghai in northeastern China. The handmade process of noodle-making as our leitmotiv, we delve into the life of this family, with their business as the background setting. Through their statements and behavior, we gain insight into their universe of customs and traditions and their way of thinking.
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ARCHITECTS OF THE BODY CRISTINA HORTIGELA Betacam / 16 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
CAMERN, BREVE HISTORIA DE UN EMBARAZO / CAMEROON, SHORT HISTORY OF A PREGNANCY DOMNEC BORONAT CASANOVA Betacam / 13 / 2009 / Espaa / Spain V.O. CATALN / CATALAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Saln de actos del colegio Obispo Perell en Madrid, Campeonato de Espaa 2009 de Culturismo. Las imgenes muestran la preparacin fsica y esttica el da de la competicin: las poses y las coreografas, la rivalidad de hombres y mujeres en el escenario, y finalmente al ganador absoluto. Assembly Hall at the Obispo Perell school in Madrid for the 2009 Bodybuilding Championship of Spain. The images show the physical and aesthetic preparation on the day of the competition: the poses, choreography and rivalry of the men and women on stage, and finally the overall winner.
Durante un tiempo quisimos viajar a Camern, pero un embarazo nos lo impidi Crnica de una ilusin y un desencanto. For a while we wanted to travel to Cameroon, but a pregnancy got in the way an account of a hope and a disappointment.
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EL PABELLN ALEMN
THE GERMAN PAVILION JUAN MILLARES Betacam / 14 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
EL PLIEGUE
THE FOLD PAULA NOYA, IVN DEL REY DE LA TORRE Betacam / 5 / 2009 / Espaa / Spain SIN DILOGOS / WITHOUT DIALOGUES
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En 1929 los Reyes de Espaa inauguraron uno de los ms relevantes edificios del siglo xx, el pabelln de Alemania en la Exposicin Universal de Barcelona, del arquitecto Mies van der Rohe. Muchos aos despus, el narrador de esta historia, obsesionado por el pabelln alemn, busca en las viejas fotos un misterio oculto, un enigma a resolver, tal vez la posibilidad de un crimen. In 1929 the King and Queen of Spain inaugurated one of the most important buildings of the 20th century, the German Pavillion at the Universal Expo of Barcelona by the architect Mies van der Rohe. Many years later, the narrator of this story, obsessed by the German Pavillion, searches for a hidden mystery in the old photos, a puzzle to be solved, perhaps the possibility of a crime.
Reflexin sobre el tiempo y el recuerdo y la percepcin que de ellos tenemos a base de imgenes Super 8 de los aos 70 a dos tiempos: uno semidinmico, que da paso a otro, esttico, que es a la vez el futuro del primero y nuestro pasado. Hasta qu punto es real nuestra memoria? Reflection on time and memory and the perception that we have of them, through Super 8 images from the 70s at two rates: a semi-dynamic one that overtakes a static one, which is at the same time the future of the first and our past. To what extent is our memory real?
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DIRECCIN, GUIN / DIRECTION, SCRIPT Juan Millares PRODUCCIN / PRODUCTION Mara Jos Dez, Merc Sampietro FOTOGRAFA / CINEMATOGRAPHY Emili Sampietro MONTAJE / EDITING Irene Blecua LAVORAGINE P. C. Plaza Luca de Tena 13, 4. E. 28045 Madrid, Espaa. Tel. +34 915 213 398. info@lavoragine.es CINE PALAFOX Sala 2 / Theater 2 Sbado 8, 22:00 h, y martes 11, 17:00 h / Saturday 8 th, 10:00 pm, and Tuesday 11th, 5:00 pm
ELEMENTIME
RICARD CARBONELL I SAUR Betacam / 11 / 2009 / Espaa / Spain SIN DILOGOS / WITHOUT DIALOGUES
ESPRITUS DE DRASSANES
DRASSANES SPIRITS SIMN HERNNDEZ ESTRADA, CRISTIAN JARA FERNNDEZ Betacam / 14 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Reflexin sobre el tiempo a travs de los cuatro elementos (fuego, aire, agua, tierra), analizados en objetos simples. A reflection on time vis-a-vis the four elements (Fire, Water, Air, Land), which are analyzed in simple objects.
Es en los extremos de las cosas donde usualmente podemos aprender ms de su equilibrio. Retrato de un da de los yonquis en el Raval de Barcelona. Una pelcula muda, filmada en Super 8 blanco y negro que, a travs de un collage de paisajes urbanos y retratos de los adictos, nos muestra la detencin del tiempo y cmo se vive desde el interior. Un retrato metafrico del purgatorio y sus espritus. It is usually when things are taken to the extremes that we can learn more about their middle point. Portrait of a day for the junkies in the Raval of Barcelona. A silent film in black and white Super 8 in which, through a collage of urban landscapes and portraits of the addicts, we are shown the suspension of time and are given insight into how they live. A metaphorical portrait of purgatory and its spirits.
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HAMBRE/HACHS
HUNGER/HASCHISH ENRIQUE BOCANEGRA Betacam / 18 / 2009 / Espaa / Spain V. O. ESPAOL, RABE / SPANISH, ARABIC. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
I LOVE BENIDORM
GAETANO CRIVARO, MARIO ROMANAZZI Betacam / 28 / 2009 / Espaa, Italia / Spain, Italy V. O. ESPAOL, VALENCIANO / SPANISH, VALENCIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Acompaamos a Driss, un pequeo traficante, desde Tetun hasta su aldea, en un lugar remoto en las montaas. La cmara le sigue mientras visita a su familia y a los amigos del pueblo, recoge la cosecha de quif y la transforma en hachs. Pero el rodaje incomoda a varios habitantes de la aldea. Sin que lo puedan evitar, los dos cineastas dejarn de ser testigos y se convertirn en protagonistas de la historia que haban venido a contar. We follow Driss, a small-time trafficker, from Tetuan to his hometown off in the mountains. The camera follows him as he visits his family and friends in town, as he harvests the kief and turns it into hash. But the filming makes several of the towns inhabitants uncomfortable. Without meaning to, the two filmmakers will cease to be onlookers and will become protagonists in the story they came to tell.
La vida en el Cabanyal ha cambiado mucho tras el fuerte proceso de urbanizacin que ha sufrido la ciudad de Valencia. El progreso est borrando el antiguo Poble de la Mar. El turismo es el principal motor de renovacin del Estado, pero tambin es causa de destruccin del patrimonio ambiental, humano y cultural de la nacin. Life in the Cabanyal has changed a lot since the city of Valencia began its intense process of urbanization. This progress is doing away with the old coastal part of town. Tourism is the main impulse driving state renovation projects, though it is also causing the destruction of the nations environmental, human and cultural heritage sites.
Premio del Jurado / Jury Prize, Festival Eolie in Video (Italia / Italy, 2009) Mejor Fotografa / Best Cinematography, Festival del Cinema Invisibile (Italia / Italy, 2009) Mejor Documental / Best Documentary, Pentedattilo Film Festival (Italia / Italy, 2009)
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LA MUERTE DE LA LAGARTIJA / THE DEATH OF THE SMALL LIZARD JOSEP FERRN FOZ, ALVAR JIMNEZ Betacam / 31 / 2009 / Espaa / Spain V. O. FRANCS, ESPAOL / FRENCH, SPANISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
PRIMO-ARRIVANTS: EL CURSO PUENTE DE LOS NIOS DE LA ESCUELA NMERO 10 / PRIMO-ARRIVANTS: THE STEPPING STONE CLASS FOR CHILDREN IN SCHOOL NUMBER 10 ARTURO SOLS DI MIELE Betacam / 16 / 2010 / Espaa, Blgica / Spain, Belgium V. O. FRANCS / FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Todos los aos, David y su hermana Alice viajan desde Pars hasta Mallorca para pasar junto a Frank, su padre, las vacaciones de verano. ste vive en Banyalbufar, un pequeo pueblo de la sierra de la Tramuntana. Como apasionado del arte, fomenta la faceta ms creativa de David, diagnosticado de autismo. Every year, David and his sister Alice travel from Paris to Majorca to spend the summer vacations with Frank, their father. He lives in Banyalbufar, a small town in the Tramuntana mountains of Majorca. Passionate about art, Frank fosters creativity in David, who has been diagnosed with autism.
Primo-arrivants, recin llegados, es el nombre francs con el que se viene bautizando a los ciudadanos extranjeros que se instalan de forma permanente en Blgica. De distintas nacionalidades, culturas y procedencias, cada individuo debe pasar por un personal proceso de adaptacin con el objetivo de integrarse dentro de la comunidad. Nos sumergimos en las situaciones de aprendizaje cotidianas de los nios que asisten por primera vez a la Escuela Nmero 10 del barrio popular de Schaerbeek en Bruselas. Primo-arrivants, the new arrivals, is the French name given to foreign citizens who have just recently settled permanently in Belgium. Of different nationalities, cultures and origins, each individual must pass through a personal process of adaptation in order to assimilate into the community. We immerse ourselves into the everyday learning situations of children attending for the first time School Number 10 in the working class neighborhood of Schaerbeek in Brussels.
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La muerte se aproxima, y a la memoria erosionada del agonizante la asaltan fragmentos de vivencias. Entre ellos busca el rostro de la Muerte. Heme aqu, ya al final, y todava no s qu rostro le pondr a la Muerte. Rosario Castellanos. Death is approaching, and fragments of life experiences barrage the eroded memory of the one dying. Among them, he searches for the face of Death. Here I am, now at the end, and I still do not know what face I will give to Death. Rosario Castellanos.
En las calles de Vitoria, sus habitantes me recitan canciones de un grupo de punk vasco de los aos 80 y 90: Cicatriz. On the streets of Vitoria, its residents recite songs by the Basque punk band from the 80s and 90s: Cicatriz.
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SIRIMAN
JOSEPH GORDILLO Betacam / 15 / 2009 / Espaa / Spain V. O. FRANCS, ESPAOL / FRENCH, SPANISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Escrita a lo largo de caminos y viajes, es una historia de hombres venidos de otra parte, del otro lado del mar, de los ros o de las montaas. La historia de los que han dejado un pueblo, una familia para ir a trabajar a algn lugar remoto. Y, algunas veces, para empezar otra vida. Written on roads and journeys, this is the story of men from another place, from the other side of the sea, of the rivers and of the mountains. The story of those who have left their towns, their families to go work far away. And sometimes, to start another life.
Revisitacin esttica de cuatro secuencias icnicas de la historia del cine espaol. Una bsqueda estrictamente geogrfica que coloca la cmara en los puntos exactos en los que se rodaron los planos de las pelculas originales. Sin iluminacin. Sin edicin de sonido. Sin actores. Simplemente, lo que haya delante de la cmara. Aesthetic throwback to four iconic scenes in the history of Spanish film. A strictly geographical search in which the camera is situated in the exact same places where the shots from the original films were taken. Without lighting. Without sound editing. Without actors. Simply what happens in front of the camera.
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ENRIQUE BOCANEGRA hambre / hachs Nacido en Sevilla en 1973, es periodista y gestor cultural. Su familia emigr a Rabat (Marruecos), donde estudi bachillerato en el Lyce Saint-Exupry de la capital marroqu. Posteriormente regres a Sevilla, en cuya facultad de Ciencias de la Informacin se licenci en 1998. Inici su trayectoria profesional en medios de comunicacin de Sevilla. En 1999 se march a Mxico, donde colabor con la revista de actualidad mexicana Viceversa mientras ejerca como redactor de Internacional en la agencia de noticias Notimex. Posteriormente, durante 2001, trabaj como corresponsal de esta agencia en Espaa. Tambin ha trabajado en el Departamento de Comunicacin de la CEOE y en los informativos de Antena 3 TV (rea Internacional, edicin del fin de semana). Desde 2003 se dedica a la gestin cultural de cine en instituciones como el Crculo de Bellas Artes de Madrid o la Academia de las Artes y las Ciencias Cinematogrficas de Espaa. Se inici en 2003 en el mundo del cortometraje.
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Born in Sevilla in 1973, he is a journalist and culture consultant. His family emigrated to Rabat (Morocco), where he went to high school at the Lyce Saint-Exupry in the Moroccan capital. He then returned to Sevilla, where he majored in Information Sciences in 1998. He started his professional career in communication media in Sevilla. In 1999 he went to Mexico, where he collaborated on the Mexican current events magazine Viceversa, while also working at the news agency Notimex as writer in the international section. Then, in 2001 he became the correspondent in Spain for this agency. He has also worked in the Communications Department of the CEOE and on the news for Antena 3 TV (International Section, weekend edition). Since 2003 he has providing film consulting for institutions such as the Crculo de Bellas Artes of Madrid and the Academy of Film Sciences and Arts of Spain. In 2003 he started off in the world of short films. FILMOGRAFA FILMOGRAPHY ltima parada: Tnger (2008), Proteccin (2006), Paisa (2005), Huellas (2003). DOMNEC BORONAT CASANOVA camerun, breu histria dun embars Nacido en Ganda (Valencia) en 1970, Domnec Boronat es licenciado en Bellas Artes y profesor de Educacin Plstica y Visual en las Baleares.
Born in Gandia (Valencia) in 1970, Domnec Boronat has a BA in Fine Arts and is a Professor of Plastic and Visual Education in the Balearic Islands. FILMOGRAFA FILMOGRAPHY Marc (2000), P. M. E deixant una mort (1998).
A graduate of the ESCAC, he has done his professional work in the field of production. In 2006 he received a fellowship to go to Beijing and Shanghai to study Chinese. Open 24 hours is his debut film. RICARD CARBONELL I SAUR elementime Es licenciado en Bellas Artes por la Universitat de Barcelona (UB) y diplomado en Cine por la ECAM (Madrid) y Microobert (Barcelona). Tambin ha estudiado msica, materia en la que ha obtenido el Ttulo Superior de Flauta Travesera, el de Teora y Lenguaje musical, y el de Piano. Su obra se ha presentado en 70 festivales internacionales de todo el mundo. Gan varios premios internacionales por 200 km (obtuvo el Golden Gate de San Francisco, se present en San Sebastin y ha sido estrenado en salas comerciales), Don Giovanni (que le vali el Golden Accord de Viena), o El Porquet (premiado en Sitges en 1998). Recientemente desarrolla su tesis cinematogrfica, tras obtener la diplomatura de estudios avanzados (DEA) en Teora del Cine por la Universidad Complutense de Madrid.
Discovery Channel.
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A BFA from the University of Barcelona (UB) and a degree in Film from the ECAM (Madrid) and Microobert (Barcelona), he has also studied music, a field in which he has obtained a Superior Degree in Flute, another in Musical Language and Theory, and another in Piano. His work has been shown at 70 international festivals worldwide. He has won several international awards for 200 km (which won the Golden Gate of San Francisco, was presented at San Sebastian and has been released in cinemas), for Don Giovanni (which earned the Golden Accord of Vienna), and El Porquet (which won an award in Sitges in 1998). He has recently completed his dissertation in film, after getting his Advanced Studies Diploma (DEA) in Film Theory from the Complutense University of Madrid. FILMOGRAFA FILMOGRAPHY Don Giovanni (2005), tudes Schaefferiennes (2005), Dentro de s (2003), 200 km (2003), Banda sonora (2003), Visions Fugitives (2002), El porquet (1998).
aguanta, rigueme, mtame
Mario Romanazzi es licenciado en Cinematografa por la Universidad de Bolonia y trabaja como operador de cmara y proyeccionista. Born in Crotone in 1983, Gaetano Crivaro has been living in Rome since 2001. There, thanks to the documentary Kyterion, he won a grant to attend the Sentieri Selvaggi Documentary Film School. In 2006 he started working for the advertising agency Guerrilla Marketing, where he has done work for National Geographic and the Discovery Channel. Mario Romanazzi majored in Film at the University of Bolognia and works as a camera operator and projectionist. FILMOGRAFA FILMOGRAPHY Gaetano Crivaro: Postelevision (2008), Moka & Cigarettes (2007), Kyterion (2006). Mario Romanazzi: I giardini di villa Maria (2007), Nights Circle (2003), Cattive amicizie (2001). JOSEP FERRN FOZ, ALVAR JIMNEZ la mort du petit lzard Josep Ferrn Foz naci en Barcelona en 1977. Es graduado en montaje audiovisual por la ESCAC (Escola de Cinema i Audiovisuals de Catalunya). Actualmente reside en Mallorca, donde ha trabajado como cmara y montador de programas y documentales para la televisin local y autonmica. En 2008 realiz su primer cortometraje de ficcin, Despertar enlloc, con el que gana el premio de artes plsticas Rei en Jaume. La mort du petit lzard es su primer trabajo en el campo del documental.
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viene,
En 2008, Javier Fernndez (1980), Luis Lpez Carrasco (1981) y Natalia Marn (1982) fundan el colectivo artstico Los Hijos. Su trabajo, que alterna el registro documental con la experimentacin formal, se ubica en el terreno fronterizo en que se dan cita el cine de vanguardia, la investigacin etnogrfica y el videoarte. Con su primera obra, El sol en el sol del membrillo, compitieron en la seccin oficial de la pasada edicin del Festival Internacional de Documentales de Madrid (Documenta Madrid). El recorrido de dicho cortometraje contina en otros festivales, as como en galeras de arte como La Fbrica de Barcelona. Su primer largometraje, Los materiales, gan el Premio Jean Vigo a la Mejor Direccin en el Festival Internacional Punto de Vista de Navarra 2010.
Alvar Jimnez naci en Mlaga en 1981, tras obtener la licenciatura en Comunicacin Audiovisual en dicha ciudad se traslad a Barcelona. All obtuvo la diplomatura en la
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FILMOGRAFA FILMOGRAPHY Josep Ferrn Foz: Despertar enlloc (2008). Alvar Jimnez: El retorno, un viaje al origen (2008), Integrantes (2007) JOSEPH GORDILLO siriman Nacido en 1965 en Metz, Francia, comparte nacionalidad francesa y espaola. Periodista desde 1989, comenz su carrera en la Radiotelevisin de Luxemburgo (RTL), cubriendo los principales acontecimientos de la poca, como el conflicto de Ruanda en 1994. Poco a poco, fue obteniendo mayor reconocimiento con sus fotografas documentales e investigaciones, que desembocaron en un primer libro sobre los mineros del hierro (Ediciones Klopp, Francia). Public un segundo libro: Passion charbon (Ediciones Serpenoise, Francia) sobre los mineros de la Lorena, por el que recibi el Premio de la Academia Nacional de Metz en 2002 y el Premio de los Consejos Generales de Lorena en el mismo ao. En 1998 comenz a trabajar en el canal Arte como enviado especial, ocupacin que ahora desempea desde Espaa, cubriendo tambin Portugal y el norte de frica. Para esta cadena ha cubierto acontecimientos como la guerra de Irak, la situacin en Darfur o el conflicto palestino-israel en Gaza. Contina trabajando, adems, como cmara de documentales para Gingko Productions (Francia). En 2007 escribi y realiz su primera pelcula como director: Le mur des oublies / El muro de los olvidados, que aborda la amnesia de todo un pas para hacer frente a su pasado histrico ms reciente: la guerra civil espaola. Gordillo la revive mientras va en busca de su abuelo, republicano fusilado durante la guerra y enterrado en una fosa comn, como tantos otros, situada en un pequeo pueblo de Andaluca. Este trabajo ha tenido gran difusin en salas de cine de toda Europa y ha sido premiado en el Festival de Clermont-Ferrand, Traces de Vies y seleccionado para FIGRA Le Touquet y Cinespaa de Toulouse.
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Simn Hernndez es realizador independiente de cine y vdeo, con una marcada tendencia hacia la experimentacin visual y narrativa, y en su produccin predominan el cine documental, el videoclip y el videoarte. Sus trabajos han sido exhibidos en diferentes pases de Amrica y Europa. Cristian Jara naci en Santiago de Chile. Se desempea como director de cortometrajes, entre los cuales Gente comn en lugares comunes ha obtenido varios premios internacionales. En 2006 realiz Garage, su primer largometraje. Simon Hernndez is an independent film and video director with a clear tendency for visual and narrative experimentation. His production has mainly been in the field of documentary film, music videos and video art. His works have been showen in several countries of America and Europe. Cristian Jara was born in Santiago de Chile. He has worked as a documentary film director, most notably on Gente comn en lugares comunes, for which he has won several international awards. In 2006 he made Garage, his first full-length film. FILMOGRAFA FILMOGRAPHY Simn Hernndez Estrada: 4 vas (2008), Marca registrada (2007), El vicio TV (2006), Al aire!!! (2005), Plstica (2005), Tiempos de paz (2003). Cristian Jara Fernndez: Garage. Msica para matar el tiempo (2006), Gente comn en lugares comunes (2005), Los chicos quieren su rampla (2004), Motel Catedral (2003).
A 2001 graduate of Sociology, he has since that year been working in different fields of study. In 2006 he graduated in film Directing from the ECAM (Madrid). Since then, he has tried to combine those two professions. FILMOGRAFA FILMOGRAPHY Una noche (2006), Distancia (2005). CRISTINA HORTIGELA arquitectos del cuerpo Artista visual que principalmente trabaja con la fotografa y el vdeo, desarrollando este hacia instalaciones o documentales. Nacida en Burgos, ejerci como bailarina profesional durante quince aos en el Nederlands Dans Theater, en los Pases Bajos, y en la Compaa Nacional de Danza, en Madrid. Hace 5 aos comenz a estudiar vdeo y ha realizado un mster de Film / Vdeo en el California Institute of the Arts.
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She is a visual artist working mainly in photography and video by way of installations and documentary films. Born in Burgos, she started out as a professional dancer, dancing for fifteen years in the Nederlands Dans Theater, in The Netherlands, and the National Dance Company of Madrid. She started studying video five years ago and did a Masters at the California Institute of the Arts in Film/Video. FILMOGRAFA FILMOGRAPHY Colossal (2009), E.quil.i.brist (2008), A Registered Patent (2008), Trans-sex (instalacin, 2008), La Voix Humaine (2008), Underconstruction (2008), Exactly Do They Do (2008), The Red Fall (2008), From A to B (instalacin, 2007), Turning Monkeys (2007) 3 Hallways (instalacin, 2007), De qu estbamos hablando? (2006), Choreography (2006), Sauna (2004), Bridge (2004), The Garden of Earthly Delights (2004). JUAN MILLARES el pabelln alemn Naci en Las Palmas de Gran Canaria en 1950, es doctor en Arquitectura y, desde 1986, profesor titular de la Ctedra de Audiovisuales de la Facultad de Bellas Artes de la Universidad Complutense de Madrid. Se ha vinculado de manera definitiva al mundo de la imagen como docente, investigador y cineasta y ha dirigido varios proyectos de investigacin y cursos de doctorado. Tambin ha dictado y publicado ponencias sobre arte y nuevas tecnologas, realidad virtual, tcnicas de enseanza del audiovisual y nuevos espacios de ficcin, entre otros temas, en congresos, universidades y festivales. Como cineasta, su carrera arranca en 1979 con la direccin de cortometrajes y culmina en 2005 con el largometraje documental Cuadernos de contabilidad de Manolo Millares, que gan el 1.er Premio de la seccin Tiempo de Historia de la 50 Semana Internacional de Cine de Valladolid.
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Paula Noya es licenciada en Bellas Artes por la Universidad de Salamanca y realiz un Mster en Esttica y Teora de las Artes en la Universidad Autnoma de Madrid. Su trayectoria artstica se desarrolla dentro del campo de la pintura, la fotografa y el videoarte. Ha participado en diferentes exposiciones colectivas, como la Bienal de Facultades de Bellas Artes de Europa, Maastrich 93, Holanda; ARCO 2000, caseta Crculo de Bellas Artes de Madrid; Circuitos 2001, en Spanish Institute, Nueva York; Focale 20002001, Junta de Castilla y Len; Sobre el Sexo, en Sala de exposiciones de Canal de Isabel II, 2002, Madrid; Estampa 2003, caseta CMAGEC, Madrid; Fotonoviembre VI, Santa Cruz de Tenerife; Madrid, Madrid, Madrid, en Espaciomenosuno, 2007, Madrid; Toys & Us, en Sala Cruce, 2008, Madrid; A Perfect Day, en La Laboral, 2009, Gijn; Do it Yourself, en Espacio OffLimits, 2009, Madrid; Mulier, Mulieris, en Museo de la Universidad de Alicante, 2009; Proyecto Circo (Performances & Audiovisuales), 2010, La Habana, Cuba; Ftbol Replay, videomix en La Casa Encendida, 2010, Madrid. Ivn del Rey de la Torre was born in Segovia in 1975. After graduating in Art History from the University of Salamanca, he did his post graduate studies at the UAM, where he got a Superior Studies Degree in Film History with his research paper El film de Arte en Espaa, the result of a fellowship stay in the Film Archives of the Catalonia Government. As a teacher, he has taught courses and seminars at various institutions such as the CMAGEC-Fine Arts Department at the University of Murcia and in the
Born in Las Palmas de Gran Canaria in 1950, he has a PhD in Architecture and since 1986 has been a Professor of Audiovisuals in the Fine Arts Department of the Universidad Complutense de Madrid. He has established himself in the world of the image as a
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LOIS PATIO LAMAS recordando los rostros de la muerte Nacido en Vigo en 1983, es licenciado en Psicologa por la Universidad Complutense de Madrid y estudi cine en la Escuela Tai de Madrid, en la NYFA de Nueva York y en la UdK de Berln. Ha realizado talleres con Vctor Erice y Jos Luis Guern, entre otros. Realiz el Mster de Documental de Creacin de la Universidad Pompeu Fabra, en Barcelona, y actualmente trabaja en la segunda pelcula de la directora Mercedes lvarez.
Born in Vigo in 1983, he graduated in Psychology from the Complutense University of Madrid and studied film at the Tai School of Madrid and at the NYFA of New York and the UdK in Berlin. He has done workshops with Vctor Erice and Jos Luis Guern, among others. He did a Masters in Original Documentary Filmmaking at the Pompeu Fabra University of Barcelona and is currently working on the second film by the director Mercedes lvarez. FILMOGRAFA FILMOGRAPHY Paisaje Interior 3. LAquatic (2009-2010), Paisaje Interior 2. Calvet (2009), Rostros de arena 3. Zuma, embajador del Sol (2008-2009), Paisaje Interior 1. Ribeira Sacra (2008), Rostros de arena 2. Rayito (2008), Rostros de arena 1. Profesor Tejero (2006-2007). ARTURO SOLS DI MIELE primo-arrivants: la classe passarelle des enfants de lcole 10 De origen venezolano, se licenci en 2006 en Comunicacin Audiovisual. Realizador de cortometrajes documentales, tambin colabora como cmara o director de fotografa en cine. Actualmente realiza un Mster en Estudios del Cine Documental en la Universidad de Saint Lukas de Bruselas.
Born in 1980 in Alcoy, Alicante, he graduated in Psychology with a Masters in Documentary Filmmaking from the Autonomous University of Barcelona (UAB). In 2006 he directed De funcin, a co-production of Televisi de Catalonia and the UAB Documentary Film Masters program, which won different international awards such as the Manoel de Oliveira for Best International Documentary at the International Film Festival Curtas Vila Do Conde and Best Director in the Nova Autoria section of the Festival of Sitges. He has made other documentaries, most notably Castillo (Special Mention of the Jury at the International Film Festival of Las Palmas de Gran Canaria, 2009) and a series of diaries (Diarios #1-4) and travelogues (Viaje a Rusia: El futuro de los aos 80). He has worked as an assistant director in the field of fiction with the director Santos Hevia and as an educator and coordinator of the audiovisual workshops at a psychiatric hospital. He is currently a teacher of the Original Documentary Filmmaking Masters program at the Autonomous University of Barcelona. FILMOGRAFA FILMOGRAPHY Diario ruso: el futuro de los aos 80 (2010-2011, en posproduccin / in post-production), Castillo (2009), Diarios #1-4 (2007-2008), De funcin (2006).
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CENTRO
DOWNTOWN SEBASTIN MARTNEZ PIEIRO Betacam / 86 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
CIRCO
CIRCUS COLECTIVO AUDIOVISUAL LOS HIJOS / AUDIOVISUAL COLLECTIVE LOS HIJOS Betacam / 80 / 2009 / Espaa / Spain V. O. FRANCS / FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Sinfona urbana rodada durante un ao en el cruce de Florida y Lavalle, dos calles crticas y emblemticas del centro de Buenos Aires. All convive un universo colmado de disonancias, de incompatibilidades, de absurdo. La ciudad como territorio de intercambio, de clculo, como un gran espejo de las relaciones con el otro y con el poder. La ciudad, tambin, vista como una gran maquinaria. A partir de una orquestacin del tiempo y el espacio, y a travs de la utilizacin de los signos y smbolos estticos propios de la urbe, observamos el latido de la ciudad. An urban symphony shot over one year at the intersection of Florida and Lavalle, two critical and emblematic streets in downtown Buenos Aires. There, a universe of dissonance, incompatableness and absurdness comes together. The city as a place for exchange, for reckoning, like a huge mirror of the relationships with the other and with power. The city is also seen as a great machine. Through the orchestration of time and space, and by using aesthetic symbols and signs belonging to the metropolis itself, we observe the heartbeat of the city.
circo (Del lat. circus). 1. m. Edificio o recinto cubierto por una carpa, con gradera para los espectadores, que tiene en medio una o varias pistas donde actan malabaristas, payasos, equilibristas, animales amaestrados, etc. 2. m. Este mismo espectculo. 3. m. Conjunto de artistas, animales y objetos que forman parte de este espectculo. 4. m. Lugar destinado entre los antiguos romanos para algunos espectculos, especialmente para la carrera de carros o caballos. 5. m. coloq. Confusin, desorden, caos. circus (from the Latin circus) 1. A building or covered tent with bleachers for the audience and with one or several rings in the middle where jugglers, clowns, acrobats, animal trainers and others perform. 2. This show itself. 3. The group of artists, animals and objects performing in this show. 4. The place the Ancient Romans designated for shows, especially chariot and horse races. 5. coll. Confusion, disorder, chaos.
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BARCELS SEA AGUST TORRES DOMENGE Betacam / 88 / 2009 / Espaa / Spain V. O. ESPAOL, CATALN, FRANCS / SPANISH, CATALAN, FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
EL MAR DE BARCEL
EL REGRESO
THE RETURN GUSTAVO GIL PREZ Betacam / 77 / 2009 / Espaa / Spain V. O. RABE, HEBREO, INGLS, ESPAOL / ARABIC, HEBREW, ENGLISH, SPANISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Proceso creativo de la obra de Miquel Barcel para la cpula de la Sala de los Derechos Humanos y la Alianza de las Civilizaciones de la ONU en Ginebra. The creative process of Miquel Barcel for the dome ceiling of the Chamber for Human Rights and the Alliance of Civilizations of the UN building in Geneva.
En el verano de 2008 un grupo de nios palestinos pas sus vacaciones en Espaa. Regresamos con ellos a Palestina y comprobamos cmo viven ellos y el resto de los palestinos bajo la ocupacin israel de su territorio. In the summer of 2008, a group of Palestinian children spent their vacations in Spain. We go back to Palestine with them to see how they and all the other Palestinians living under the Israeli occupation of their territory live.
Primer Premio / First Prize, VI Encuentro Hispanoamericano de Cine y Vdeo Documental (Mxico / Mexico, 2010) Mencin Especial del Jurado / Jury Special Mention, Festival de Cine Pobre de Gibara (Cuba, 2010)
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EL LTIMO TROVADOR
THE LAST STORYTELLER GUSTAVO VIZOSO RODRGUEZ Betacam / 56 / 2009 / Espaa V. O. RABE / ARABIC. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
CITY OF DEAD / CIDADE DOS MORTOS SRGE TRFAUT Betacam / 62 / 2009 / Espaa, Portugal / Spain, Portugal V. O. RABE / ARABIC. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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En Marruecos, los trovadores llevan ms de 1.000 aos contando historias. Uno de los pocos lugares en los que an se puede ver alguno es la plaza Jemaa el Fna de Marrakech. Antiguamente haba decenas de ellos, pero hoy solo quedan cuatro. Esta es la historia de Mohamed Bariz, el ltimo trovador. Storytellers have been telling stories in Morocco for more than 1000 years. One of the places you still find them is the Jemaa el Fna in Marrakech. In the past, there were dozens, today there are only four. This is the story of Mohamed Bariz, the last storyteller.
En la ciudad de El Cairo, la mayor metrpolis del mundo rabe, viven hoy ms de quince millones de personas. Es un verdadero hormiguero humano. De ellas, al menos quinientas mil (que estn entre los ms pobres) habitan dentro de los cementerios. Nacern, crecern, se casarn y muchos morirn dentro de las construcciones funerarias, rodeadas de muertos. More than fifteen million people live in Cairo, the largest city of the Arab world. It is literally swarming with people. Of those fifteen million, at least five hundred thousand of the citys poorest people live in cemeteries. They are born, grow up, get married and many die within the confines of the funeral buildings, surrounded by the dead.
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MUSEO
MUSEUM CHUS DOMNGUEZ Betacam / 51 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
MY BEAUTIFUL DACIA
MI HERMOSO DACIA / DACIA, DRAGOSTEA MEA STEFAN CONSTANTINESCU, JULIO SOTO Betacam / 72 / 2009 / Espaa, Rumana / Spain, Romania V. O. RUMANO / ROMANIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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En el reino de lo visible, todas las pocas coexisten fraternalmente, aunque estn separadas por siglos o milenios. John Berger, El tamao de una bolsa. In the realm of the visible all epochs co-exist and are fraternal, whether separated by centuries or millenia. John Berger, The Shape of a Pocket.
Ensayo humorstico de la odisea rumana del comunismo al capitalismo, visto desde la perspectiva de uno de los smbolos ms carismticos de Rumana: el Dacia, un automvil sencillo y discreto, pero tambin el reflejo de la sociedad rumana. La pelcula acompaa a varios rumanos cuyas vidas estn conectadas por este humilde coche, y muestra el proceso de transformacin de la sociedad. Podra ser este coche la respuesta a los cambios sociales de Rumana? A humorous essay on the Romanian odyssey from communism to capitalism as seen from the perspective of one of Romanias most charismatic symbols: Dacia, a simple and discreet automobile, but also a mirror of Romanian society. The film follows several Romanians whose lives are interconnected by this humble car, thus showing the transformation of society from past to present. Could this car be the answer to Romanias social changes?
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RETORNO AL PAS DE LAS ALMAS / RETURN TO THE LAND OF SOULS JORDI ESTEVA Betacam / 70 / 2009 / Espaa, Costa de Marfil / Spain, Cte dIvoire V. O. FRANCS, DIALECTOS AFRICANOS LOCALES / FRENCH, LOCAL AFRICAN DIALECTS. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
TRAGOVI
GUILLERMO CARRERAS-CANDI Betacam / 97 / 2009 / Espaa / Spain V. O. BOSNIO, SERBIO, CROATA, INGLS / BOSNIAN, SERBIAN, CROATIAN, ENGLISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Entrado el siglo xxi, muchas creencias ancestrales luchan por sobrevivir en un mundo hostil y cambiante. En el sureste de Costa de Marfil algunas comunidades continan manteniendo contacto con los espritus, a travs de los komin o sacerdotes animistas que, en estado de trance, son posedos por los genios del bosque y del agua. Yo Douley emprender un viaje en el que asistir a los rituales de iniciacin de tres elegidos por los espritus del bosque y a la entronizacin de uno de ellos como gran sacerdote animista. As they enter the 21st century, many ancient beliefs are struggling for survival in a hostile and changing world. In southeast Ivory Coast, some communities still keep contact with the spirits through the komian, or animist priests, who go into a trance and are possessed by the spirits of the forest and water. Yo Douley undertakes a journey in which he will attend the initiation rites for three people chosen by the forest, and the throning of one of them as the great animist priest. Estreno mundial / World Premiere
DIRECCIN, GUIN / DIRECTION, SCRIPT Jordi Esteva PRODUCCIN / PRODUCTION Jordi Esteva (Siwa Productions) FOTOGRAFA / CINEMATOGRAPHY Jordi Esteva, Albert Serrad, Jordi Vendrell MONTAJE / EDITING Jordi Esteva, Albert Serrad SONIDO / SOUND Jordi Tresserras LOCUCIN / VOICEYo Douley SIWA PRODUCTIONS La Vila, 31, Foixa. 17132 Girona, Espaa. Tel. +34 666 480 484. siwa1@mac.com CINE PALAFOX Sala 2 / Theater 2 Viernes 7, 19:30 h, y lunes 10, 17:00 h / Friday 7th, 7:30 pm, and Monday 10th 5:00 pm
En una tierra que se reconstruye a duras penas entre los rastros de un trgico pasado, los jvenes intentan vivir su presente ms all de la desesperanza que parece acechar tras cada esquina. In a land struggling to rebuild itself from the traces left of its tragic past, the young people try to live in the present, beyond the hopelessness that seems to lurk around every corner.
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VIATJANTS
VIAJANTES / TRAVELLERS RAQUEL CORS MUNT Betacam / 51 / 2009 / Espaa / Spain V. O. CATALN, ESPAOL / CATALAN, SPANISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Muerte de un viajante es la prxima obra que va a dirigir Mario Gas Esta fue la noticia que dio comienzo a este viaje, que transcurre entre las primeras lecturas del texto, en una sala de ensayos del Teatre Lliure, y su estreno. Un recorrido que nos permitir ser espectadores privilegiados del proceso de creacin de una obra de teatro, con todo lo que eso conlleva: ilusin, dificultades, fantasa, contradicciones y, por supuesto, algo de locura, la necesaria para que Willy, Linda, Biff, Happy cobren vida. Death of a Traveler is the next play to be directed by Mario Gas This is the announcement that starts off this journey. From the first readings of the text in a rehearsal space in the Lliure Theater, through to its premiere. A trip that will make us priveledged spectators to the process of creating a play, and everything that goes along with it: hopes, difficulties, fantasies, contradictions and, of course, a bit of craziness, just enough to bring Willy Linda, Biff, Happy to life.
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Todo personaje en un documental debe ser consciente de que est siendo filmado, dar su consentimiento, saber de qu trata el proyecto; debera poder dar sus opiniones y sugerencias sobre este proyecto y tener acceso al visionado del trabajo terminado. Everyone who appears as a character in a documentary film must be aware they are being filmed, to give their agreement, to know what the project is about and should be able to offer their opinions and suggestions about the project and to have access to viewing the finished work. Jill Daniels
GUILLERMO CARRERAS-CANDI tragovi Nacido en Barcelona en 1979, tras estudiar Historia en la Universitat de Barcelona se gradu en Sonido por la ESCAC (Escola Superior de Cinema i Audiovisuals de Catalunya) en 2006. Particip en el programa Portraits, de Montreal, donde realiza el retrato documental Snagga Shee, una coproduccin entre la ESCAC y la INIS (Institut National de lImage et du Son). Debido a su experiencia personal y sus estrechos vnculos con la ex-Yugoslavia, en 2006 se fue a vivir a Sarajevo, donde comenz a desarrollar el proyecto Tragovi. Actualmente es codirector de la joven productora catalana Centset y director de contenidos audiovisuales del portal de msica playgroundmag.net.
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Guillermo Carreras-Candi was born in Barcelona in 1979. After studying History at the University of Barcelona he graduated in Sound from the ESCAC (Superior School of Film and Audiovisuals of Catalonia) in 2006. He participated in the Portraits program of Montreal, where he did the documentary portrait Snagga Shee, a co-production between ESCAC and the INIS (National Institute of Sound and Image). Because of his personal experience and close ties to the former Yugoslavia, in 2006 he went to live in Sarajevo where he started development on the Tragovi project. He is currently co-director of the young production company in Catalonia Centset and director of audiovisual content for the music website playground.net. FILMOGRAFA FILMOGRAPHY Snagga Shee (2007). COLECTIVO AUDIOVISUAL LOS HIJOS circo En 2008, Javier Fernndez (1980), Luis Lpez Carrasco (1981) y Natalia Marn (1982) fundan el colectivo artstico Los Hijos. Su trabajo, que alterna el registro documental con la experimentacin formal, se ubica en el terreno fronterizo en que se dan cita el cine de vanguardia, la investigacin etnogrfica y el videoarte. Con su primera obra, El sol en el sol del membrillo, compitieron en la seccin oficial de la pasada edicin del Festival Internacional de Documentales de Madrid (Documenta Madrid). El recorrido de dicho cortometraje contina en otros festivales, as como en galeras de arte como La Fbrica de Barcelona. Su primer largometraje, Los materiales, gan el Premio Jean Vigo a la Mejor Direccin en el Festival Internacional Punto de Vista de Navarra 2010.
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In 2008, Javier Fernndez (1980), Luis Lpez Carrasco (1981), and Natalia Marn (1982) founded the artistic collective Los Hijos. Their work, which alternates between documentary film and formal experimentation, lies somewhere on the border area of where avant garde film, ethnographic research and video art meet. Their first work El
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Julio Soto naci en Espaa y se traslad a Nueva York en 1998, donde trabaj en la realizacin de vdeos publicitarios y musicales para conocidos artistas como Common, Macy Gray y The Roots, que le valieron una nominacin para los MTV Awards en 2001. En su faceta de cineasta en el mbito del documental, sus trabajos como director y productor se han emitido en canales como National Geographic Channel, TVE Espaa, Channel 4 Reino Unido, MDR Alemania, SVT Suecia, History Channel, Aljazeera y Plante, entre otros. Radiophobia, una conmovedora mirada al desastre de Chernbil, recibi apoyo del ICAA y fue presentado en ms de una treintena de prestigiosos festivales, como el Full Frame Film Festival de 2007 y los Hollywood Awards de 2006. Asimismo, la pelcula ha recibido los premios al Mejor Documental en el 9th Brooklyn International Film Festival de Nueva York, en el XXIII Festival de Cine de Bogot, en el ECU Europeo de Cine Independiente de Pars, en el Festival Internacional de Cine de Castilla-La Mancha y en el GFFS de Sel, adems de recibir en 2006 el Premio del Pblico en Documenta Madrid y el del Festival Internacional Punto de Vista de Pamplona. Destaca, tambin, por haber recibido una beca de la prestigiosa New York Foundation for the Arts, adems de otros premios cinematogrficos en el Toronto Latin Film Festival de 2005, el Rio de Janeiro VideoArt Festival de 2005, el Brooklyn International Film Festival de 2002, el NAP Video Bienal Pasadena y el Media Arts Festival de Japn de 2003. Sus instalaciones han sido exhibidas en instituciones como el Instituto Cervantes de Nueva York, PhotoEspaa PhE 2005, el Museo de Arte de Queens, el Museo de Arte de Brooklyn, en Nueva York, los Museos de Arte Contemporneo de Chicago, Ro de Janeiro y Bucarest y el Instituto de Arte Contemporneo de Londres. Tras vivir ms de ocho aos en Nueva York y cinco en Suecia, actualmente reside en Espaa. Born in Bucarest in 1968, Stefan Constantinescu is a visual artist and film director. This year he is representing Romania at the Venice Biennale along with Andrea Faciu and Ciprian Muresan with the films Passagen and Troleibuzul 92. He is currently working on the fiction film Seven Steps to Paradise. Stefan Constatinescu lives and works in Stockholm and Bucharest. Julio Soto was born in Spain and moved to New York in 1998, where he worked in advertising and on music videos for such well known artists as Common, Macy Gray and
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Born in Barcelona in 1985. From 2004 to 2007 he did advanced film studies at the CECC (Center for Film Studies of Catalonia). Since 2007 he has been studying Psychology at the University of Barcelona. In 2009 he won the best documentary film award from the International Festival Filmets of Badalona for his medium-length film Dia dagost. FILMOGRAFA FILMOGRAPHY Cisco (en desarrollo / in development); Making of de la pelcula El alma de la Roja, de Santiago Zannou (2009); Making of de la pelcula El truco del manco, de Santiago Zannou (2008); Dia dagost (2008). CHUS DOMNGUEZ museo Nacido en Len en 1967, es un artista visual que utiliza el vdeo y el cine como herramientas y el documental como lenguaje. Trabaja con elementos provenientes directamente de la realidad para construir a partir de ellos narrativas que se encuentran entre lo experimental y lo potico. Sus videocreaciones y piezas cinematogrficas han recorrido numerosos festivales internacionales. Imparte diversos talleres sobre creacin audiovisual. Desde
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Born in Las Palmas de Gran Canaria in 1965. He majored in Information Sciences from the Complutense University and is currently studying Social and Cultural Anthropology at the UNED. He also estudied Video Editing and Post-production studies at the Center for Audiovisual Media at the Complutense University. After finishing his university studies, he got a grant from the Canarian Government to do post graduate studies in Cinematography at IFTWS, Maine, USA. In 1993 he moved to Luxembourg, where he worked as a broadcast supervisor for the theme-based channels of Canal Satlite. Upon returning to Spain in 1996, he started working as a director for Canal+. In 2000 he did a Documentary Film Directing course at EICTV of San Antonio de los Baos. He is currently complimenting his work as a television director with teaching at the Antonio de Nebrija University of Madrid, and with independent production work at Conspiradores Producciones Audiovisuales. FILMOGRAFA FILMOGRAPHY Rafah, frontera de Gaza (2010), El regreso (2009), La Habana escrita (2001), Habana particular (2000), frica (1993), A Story (1992). SEBASTIN MARTNEZ PIEIRO centro Nacido en Buenos Aires, Argentina, en 1967, realiz estudios en la Fundacin Universidad del Cine entre 1992 y 1994. En 2000-2001 obtuvo una Licence en tudes Cinmatographiques et Audiovisuelles en la Universit Paris 8, Francia. En 2002 curs el Mster en Documental de Creacin en la Universidad Pompeu Fabra de Barcelona. Particip de seminarios y talleres de cine documental dictados por Patricio Guzmn y Claire Simon. Trabaja en la industria cinematogrfica argentina desde 1994.
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A writer and photographer, he is passionate about Asian and African cultures, a subject to which he has devoted most of his journalism and photography career. Editor in chief and art director of the magazine Ajoblanco between 1987 and summer of 1993. He lived in Egypt for five years working at Radio Cairo International. He studied everyday life in the desert, a job he tells about in the book Los oasis de Egipto (Ed. Lunwerg, 1995). In 1998 the book Mil y una voces (El Pas-Aguilar, 1998; Crculo de Lectores, 1999) was published, which included conversations with sixteen artists and intellectuals from both sides of the Mediterranean about Arabic societies facing the challenge of modernity. One of his most notable books is Viaje al pas de las almas (Pre-Textos, 1999), a close up look at the world of African animism, in which he documents initiation rites and the phenonomenon of possession. In 2006 Los rabes del mar (Pennsula-Altair) came out, which tells about the search for old sailors on the coasts of Arabia, who travel from port to port on the Indian
Born in Buenos Aires, Argentina in 1967, he did his studies between 1992 and 1994 at the Fundacin Universidad del Cine. In 2000/2001 he majored in Film and Audiovisual Studies from the Universit Paris 8, France. In 2002 he did a Masters in Original Documentary Filmmaking at the Pompeu Fabra University of Barcelona. He participated in seminars and workshops on documentary film led by Patricio Guzmn and Claire Simon. He has been working in the film industry of Argentina since 1994.
Photographer and director, he has been combining his professional work with his own art work since 1983. He has shown in different countries in Europe and the United States. He has collaborated as director of photography or director on more than 140 documentary programs for television. In 2003 he started collaborating with the artist Miquel Barcel, which resulted in the first documentary Mar de Fang, codirected with Luis Ortas. His most recent documentary, El mar de Barcel, reflects the creative and technical complexity of one of the greatest paintings in contemporary art. FILMOGRAFA FILMOGRAPHY Art, una altra mirada (2009), Balears des de laire (serie de TV / TV series,2005-2006), Mar de Fang (codirigido con / co-directed with Luis Ortas, 2005), Quatre Estacions a Mallorca (codirigido / co-directed, 2005). SRGE TRFAUT la ciudad de los muertos Nacido en Brasil en 1965, vive en Lisboa desde 1977. Tras cursar un Mster de Filosofa en la Universidad de La Sorbona (Pars), comenz su carrera como periodista en Lisboa. Consagrado al cine desde su primer trabajo como ayudante de direccin en 1989, compatibiliza las funciones de director y productor. Actualmente dirige el Festival Internacional de Cine Documental DocLisboa.
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Born in Brazil in 1965, he has been living in Lisbon since 1977. After getting a Master of Philosophy from the University of the Sorbonne (Paris), he started his career as a journalist in Lisbon. Since his first job as an assistant director in 1989, he has dedicated himself to film as a director and producer. He currently directs the International Documentary Film Festival DocLisboa. FILMOGRAFA FILMOGRAPHY Lisboners (2004), New Lisboners (2003), Fleurette (2002), Another country (1999), Alcibades (1992). GUSTAVO VIZOSO RODRGUEZ el ltimo trovador Realizador y productor independiente que autogestiona sus pelculas. Su primer documental, Hermanos Mseya, seleccionado por ocho festivales de todo el mundo, era una pelcula de veintisiete minutos sobre una familia de hurfanos que viven por su cuenta en Tanzania. El ltimo trovador es su segundo documental. Actualmente trabaja en su tercer proyecto, El
aDDiCteD in aFGHanistan
ADICTOS EN AFGANISTN JAWED TAIMAN Betacam / 78 / 2009 / Afganistn, Pases Bajos, Reino Unido / Afghanistan, The Netherlands, UK V. O. DAR, PERSA, PASHTO / DARI, FARSI, PASHTO. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
ameriCan GreyHounDs
AUTOBUSES AMERICANOS MARIO ARANGUREN, HCTOR MUNIENTE Betacam / 78 / 2009 / Espaa / Spain V. O. INGLS, ESPAOL / ENGLISH, SPANISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Se estima que un milln de afganos son adictos a las drogas, especialmente a la herona. Alarmantemente, el 40% de ellos son mujeres y nios. Este trabajo ofrece una mirada ntima a la desgarradora realidad que hay detrs del titular, desde la perspectiva de Jabar y Zahir, dos drogadictos de quince aos que viven en Kabul. One million Afghans are estimated to be addicted to drugs, especially heroin. Alarmingly, 40% of these are women and children. This is an intimate observational work that explores the heartbreaking reality behind the headlines as seen through the eyes of Jabar and Zahir, two 15 year old drug addicts living in Kabul.
Mejor Director de Documental / Best Director of Documentary, Asian First Film Festival (Repblica de Singapur / Singapore, 2009)
En Estados Unidos, solo la clase ms desfavorecida se ve obligada a utilizar el autobs como medio de transporte. Sus pasajeros viajan con la esperanza de mejorar su situacin laboral o social. Al mismo tiempo el propio pas se halla inmerso en un viaje histrico: el comenzado en las elecciones presidenciales de 2008 que dieron como vencedor a Barack Obama. En su figura estn depositadas las esperanzas y los sueos de los pasajeros de estos autobuses. In the United States, only the lowest income classes are forced to use the bus as a means of transportation. Passengers travel in the hope their work or social situation will improve. At the same time, the country itself has embarked on a historic journey: the beginning of the 2008 presidential elections won by Barack Obama. The passengers of these busses have pinned their hopes and dreams onto him.
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EN CASA CON EL JEDI R. F. SIMPSON Betacam / 10 / 2009 / Reino Unido / UK V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
Be Water, my FrienD
S AGUA, AMIGO MO ANTONIO MARTINO Betacam / 14 / 2009 / Italia, Uzbekistn / Italy, Uzbekistan V. O. ITALIANO, KARAKALPAKO / ITALIAN, KARAKALPAK. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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En algn lugar de una lejana galaxia (bueno, Gales en realidad), dos hermanos han establecido un sistema de creencias basado en La guerra de las galaxias que, segn aseguran, tiene 3.000 adeptos. Las aspiraciones galcticas de Daniel y Brandon contrastan de forma radical con el entorno del pueblecito en el que viven. Mientras Daniel se deleita con la atencin meditica, las burlas han obligado a Brandon a dimitir del Alto Consejo. Un retrato domstico que nos permite conocer a los fundadores de la religin ms nueva del Reino Unido y a una familia extraordinaria cuyas esperanzas de salvacin se extienden ms all del mundo que conocemos On the edge of a galaxy far, far away (well Wales, actually) two brothers have established a Star Wars-based belief system that claims 3,000 followers. Daniel and Brandons galactic aspirations are in stark contrast to their small-town surroundings. And while Daniel revels in the media attention, local ridicule has forced Brandon to step down from the High Council. A domestic portrait that meets the founders of the UKs newest religion and reveals an extraordinary family whose hopes of salvation extend far beyond the world as we know it Estreno en Espaa / Premiere in Spain
DIRECCIN, FOTOGRAFA, SONIDO / DIRECTION, CINEMATOGRAPHY, SOUND R. F. Simpson PRODUCCIN / PRODUCTION Sarah Tierney (Clarity Productions) MONTAJE / EDITING Richard Crawford MSICA / MUSIC Rob J. Madin CLARITY PRODUCTIONS 57-59 Woodside Terrace Lane. G3 7YW Glasgow, Reino Unido. Tel. +44 1 413 326 400. info@producingclarity.com CINES PRINCESA Salas 7 y 9 / Theaters 7 and 9 Domingo 9, 22:00 h, y mircoles 12, 17:00 h / Sunday 9th, 10:00 pm, and Wednesday 12th, 5:00 pm
Lo que es hoy, no es lo que era ayer ni lo que ser maana. Esta frase resume la desesperacin y la resignacin de los antiguos pescadores de Muynaq, una pequea ciudad situada en la costa del mar de Aral. La ahora ciudad fantasma y sus habitantes son vctimas de un imparable desastre medioambiental desde hace dcadas. What is today, is not what it was yesterday nor what it will be tomorrow. In this sentence the despair and the resignation of the ex fishermen of Muynaq, a little city on the coast of the Aral Sea. The city, practically a ghost town by now, and its inhabitants are the victims of an unstoppable environmental disaster that has been going on for decades.
Mejor Cortometraje / Best Short Film, InGiardino Short Film Contest, Biella (Italia / Italy, 2009) Mejor Documental / Best Documentary, Clorofilla Film Festival, Grosseto (Italia / Italy, 2009) Premio del Pblico / Audience Award Cantine Pellegrino, Festival SiciliAmbiente, San Vito Lo Capo (Italia / Italy, 2009)
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BuDrus
JULIA BACHA BTC Digital PAL / 78 / 2009 / Palestina, Israel, Estados Unidos / Palestina, Israel, USA V. O. RABE, HEBREO, INGLS / ARABIC, HEBREW, ENGLISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
CorumBiara
CORUMBIARA THEY SHOOT INDIANS, DONT THEY? VINCENT CARELLI Betacam / 117 / 2009 / Brasil / Brazil V. O. PORTUGUS / PORTUGUESE. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Un lder palestino une a Fatah, Hamas y a israeles en un movimiento sin armas para salvar a su pueblo de la destruccin. El xito les es esquivo hasta que su hija de 15 aos entra en accin. A Palestinian leader unites Fatah, Hamas and Israelis in an unarmed movement to save his village from destruction. Success eludes them until his 15-year-old daughter jumps into the fray.
En 1985, el indigenista Marcelo Santos se propuso denunciar una masacre de indios en la Gleba Corumbiara (Rondnia), con Vincent Carelli a cargo de filmar las pocas pruebas que quedaban. Marcelo y su equipo tardaron aos en encontrar a los supervivientes. Dos dcadas despus, el relato de esa bsqueda y la versin india de los hechos. In 1985, the indigenist Marcelo Santos set out to denounce a massacre of Indians in Corumbiara Gleba (RO), with Vincent Carelli filming what little remained of the evidence. Marcelo and his team take years to find the survivors. Two decades later come the depiction of that search and the Indians version of what happened.
Mencin de Honor / Honourable Mention, Its All True International Documentary Film Festival, So Paulo (Brasil / Brazil, 2009)
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CountrysiDe 35 45
CAMPO 35 45 / GLUBINKA 35 45 EVGENY SOLOMIN Betacam / 43 / 2009 / Rusia / Russia V. O. RUSO / RUSSIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
BETWEEN LA GLORIA AND HELL / LA GRIPPE DU LAISSEZ-FAIRE ARTHUR RIFFLET Betacam / 26 / 2009 / Francia / France V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Rusia, no hace mucho. En todo el pas, los viejos pasaportes soviticos se cambian por los rusos. Un fotgrafo de provincias va de un pueblo siberiano a otro tomando fotos de pasaporte de 35 45 mm... Russia. Not long ago. Throughout the country, old Soviet passports are being exchanged for the new Russian ones. A provincial photographer travels from one Siberian village to another taking 35 45 mm passport photos of the villagers...
Gran Premio / Grand Prize, Open Documentary Film Festival, Yekaterinburg (Rusia / Russia, 2009) Mejor Documental en 35 mm, Mejor Pelcula Artstica / Best Documentary Shooted on 35mm, Best Art Film, Premios Nacionales de Documental Lavrovaya Vetv / National Awards for Documentary Films Lavrovaya Vetv (Rusia / Russia, 2009) Mejor Documental / Best Documentary, Potenza International Film Festival (Italia / Italy, 2009)
En mayo de 2009, en la comunidad de La Gloria, en el estado de Veracruz, se diagnostic el primer caso de gripe porcina. Mientras toda la atencin poltica y meditica se centraba en este paciente cero, los habitantes del valle de Perote denunciaban la contaminacin del medio ambiente y los problemas de salud provocados por las granjas porcinas Carroll. Despus de aos de procesos penales tras ser demandados por difamacin por la empresa, los habitantes de la regin siguen luchando contra la corrupcin de las autoridades y el derecho a un ambiente sano. In May 2009, the first case of swine flu was diagnosed in the community of La Gloria in the state of Veracruz. While all the political and media attention was focused on this patient zero, the inhabitants of the Perote Valley were denouncing the pollution of the environment and the health problems caused by the Carroll pig farms. After years of criminal trials in which they were sued by the company for defamation, the inhabitants of the region continue fighting against the corruption of the authorities and for the right to healthy surroundings. Estreno internacional / International Premiere
DIRECCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, SCRIPT, CINEMATOGRAPHY, EDITING Arthur Rifflet PRODUCCIN / PRODUCTION Jonathan Cadiot (Mille Plateaux Productions) SONIDO / SOUND Kai Kraatz MILLE PLATEAUx PRODUCTIONS 107 rue de la Runion. 75020 Pars, Francia. Tel. +33 6 797 097. jcadiot@milleplateauxproductions.com CINES PRINCESA Sala 9 / Theater 9 Viernes 7, 19:30 h / Friday 7th, 7:30 pm CINE ESTUDIO CRCULO DE BELLAS ARTES Lunes 10, 22:00 h / Monday 10th, 10:00 pm
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Forest oF CroCoDiles
SELVA DE COCODRILOS MARK AITKEN Betacam / 52 / 2009 / Reino Unido / UK V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
QU VERDE ERA NUESTRO VALLE / CHE SAR SABZ BOOD DAREH MA FERESHTEH JOGHATAEI Betacam / 32 / 2009 / Irn / Iran V. O. PERSA / FARSI. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Qu decisiones toman los blancos de Sudfrica a la hora de enfrentarse a su miedo a la delincuencia, a la violencia y a los negros? Algunos disponen de recursos y otros de una imaginacin desbordante. Las consecuencias son la regresin y el aislamiento o la libertad del miedo. Como los cocodrilos, estas personas han ido evolucionando segn sus propias leyes. What choices do white South Africans make when addressing their fears of crime, violence and black people? Some are well resourced while others are ingeniously resourceful. The consequences are regression and isolation or freedom from fear. Like crocodiles, these people have been left to evolve according to their own laws.
El nivel del agua sigue subiendo y 63 pueblos situados en la lnea de un verde valle quedarn anegados. Los habitantes, que deben abandonar sus hogares, esperan un milagro del santuario de uno de los municipios. The water is rising and 63 villages in a green valley will be flooded and their residents must leave. There is a holy shrine in one of the villages and people are waiting for a miracle from the holy shrine.
Mejor Documental / Best Documentary, International Fajr Film Festival (Irn / Iran, 2009) Mejor Director / Best Director, Tehran International Short Film Festival (Irn / Iran, 2009) Mejor Fotografa / Best Cinematography, Asa International Film Festival (Irn / Iran, 2009)
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JAFFA, EL MECANISMO DE LA NARANJA / EYAL SIVAN Betacam / 88 / 2009 / Blgica, Francia, Israel / Belgium, France, Israel V. O. HEBREO, RABE, FRANCS, INGLS / HEBREW, ARABIC, FRENCH, ENGLISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
la tarea
THE HOMEWORK MILAGRO FARFN Betacam / 27 / 2009 / Cuba, Per V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Historia de los famosos ctricos procedentes de Palestina, conocidos mundialmente durante siglos como naranjas Jaffa. La historia de la marca Jaffa es la historia de esta tierra. En un anlisis sobre la representacin visual de esta marca, Sivan reflexiona acerca de las fantasas occidentales sobre Oriente, la Tierra Santa y el Estado de Israel. Describe la codicia colonial, los procesos de destruccin, nacionalizacin y rechazo, y desvela la historia de lo que una vez fue un smbolo y una industria comunes para rabes y judos en Palestina. The history of the famous citrus fruit originating from Palestine and known worldwide for centuries as Jaffa oranges. The history of the Jaffa brand is the history of this land. In his analysis of the visual representation of this brand, Sivan reflects on Western fantasies of the Orient, the Holy land and the state of Israel. It describes the colonial covetousness, the processes of obliteration, nationalization and repudiation, and unveils the story of what was once both a common symbol and a common industry to Arabs and Jews in Palestine. Estreno en Espaa / Premiere in Spain
DIRECCIN GUIN / DIRECTION, SCRIPT Eyal Sivan PRODUCCIN / PRODUCTION Osnat Trabelsi (Trabelsi Productions Ltd.) FOTOGRAFA / CINEMATOGRAPHY David Zarif, Vincent Fooy, Rmi Lain, Shafir Sarusi MONTAJE / EDITING Audrey Maurion SONIDO / SOUND Oren Raviv, Jean-Jacques Quinet, Asher Saraga TRABELSI PRODUCTIONS LTD. 12 Tiomkin St. 65783 Tel Aviv, Israel. Tel. +97 235 660 398. contact@trabelsiproductions.com CINES PRINCESA Salas 7 y 9 / Theaters 7 and 9 Sbado 8, 17:00 h, y martes 11, 19:30 h / Saturday 8th, 5:00 pm, and Tuesday 11th, 7:30 pm
Una nia de 8 aos debe escribir para la escuela un cuento sobre su familia. En el proceso, la pequea redescubre su ncleo familiar: pap, mam y la novia de mam. Poco a poco, comienza a entender que su familia no es como las otras. Ella ama a su madre y quiere mucho a la compaera de esta, y aunque entiende que su familia es distinta, no quiere ser vista como alguien diferente. An eight-year-old girl must write a story about her family for school. In doing so, the child rediscovers her immediate family: daddy, mommy and mommys girlfriend. Little by little she starts understanding that her family is not like other families are. She loves her mother and loves her mothers partner a lot, and even though she understands her family is different, she does not want to be seen as someone different.
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no BatHinG
PROHIBIDO BAARSE / BAIGNADES INTERDITES CCILE RAVEL Betacam / 22 / 2009 / Francia / France V. O. FRANCS / FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
OIL ROCKS: CIUDAD SOBRE EL MAR / CIT DU PETROLE MARC WOLFENSBERGER Betacam / 52 / 2009 / Suiza / Switzerland V. O. AZER, RUSO / AZERBAIJANI, RUSSIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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En marzo de 2009, el ayuntamiento de Nevers decidi cerrar la piscina descubierta de La Jonction, situada entre la orilla del ro Loira y la del canal de Nivernais. Dicha decisin se tom sin consultar a los consejos asesores establecidos despus de las elecciones municipales de 2008 (el Consejo del Distrito, el Consejo de la Tercera Edad y el Consejo de Desarrollo Sostenible). Esta es la historia de un lugar y de una instalacin pblica situada fuera de pista. In March 2009, the Nevers City Council decided to close down the open air swimming pool of La Jonction, located in between the bank of the Loire river and that of the Nivernais region canal. That decision was made without notifying the advisory committees set up after the 2008 town elections (the District Committee, the Senior Citizens Advisory Committee and the Committee for Sustained Development). This is the story of a place and of a public facility located at an outlanding site.
Tras el enigmtico nombre yace la primera y mayor plataforma petrolera mar adentro jams construida, una vasta ciudad en medio del mar Caspio levantada por Stalin en 1949. Sesenta aos despus, Oil Rocks sigue operativa y por primera vez se permite el acceso a un equipo occidental de rodaje. Imagnense: 300 kilmetros de puentes, miles de trabajadores, cientos de plataformas, edificios de hasta nueve pisos, un parque y una cancha deportiva. Una autntica Atlntida petrolfera, solo que real. Imgenes de archivo de la era sovitica y nuevo material exclusivo se combinan para relatar la historia de un lugar atemporal y sus habitantes. Behind the enigmatic name lies the first and largest offshore oil-platform ever built, a vast city in the middle of the Caspian Sea, built by Stalin in 1949. 60 years on, Oil Rocks is still operational and the first Western film crew ever receives access. Just imagine: 300 kilometres of bridges, thousands of oil workers, hundreds of platforms, up to nine-storey buildings, a park and sports field, nothing less then an oil-rig Atlantis, only real. Combining archive footage from the Soviet era and the exclusive new footage, this is the story of this timeless place and its inhabitants. Estreno en Espaa / Premiere in Spain
DIRECCIN, GUIN, FOTOGRAFA / DIRECTION, SCRIPT, CINEMATOGRAPHY Marc Wolfensberger PRODUCCIN / PRODUCTION Isabelle Gattiker MONTAJE / EDITING Patrick Lger, Peter Entell SONIDO, MSICA / SOUND, MUSIC Igor Cubrilovic AUTLOOK FILMSALES Trappelgasse 4/17. A-1040 Viena, Austria. Tel. +43 720 346 934. youn@autlookfilms.com CINES PRINCESA Salas 7 y 9 / Theaters 7 and 9 Lunes 10, 22:00 h, y martes 11, 17:00 h / Monday 10th, 10:00 pm, and Tuesday 11th, 5:00 pm
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p-star risinG
P-STAR: JOVEN PROMESA GABRIEL NOBLE Betacam / 84 / 2009 / Estados Unidos / USA V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
presunto CulpaBle
PRESUMED GUILTY ROBERTO HERNNDEZ, GEOFFREY SMITH Betacam / 86 / 2009 / Mxico / Mexico V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Cuando Jesse descubre que su hija pequea sabe rapear y bailar, ve en ello una forma de redencin de su truncada carrera musical y la salvacin econmica para su familia, y dedica su vida a convertirla en una estrella. Acompaamos a padre e hija por el glamuroso mundo de la industria musical, capturando la lucha diaria de un padre que cra solo a sus dos hijas, y los sacrificios de una nia por hacer que su padre se sienta orgulloso. When Jesse discovers that his youngest daughter, Priscilla, can rap and perform, he sees redemption for his own failed music career and financial salvation for his family and commits his life to making her a star. We follow the father-daughter duo through the grit and glamour of the music industry, capturing the daily struggles of a single parent raising his two children alone, and the sacrifices a child makes in order to make her daddy proud.
Mejor Documental / Best Documentary, Heartland Film Festival (Estados Unidos / USA, 2009)
En diciembre de 2005, Too rog a Dios: Mtame o mteme en la crcel. Das despus es detenido y conducido a prisin. Sin pruebas, un juez lo condena a veinte aos de prisin por el homicidio de un hombre al que nunca conoci. Too luch durante dos aos por recuperar su libertad y dos abogados documentaron las contradicciones de un sistema judicial en el que, de entrada, todos somos culpables y es casi imposible demostrar lo contrario. In December 2005, Too begged God: Kill me or put me in jail. Days later, he was arrested and taken to prison. Lacking evidence, the judge sentenced him to twenty years for killing a man he never even met. Too fought for two years to win back his freedom and two lawyers documented the contradictions of a judicial system in which, from the outset, we are all presumed guilty and it is almost impossible to prove otherwise
Mejor Documental / Best Documentary, Festival Internacional de Cine de Morelia (Mxico / Mexico, 2009)
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reZaGaDos
OUTCASTS YERKO RAVLIC ELAL Betacam / 25 / 2009 / Chile V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
tHe CoVe
LA CALA LOUIE PSIHOYOS 35 mm / 92 / 2009 / Estados Unidos / USA V. O. INGLS, JAPONS / ENGLISH, JAPANESE. SUBT. ESPAOL / SPANISH
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A unos pasos de la plaza Echaurren de la ciudad de Valparaso, Chile, se encuentra el Ejrcito de Salvacin, una institucin encargada de mitigar las necesidades de las personas indigentes que acuden a ella. El capitn Jorge Aicn es increpado por un indigente, quien dice ser expulsado de este lugar cada vez que no tiene dinero. Just steps away from Echaurren square in the city of Valparaso, Chile, there is the Ejrcito de Salvacin (The Salvation Army), an institution in charge of meeting the needs of the destitute people who go there. The head, Jorge Aicn, is reprimanded by a destitute man who says he is thrown out of that place every time he runs out of money.
Un grupo de activistas, liderados por un entrenador de delfines, tratan de infiltrarse en una comunidad prxima a Taiji (Japn) que se dedica a la caza del delfn para su explotacin. A group of activists led by a dolphin trainer, tries to infiltrate a community near Taiji (Japan) where dolphins are hunted for profit.
Oscar al Mejor Largometraje Documental / Best Documentary Feature Film, Academy Awards (EE UU / USA, 2010) Mejor Documental, Premio del Pblico / Best Documentary, Audience Award, Sundance Film Festival (EE UU / USA, 2009) Premio del Pblico / Audience Award, Sydney Film Festival (Australia, 2009) Premio del Pblico / Audience Award, Amsterdam International Documentary Film Festival (Pases Bajos / The Netherlands, 2009) Premio del Pblico / Audience Award, Hot Docs Canadian International Documentary Festival (Canad / Canada, 2009)
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tHe most DanGerous man in ameriCa: Daniel ellsBerG anD tHe pentaGon papers
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EL HOMBRE MS PELIGROSO DE ESTADOS UNIDOS: DANIEL ELLSBERG Y LOS DOCUMENTOS DEL PENTGONO JUDITH EHRLICH, RICK GOLDSMITH Betacam / 94 / 2009 / Estados Unidos / USA V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
En 1971, Daniel Ellsberg, estratega de la guerra de Vietnam, concluye que esta se basa en dcadas de mentiras. Filtra 7.000 pginas de documentos de alto secreto a The New York Times, un acto de conciencia que desembocara en el Watergate, la dimisin de Nixon y el fin de la guerra. In 1971, Daniel Ellsberg, a leading Vietnam War strategist, concludes the war is based on decades of lies. He leaks 7,000 pages of top-secret documents to The New York Times, a daring act of conscience that leads directly to Watergate, Nixons resignation and the end of the war.
Nominado al Oscar al Mejor Largometraje Documental / Nominated for the Oscar for Best Documentary Feature Film (Estados Unidos / USA, 2010) Mejor Documental, Premio del Pblico / Best Documentary, Audience Award, Palm Springs International Film Festival (Estados Unidos / USA, 2010) Premio Especial del Jurado / Special Jury Award, Amsterdam International Documentary Film Festival (Pases Bajos / The Netherlands, 2009)
Dado que Irn es un pas religioso y tradicional, la eleccin del cnyuge se suele llevar a cabo de manera tradicional. Pero a algunos les gustara elegir a su consorte de una manera menos clsica y ms acorde con las costumbres modernas, lo cual contrasta con las tradiciones iranes. Since Iran is a religious and traditional country, choosing a spouse is usually done the traditional way. But some people would like to choose their spouse in a less traditional manner and more in line with todays customs, which is in contrast with the traditional Iranian customs.
Mejor Pelcula / Best Film, International Documentary Film Festival (Irn / Iran, 2009)
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CUL ES EL CAMINO A CASA? REBECCA CAMMISA Betacam / 83 / 2009 / Estados Unidos / USA V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Los fareros son una especie en extincin en todo el mundo, ya que los sistemas automticos estn convirtiendo su trabajo en algo obsoleto. La de skar, el ltimo farero de Islandia, es la extraordinaria historia de un ermitao que ha pasado toda su vida en el faro de Storhfdi, la estacin meteorolgica ms expuesta al viento de toda Islandia, adems de establecer un rcord mundial en anillado de aves. Lighthouse keepers are a dying breed all over the world, as automated equipment has been making their job obsolete. The story of skar Icelands last lighthouse keeper , is the unique story of a recluse who has spent his entire life in Storhfdi-Lighthouse, the windiest weather station in Iceland, in addition to setting a world record in bird tagging.
Olga y Freddy, de 9 aos, intentan reunirse con sus padres en Estados Unidos. Kevin, un joven de 14 aos, pretende alcanzar el pas de las oportunidades y enviar dinero a su madre. De quienes, como ellos, atraviesan Mxico en solitario con la intencin de superar la frontera raramente omos hablar: son los invisibles. The nine-year-old children Olga and Freddy are trying to rejoin their parents in the USA. Kevin, a young fourteen-year-old is trying to reach the land of opportunity and send money to his mother. We rarely hear about, the children who cross Mexico alone as they attempt to cross the border: the invisible ones.
Nominado al Oscar al Mejor Largometraje Documental / Nominated for the Oscar for Best Documentary Feature Film (Estados Unidos / USA, 2010) Premio Especial del Jurado por los Derechos Humanos / Special Jury Prize for Human Rights, Traverse City Film Festival, Michigan (Estados Unidos / USA, 2009) Premio UNICEF de Documental / UNICEF Award for Documentary Film, Festival Internacional de Cine de La Habana (Cuba, 2009)
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MARK AITKEN forest of crocodiles Nacido en Nueva Zelanda en 1964, ha realizado pelculas durante veinte aos, principalmente de manera independiente, pero tambin dentro de la industria. Ha realizado cortometrajes, vdeos promocionales, publicidad y pelculas digitales. Actualmente realiza documentales de temtica social y ensea cine en universidades y escuelas del Reino Unido.
Born in New Zealand in 1964, he has been making films for twenty years, independently for the most part, though with a few industry films as well. He has made short films, promotional videos, advertising and digital films. He is currently making documentaries about social issues and teaches film at universities and schools in the United Kingdom.
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FILMOGRAFA FILMOGRAPHY River Lea Documentary Project (2008), El botelln (2008), Until When You Die (2006), As Above so Below (2005), Where is Morton Valence? (2005), Vegas Shift (2004 remix), La ltima viva (2003), Same Same But Different (2002), Vegas Shift (1996), Small Room No View (1992), Love in a Cooler Climate (1990). MARIO ARANGUREN, HCTOR MUNIENTE american greyhounds Mario Aranguren estudi Comunicacin Audiovisual en Madrid. En 2008 grab en Senegal y Gambia el documental Bara o Barsa, que result seleccionado a competicin en Documenta Madrid. Entonces decidi fundar la Productora Troika. En 2009 se march a Estados Unidos para grabar las elecciones a bordo de una compaa de autobuses de largo recorrido.
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Graduado por la Escuela Superior de Cine y Audiovisuales (ESCAC) de Barcelona, Hctor Muniente se estrena oficialmente en el mundo del documental con Bella Terra, seleccionado por Documenta Madrid en su edicin de 2008. Actualmente, escribe un largometraje en marco del Mster de Guin de la ESCAC. Mario Aranguren studied Audiovisual Communication in Madrid. In 2008 he shot the documentary Bara o Barsa in Senegal and Gambia, which went on to be selected for competition at Documenta Madrid. He then decided to found the production company Troika. In 2009 he went to the United States to film the elections while on board an intercity bus line. A graduate of the Higher School for Film and Audiovisuals of Barcelona (ESCAC), Hctor Muniente official made his debut in the documentary world with Bella Terra, which was
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Julia Bacha is a Brazilian documentary filmmaker focusing on the Middle East, and the Media Director at Just Vision. Her award-winning films about Iraq and the Palestinian-Israeli conflict have been exhibited at the Sundance, Tribeca, Berlin, Jerusalem, and Dubai International Film Festivals, among others. She has received several international prizes and was nominated for the Writers Guild of America Award in 2005. Her documentaries have been broadcast on the BBC, HBO, Sundance, CBC, and Al Arabiya television channels. Most recently, Julia co-directed the awardwinning feature documentary Encounter Point (Typecast Films, 2006), which follows the courageous efforts of Palestinian and Israeli civilians who are at the vanguard of a non-violent movement for justice and peace in the Middle East. Encounter Point
She co-directed, co-produced, and shot the feature documentary Sister Helen, which won the 2002 Sundance Film Festivals Documentary Directing Award, and was nominated for both an Outstanding Directorial Achievement in Documentary Film Award from the Directors Guild of America, and a News & Documentary Emmy Award for Outstanding Programming. In 2003, Ms. Cammisa founded Documentress Films and began her next film, Which Way Home, which received a Sundance Documentary Fund Development Grant, a Fulbright Fellowship to Mexico for Filmmaking, and aired on HBO throughout September and October 2009. Which Way Home has been nominated for the 2010 Academy Award in the Feature Documentary Film category, and has just received a 2010 Independent Spirit Award nomination for Best Documentary film. FILMOGRAFA FILMOGRAPHY The Tricky Part (2004), Sister Helen (2002), Second-Hand Rose (2000).
Rick Goldsmith naci y se cri en Long Island, Nueva York, y lleg a la mayora de edad durante la guerra de Vietnam. Estudi Arquitectura y tuvo sus primeros escarceos con el cine en la Escuela de Diseo de Rhode Island. En 1975 emigr al oeste y desde entonces vive en la baha de San Francisco. Judith Ehrlich was born in Brooklyn, New York, and grew up in Napa, California. She graduated from UC Berkeley with honours in Political Science and holds a Masters in Education with honours from University of Vermont. Ehrlich rides her bike to work most days and teaches Documentary film at Berkeley City College. She is married to her recording engineer and has a son who is a mountain bike racer and UC Santa Cruz freshman. Rick Goldsmith was born and raised on Long Island, New York, and came of age during the war in Vietnam. He studied architecture and dabbled in film at the Rhode Island School of Design. In 1975 he travelled west and has lived in the Bay Area ever since. FILMOGRAFA FILMOGRAPHY Judith Ehrlich: The Good War and Those Who Refused to Fight It (2001). Rick Goldsmith: So Long Are You Young (2006), Soul of Justice: Thelton Hendersons American Journey (2005), Everyday Heroes (2001), Tell the Truth and Run: George Seldes and the American Press (1996). HOUMAN EINOLLAHI the one who said no the one who said yes! Houman Einollahi es realizador y diseador grfico.
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After thirty years of pro-indigenous activism and for the purpose of using video on the cultural and political projects of indigenous peoples, he created the Video nas Aldeias project and produced a series of 16 documentaries about the methods and results of that work. A Arca dos Zoe received several awards from such festivals as the XVI Tokyo Video Festival and the Cinma du Rel of Paris. O Esprito da TV and Eu j fui seu Irmo were broadcast on Canal+ in France and on other television channels elsewhere in the world. In 1999 Carelli received the International Festival of Ethnographic Film award for respecting cultural diversity and the struggle for peaceful inter-ethnic relations, and in 2000 he made the series ndios no Brasil, ten videos for the Escola TV channel of the Brazilian Ministry of Education. With 10,000 copies distributed in public schools, the series was regularly shown on public television and seen by millions of Brazilians. Vincent Carelli is currently coordinator for the NGO Video nas Aldeias de Olinda and works as a professor teaching indigenous directors and producers how to make their own films, while he also continues his documentary film work. In 2008 he directed Filming Man Bai and co-directed Back to the Good Land with Mari Corra. FILMOGRAFA FILMOGRAPHY Back to the good land (2008), Iauaret, Waterfall of the jaguars (2006), Jota Borges (2004), Agenda 31 (codirigida con / co-directed with Mari Corra, 2003), Vdeo in the villages presents itself (codirigida con / co-directed with Mari Corra, 2002), serie ndios no Brasil (TV Escola do Ministrio da Educao, 2000): Quem so Eles?; Nossas Lnguas; Boa Viagem Ibantu!; Quando Deus visita a Aldeia; Uma Outra Histria; Primeiros Contatos; Nossas Terras; Filhos da Terra; Do Outro Lado do Cu; Nossos Direitos; Jungle Secrets (1998), Signs dont speak (1996), Programa de ndio, 1, 2, 3 y 4 (TV Universidade, UFMT/Cuiab,1995/1996), YKWA, The banquet of the spirits (1996), Antropofagia visual (1994), Meeting Ancestors (1993), Boca livre no Sarar (1992), Mieko e Kimiko (1991), Antonio Carelli (1991), Ningum come carvo (codirigida con / codirected with Murilo Santos, 1991), Qual o jeito Z? (codirigida con / co-directed with Murilo Santos, 1990), The Spirit of TV (1990), Vdeo in the Villages (1989), Pemp (1988), The Girl Celebration (1987).
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Houman Einollahi is a director and graphic designer. FILMOGRAFA FILMOGRAPHY Tabar (2006). MILAGRO FARFN la tarea Naci en Per en 1978. Se gradu en Ciencias de la Comunicacin por la Universidad Nacional San Antonio Abad de Cuzco y estudi el Mster en Investigacin de las Comunicaciones en la Universidad Pontfica Catlica de Per. Actualmente cursa el ltimo ao de Direccin de Documental en la EICTV de San Antonio de los Baos, Cuba. Se interesa por los estudios de gnero y culturales, as como al uso de las nuevas tecnologas en el montaje. En 2005 produjo un programa en la radio dirigido a mujeres lderes, con la ONG Flora Tristn en Lima. En Cuzco trabaj en la direccin y produccin de un programa radiofnico educativo y otro cultural. Entre 2003 y 2005, fue realizadora de varios reportajes televisivos para el programa de la Universidad San Antonio Abad. Ha sido asesora
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He has worked in the film business since 1980 as a make-up artist, sound, editor, producer, cinematographer and director. FILMOGRAFA FILMOGRAPHY The Sunshine Boy (2009), Condensation (2003), Mtmlandi slands (2003). ROBERTO HERNNDEZ, GEOFFREY SMITH presunto culpable Roberto Hernndez es abogado de profesin y cineasta de corazn. Encontr en el cine un medio que le permite llevar gilmente al corazn y a la mente de miles de personas temas de justicia de tremenda actualidad.
Born in Tehran in 1977, she graduated from the Puppet Theater at Sooreh University in Tehran and has worked as a performance artist and special effects designer, as a script, a make-up artist, a set and wardrobe designer. She has worked as a designer on several films. ANTONIO MARTINO be water, my friend Realizador independiente, en 2007 gan el Premio Ilaria Alpi, uno de los ms importantes en el mbito periodstico. Desde hace aos realiza documentales sobre las difciles relaciones entre el hombre y su entorno.
He is a independent filmmaker. In 2007 he won the Ilaria Alpi award, one of the most important journalism awards. He has been making documentaries for years on the difficult relationships humankind has with its environment. FILMOGRAFA FILMOGRAPHY Niguri (2009), Pancevo_mrtva grad (2007), Gara de Nordcopii pe strada (2006), Blu Panorama (2005), Noi siamo laria, non la terra (2004), Fatma aba Ad (2004), Siamo Fatti Cos (2003), Colorado (2001). GABRIEL NOBLE p-star rising Licenciado por el Departamento de Teatro, Cine y Televisin de UCLA, fund y fue director artstico de Equal Opportunity Productions, una organizacin artstica cuyo cometido era utilizar la educacin artstica para capacitar a jvenes de Los ngeles, Cuba y Sudfrica. Ha establecido programas de residencia artstica de teatro, msica y cine en aulas de todo el mundo, y ha
Geoffrey Smith naci en Melbourne (Australia). Fascinado por la imagen en movimiento, ha explorado a travs de una serie de viajes el arte de contar una historia. En 1987 se traslad a Hait para la filmacin de un documental sobre las primeras elecciones celebradas en el pas en treinta y un aos. Siguiendo el asesinato de veintin votantes en el patio de una escuela, fue herido de bala. Tras recuperarse, el cineasta document con su cmara su regreso a Hait, donde busc a la persona que estuvo a punto de quitarle la vida. La pelcula fue aclamada y transmitida por la cadena BBC de Londres. Tras descubrir el poder de la cmara como herramienta que ayuda a sobrellevar episodios traumticos, Smith ha centrado la mayor parte de sus proyectos en estos particulares usos de la cmara.
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Born in Ste (France) in 1964. She studied film with Larry Jordan at the San Francisco Art Institute (1990). She got a PhD in Fine Arts with a specialization in La proyeccin como medio potico (Projection as a poetic medium). Her most recent work deals with the memory of her family from Tunisia and Algeria, the countries from which her family originally comes. FILMOGRAFA FILMOGRAPHY Water, air and dreams (2009), Back to London (2008), 2006-2007 a notebook (2008), Cyclamen Persicum (2007). YERKO RAVLIC ELAL rezagados Es oriundo de Copiap (Chile) y de familia de origen croata y libans. Su familia se dedic durante muchos aos a la minera. Estudi en el Liceo Catlico Atacama. Actualmente cursa la carrera de Cine en la Universidad de Valparaso, donde pretende especializarse en Documental Social.
He is originally from Copiap (Chile) and has family origins from Croatia and Lebanon. His family worked in mining for many years. He studied at the Liceo Catlico de Atacama. He is currently studying film at the University of Valparaso, where he hopes to continue with social documentary film. FILMOGRAFA FILMOGRAPHY Rezagados (2009), En primera lnea (2008), Entre clases (2007).
A French filmmaker, he has specialized in social and political research on Latin America, and more specifically, on Mexico. FILMOGRAFA FILMOGRAPHY Sin maz no hay pas: las semillas de la dignidad (2009). RICHARD F. SIMPSON at home with the jedi Es un converso reciente al cine documental, pero tiene 20 aos de experiencia como periodista de prensa y radio, y una carrera paralela an ms larga como fotgrafo histrico. Ha realizado numerosos cortometrajes para 4Talent, FourDocs y BBC Film Network y, ms recientemente, en junio de 2009, film y mont la serie Art Against the Odds para el espacio 3 Minute Wonder de Channel 4.
He is a recent convert to documentary filmmaking, but has 20 years experience as a newspaper and radio journalist, with an even longer parallel career as a documentary photographer. He has made a number of short films for 4Talent, FourDocs and BBC Film Network, and he recently filmed and edited the short series Art Against the Odds for the Channel 4 strand 3 Minute Wonder in June 2009.
Born in Kaluga, Russia in 1972, he is a screenwriter, director and editor of documentaries. In 1995 he graduated from the State University of Novosibirsk in the Department of Language and Russian Literature, and in 1998 he did graduate studies in Moscow in Film Directing and Screenwriting, with a specialization in documentary film directing. FILMOGRAFA FILMOGRAPHY Katorga (2001), 2 1/2 Weeks in Paradise (1997). JAWED TAIMAN addicted in afghanistan Naci en Kandahar (Afganistn) y vive en Londres. Zendan (Prison), su primer cortometraje documental, fue emitido en Tapesh TV (Estados Unidos) y en 2006 fue galardonado con el Premio al Mejor Cortometraje Documental de la escuela de cine EICAR de Pars. Tambin fue proyectado en el Short Film Corner de Cannes en 2007. Addicted in Afghanistan es su primer largometraje.
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FILMOGRAFA FILMOGRAPHY Art Against the Odds (2009), At Home with the Jedi (2009), What Are You Hugging? (2007), New Pants and Socks: On the Road with Frank Turner (2007), The Mild Bunch (2007), The Curried Bride (2007). EYAL SIVAN jaffa, the oranges clockwork Nacido en Haifa, Israel, y criado en Jerusaln, es realizador y ensayista. Actualmente codirige el Mster Artstico de Cine, Vdeo y Nuevos Medios de la School of Humanities and Social Sciences (UEL). Tras ejercer como fotgrafo profesional en Tel-Aviv, se estableci en Pars en 1985, y desde entonces vive a caballo entre Europa e Israel. Famoso por sus controvertidas pelculas, Sivan ha dirigido ms de diez documentales premiados en certmenes internacionales y ha producido otros muchos. Su obra cinematogrfica ha sido premiada en prestigiosos festivales y proyectada en salas y espacios artsticos de todo el mundo.
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Born in Kandahar (Afghanistan) and lives in London. Zendan (Prison), his first documentary short film, was broadcast on Tapesh TV (United States) and in 2006 was granted the Award for Best Documentary Short Film from the EICAR film school in Paris. Zendan was also shown at the Short Film Corner of Cannes in 2007. Addicted in Afghanistan is his first full-length film. FILMOGRAFA FILMOGRAPHY Zendan (Prison, 2006). MARC WOLFENSBERGER oil rocks city above the sea Nacido en 1971, es periodista y director de cine. Durante los ltimos diez aos ha trabajado cubriendo noticias de ltima hora de la antigua Unin Sovitica y Oriente Prximo. Ha sido destinado a Asia Central, Afganistn y Cucaso sur por diversos medios de comunicacin de habla francesa. Este suizo francfono, que habla ingls y alemn con fluidez, tambin abri y dirigi la agencia Bloomberg de Tehern durante casi 3 aos. En 2006 fund su propia productora, y desde entonces trabaja con cadenas de televisin europeas como ARTE y Swiss Television. Oil Rocks City Above the Sea es su primer largometraje.
Born in Haifa, Israel and grown up in Jerusalem, he is a documentary director and essayist. He is currently co-directing the Artistic Film, Video and New Media Masters program at the School of Humanitites and Social Sciences (UEL). After working as a professional photographer in Tel-Aviv, he settled down in Paris in 1985, and ever since has been spending half his time in Europe and half in Israel. Famous for his controversial films, Sivan has directed more than ten documentaries that have won awards at international competitions, and he has produced many others. His film work has been awarded at prestigious festivals and screened in cinemas and art spaces all over the world. FILMOGRAFA FILMOGRAPHY Happy birthdays, towards a common archive (instalacin de vdeo multicanal / multi-channel video installation, 2008), Citizens K The twin brothers (2007), Faces of the Fallen Documentary (2005), I Love You All (codirigida
Born in 1971, he is a journalist and film director. Over the past 10 years, he has mainly covered breaking news in the former Soviet Union and the Middle East. Wolfensberger
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A los personajes de un documental se les brinda la posibilidad de hablar hacia el futuro y la distancia infinita al coste ineludible de desnudar su alma y desmenuzarla ante el objetivo. A documentarys characters are afforded the chance to speak to the future over infinite distances, at the unavoidable cost of exposing their soul and having it scrutinized on camera. David Yez
DIVERSIONS
DIVERSIONES HELGA LANDAUER Betacam / 15 / 2009 / Estados Unidos / USA V. 0. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
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Empieza el siglo xx, gente despreocupada deambula de una atraccin a otra, re, coquetea, alquila barcas y carruajes, hace apuestas, juega en la arena, se cambia de ropa. Se congrega en parques y calles de la costa en busca de ms diversiones. Intentan encontrar maneras de distraerse del hecho de que la guerra est a punto de empezar, de que el verano est llegando a su fin, de que hace tiempo que estn muertos. The 20th Century begins. Carefree people roam from one attraction to another, laughing, flirting, renting boats and carriages, betting, smoking, playing with sand, changing clothes, flirting. As they circle around seashore parks and streets, they look for more diversions. They are seeking ways to distract themselves from the fact that the war is about to start, that the summer is coming to an end, that they are long dead.
Una noche, en el pueblo de pescadores ms antiguo de Brasil, sucede algo por primera vez. One night, in the oldest fishing village in Brazil, something happens for the first time.
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ENTREVISTA CON ALMIRO VILAR DA COSTA / INTERVIEW WITH ALMIRO VILAR DA COSTA SERGIO DA COSTA Betacam / 29 / 2009 / Suiza / Switzerland V. O. FRANCS, PORTUGUS / FRENCH, PORTUGUESE. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
PARA VERLO EN CASA / DLIA DOMASHNEGO PROSMOTRA MIKHAIL ZHELEZNIKOV Betacam / 29 / 2009 / Rusia / Russia V. O. RUSO / RUSSIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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El director pregunta a su padre acerca de su pasado y su infancia en un lugar misterioso. Con l, que emigr de Portugal a Suiza para trabajar, evoca los distintos periodos de su vida, revelando y cuestionando su relacin. The director questions his father about his own past and his chilhood in a mysterious place. He evokes with him, who came from Portugal to Switzerland to work, the different periods of his life. They reveal their relationship and question it.
Mencin Especial / Special Mention, Doclisboa (Portugal, 2009)
La escuela sovitica, el oso olmpico, la muerte de Brezhnev, la Perestroika, la esperada vida adulta. Los rboles que hay bajo mi ventana solan ser pequeos, y ahora apenas te dejan ver lo que hay detrs. The Soviet school, Olimpic Bear, the death of Brezhnev, Perestroyka, the long awaited adult life. The trees under my window used to be so small, and now its difficult to see anything beyond them.
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FORMOL
NOELIA RODRGUEZ DEZA Betacam / 15 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
S A DNDE VOY BEN RIVERS Betacam / 29 / 2009 / Reino Unido / UK V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
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En un pueblo abandonado, aparentemente desierto, pasado, presente y futuro se confunden y las huellas de cientos de vidas permanecen conservadas en el formol del tiempo. In an abandoned, apparently deserted town, past, present and future blur together and the traces of hundreds of people are conserved in the formaldehyde of time.
Lo que empez como una peregrinacin al escenario de una pelcula de Powell y Pressburger se convirti en un viaje fragmentado por las carreteras secundarias de Gran Bretaa, que empieza en Londres, tras un misterioso acontecimiento, y acaba en algn momento del futuro en la isla de Mull. La carretera est desierta y el paisaje vaco de gente; tan solo en ocasiones, adentrndonos en parajes recnditos, encontramos algn superviviente solitario. En la banda sonora se oye espordicamente al gelogo Jan Zalasiewicz hablando de la tierra dentro de cien millones de aos. What began as a pilgrimage to the location of a Powell and Pressburger film, soon became a fragmented road trip through Britain on the peripheries starting in London after a mysterious event, ending somewhere in the future, on the Isle of Mull. The road is empty and the landscape is bereft of people, only occasionally do we go off into the wilderness to find a lone survivor. On the soundtrack we sometimes hear geologist Jan Zalasiewicz talking about the Earth in one-hundred million years time.
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SOLO PARA LLAMARTE PAP PATRICIA DELSO LUCAS Betacam / 16 / 2009 / Espaa, Reino Unido / Spain, UK V. O. INGLS, ESPAOL / ENGLISH, SPANISH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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No conozco a mi padre. Lo nico que tengo de l es una fotografa, un artculo de peridico, una caricatura, unas cartas de amor que le escribi a mi madre cuando estaba embarazada y una cinta de msica. Solo s que es britnico y pianista. Esta es la historia de mi viaje personal para encontrarlo, para entender esa parte de quien soy. Patricia Delso I dont know my father. The only things Ive got from him are: a photograph, a newspaper article, a caricature, some love letters that he wrote to my mother when she was pregnant, and a music cassette. I only know that he is British and a piano player. This is the story of my personal journey to find him, to understand that part of who I am. Patricia Delso
Un empresario de unos cuarenta aos habla abiertamente de su actividad como turista sexual, ajeno al hecho de que est siendo grabado por una cmara oculta. Comenta sus trucos para llevarse a chicas jvenes al hotel, sus perversas escapadas, ignorando las leyes internacionales que protegen a las jvenes trabajadoras del sexo. Su historia proporciona una mirada nica a una masa oculta de hombres occidentales que viajan por el mundo para hacer realidad sus sueos pervertidos, sin temor a que les caiga encima el peso de la ley y sin pensar ni por un momento en las decenas de mujeres a las que han violado. A business man in his forties openly talks about his activities as a sex tourist, unaware of the hidden camera. About his tricks to lure young girls into his hotel, his perverse slip-offs, while he ignores international laws that protect young sex workers. His story gives a rare insight into a hidden mass of Western men travelling around the globe to live out their perverted dreams. Without any fear of prosecution and without losing a thought on these dozens of women they have violated. Estreno en Espaa / Premiere in Spain
DIRECCIN, PRODUCCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, SCRIPT, CINEMATOGRAPHY, EDITING Puja Khoschsorur SONIDO / SOUND Christian Mausser PUJA KHOSCHSORUR Brockmanngasse, 57. 8010 Graz, Austria. Tel. +43 6 504 337 580. pujakhoschsorur@gmail.com CINE PRINCESA Sala 7 / Theater 7 Viernes 7, 19:30 h / Friday 7th, 7:30 pm CINE ESTUDIO CRCULO DE BELLAS ARTES Domingo 9, 22:00 h / Sunday 9th, 10:00 pm
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LA MAREA
LAS VARIACIONES DIELMAN / DIELMAN VARIATIONS FERNANDO FRANCO Betacam / 12 / 2009 / Espaa / Spain V. O. FRANCS / FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Un hombre rechazado por la sociedad vive en un viejo barco abandonado, anclado en un lugar olvidado de la baha de Santiago de Cuba. Un da recibe una misteriosa llamada que le provoca la necesidad de relacionarse con los otros. A man rejected by society lives in an old abandoned boat anchored in a forgotten place in the bay of Santiago de Cuba. One day he receives a mysterious call that makes him have to interact with other people.
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MY LOST GENERATION
MI GENERACIN PERDIDA / MY LOST GENERATION VLADIMIR TOMIC Betacam / 32 / 2009 / Dinamarca / Denmark V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
OH, NO, OTRA VEZ T NO! STUART POUND Betacam / 4 / 2009 / Reino Unido / UK SIN DILOGOS / WITHOUT DIALOGUES
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Esta pelcula surgi de mi propia desesperacin a la hora de comprender y procesar las consecuencias de la guerra de la antigua Yugoslavia en m y en mi generacin. Visit Bosnia y Herzegovina en numerosas ocasiones para filmar el escenario del horror durante la guerra. Esta experiencia me sumi en una gran depresin, pero tambin me llev a comprender mejor la sociedad y la poltica. En todo caso, me introduje en el lado oscuro de la naturaleza humana e intent plasmarlo. Vladimir Tomic This film was born out of my personal desperation to understand and deal with the consequences that the war in former Yugoslavia had left on me as well as on my generation. On various occasions I visited Bosnia and Herzegovina and filmed the places where during the war many horrible things have taken place. This experience led me in to a great depression, but also in greater understanding of society and politics. Nevertheless, I entered the darker side of human nature and tried to depict it. Vladimir Tomic
Jovial odio hacia uno mismo sobre la nieve reciente. Joyful self-hate in the recent snow.
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PARALLAX
INGER LISE HANSEN Betacam / 5 / 2009 / Austria SIN DILOGOS / WITHOUT DIALOGUES
RABBIT LA BERLIN
CONEJO A LA BERLINESA / MAUERHASE BARTEK KONOPKA / Betacam / 39 / 2009 / Alemania, Polonia / Germany, Poland V. O. ALEMN / GERMAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Hansen film los tejados de Linz con una perspectiva inversa. Con su tcnica de stop-motion impregna los fenmenos naturales, como el tiempo, las horas del da, la luz y las sombras, con una presencia peculiar. La visin invertida de los tejados hace que el espectador se desoriente y tenga a la vez la sensacin de estar flotando. Evoca el casco de una nave al pasar, con la que se exploran zonas desconocidas del universo. No lleva al espectador a otro mundo, pero en su lugar le muestra hasta qu punto el mundo real puede ser de ficcin. Hansen shot over the rooftops of Linz with an inverse perspective. Using stop-motion technique, it imbues natural phenomena like weather, time of day, light and shadow with a peculiar presence. The upside-down view across the rooftops causes the viewer to lose orientation and conveys a sense of floating at the same time. The view evokes the hulk of a passing spaceship, in which unknown areas of the universe are explored. It does not beam the viewer into a different world but instead shows how fictional the real world can be.
La historia jams contada sobre los conejos salvajes de los muros de Berln. Durante 28 aos, la Zona de la Muerte era su hbitat ms seguro, tapizado de hierba, sin depredadores y con guardas protegindoles de la presencia humana. Estaban encerrados, pero felices. Desafortunadamente, un da el muro cay y se vieron obligados a abandonar su cmodo sistema. Siguen aprendiendo a sobrevivir en el mundo libre, como nosotros, los ciudadanos de Europa del Este. The untold story of the wild rabbits of the Berlin Walls. For 28 years Death Zone was their safest home. Full of grass, no predators, guards protecting them from human disturbance. They were closed in, but happy. But the rabbits survived and stayed there. Unfortunately one day the wall fell down. The rabbits had to abandon their comfortable system. They are still learning how to live in the free world, just as we are, the citizens of Eastern Europe.
Nominado al Oscar al Mejor Cortometraje Documental / Nominated for the Oscar for Best Documentary Short Film (Estados Unidos / USA, 2010) Mejor Cortometraje Documental / Best Short Documentary, Hot Docs Toronto (Canad / Canada, 2009) Mejor Cortometraje / Best Short Film, Warsaw Planete Doc Review (Polonia / Poland, 2009)
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EL RO / THE RIVER RIMANTAS GRUODIS Betacam / 30 / 2009 / Lituania / Lithuania V. O. LITUANO, RUSO / LITHUANIAN, RUSSIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Tributo al cine, a los Lumire y a las construcciones de la resistencia obrera en la Argentina actual. A tribute to cinema, to the Lumire brothers and the building of a worker resistance movement in present day Argentina.
Historia de la dura vida emocional y fsica de los habitantes de un pueblo remoto junto al ro, lo nico que une a esa comunidad con el mundo que hay en la otra orilla. This story is about the emotionally and physically hard life of the people in a remote village by the river. The river is the only path linking villagers with the world on the other bank.
Premio del Pblico / Audience Prize, Festival dei Popoli, Firenze (Italia / Italy, 2009)
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ESPERANDO LA NIEVE / YASSINE EL IDRISSI Betacam / 38 / 2009 / Marruecos / Morocco V. O. RABE, BEREBER / ARABIC, AMAZIGH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
LO QUE SEPARA CECILIA ARANEDA / Betacam / 6 / 2009 / Canad / Canada V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
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Todos los inviernos, las estaciones de esqu de Ifrane reciben a miles de visitantes que vienen a disfrutar de la nieve y de sus deportes favoritos. Se percaten o no, no tienen en cuenta a la poblacin que vive all en la ms absoluta pobreza. Ismal es un nio de la zona que tambin espera la nieve, pero no para disfrutar como los otros nios; para l la nieve aporta unos ingresos vitales para su familia. Este relato es la voz de los nios de esta ciudad olvidada de Marruecos. Every winter the ski resorts in Ifrane receive thousands of visitors who come to enjoy the snow and their favorite sports. Whether they realize it or not, they are not conscious of the local population that lives there in poverty. Ismal is a local boy who also waits for the snow but not to enjoy like the other children; for him the snow brings a vital family income. This story is the voice of the children of the forgotten village in Morocco.
Premio del Jurado / Jury Prize, Khouribga International Documentary Film Festival (Marruecos / Morocco, 2009)
Anlisis de la prdida y los recuerdos personales vinculados a la tierra natal de la directora, Chile, y su partida del pas hace mucho tiempo. La obra es un collage creado con imgenes recicladas de fuentes personales e histricas, e imgenes originales pintadas a mano y tintadas. An examination of personal memory and loss rooted in the filmmakers birth place Chile and her departure from that country long ago. The work is a collage film created with found footage from personal and historic sources, and original hand-printed and tinted footage.
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YO, NATALIA
ME, NATALIA GUILLERMINA PICO Betacam / 30 / 2009 / Argentina V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Natalia Kohen, artista de reconocida trayectoria, millonaria y mecenas, denuncia haber sido secuestrada por sus hijas e internada en un conocido neuropsiquitrico. Las causas giraran alrededor de intereses econmicos centrados en su fortuna. Mis hijas me han quitado todo y me quieren hacer pasar por loca declara a los diarios. Mientras se enfrenta a un juicio por insania iniciado por sus hijas, un grupo de estudiantes de cine realiza un documental e intenta conocer al personaje detrs del caso. A well-known artist, millionaire and patron of the arts, Natalia Kohen claims she was kidnapped by her daughters and committed to a famous mental hospital. The reasons revolve around economic interests eying her fortune. My daughters have taken everything away from me and they want to make it look like Im crazy, she states to the newspapers. As she undergoes a trial initiated by her daughters to determine her sanity, a group of film students make a documentary and try to get to know the character in the case.
Mejor Cortometraje, Premio del Pblico / Best Short Film, Audience Award, BAFICI Festival Internacional de Cine Independiente de Buenos Aires (Argentina, 2009)
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Los personajes son como lagos. Funcionan como espejos reflejando la realidad que les rodea. The characters are like lakes. They function as mirrors reflecting the reality surrounding them. Amaury Santana Marrero
CECILIA ARANEDA what comes between De origen chileno y residente en Winnipeg (Canad), es licenciada en Bellas Artes por la Universidad de Nueva York, en la especialidad de Teatro (Dramtica), y tiene un mster en Escritura Creativa (Guin) por la Universidad de Columbia. Ha realizado ocho cortometrajes como directora y guionista, que le han valido varios premios y se han proyectado en festivales, programas especiales y salas de arte y ensayo de tres continentes, en ciudades como Nueva York, Chicago, Pars, Madrid, Leeds, Colonia, Santiago, Montevideo, Toronto y Montreal.
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Chilean-born, Winnipeg, Canada, based filmmaker Cecilia Araneda holds a B.F.A. (hons) in Theatre (playwriting) from York University and an M.F.A. in Creative Writing (screenwriting) from Columbia University. She has completed eight short films as a director and writer, which have won awards and screened at film festivals, curated programs and art house cinema across three continents including in New York, Chicago, Paris, Madrid, Leeds, Cologne, Santiago, Montevideo, Toronto and Montreal. FILMOGRAFA FILMOGRAPHY Imprint (2007), In Reflection (2007), Halleys Comet (2005), Amnesia (2003), Memory (2002), Unwoven (2001), Chile: A History in Exile (1998). ARMANDO CAP RAMOS la marea Naci en Gibara (Cuba) en 1979. Se gradu por la EICTV en 2009.
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Born in Gibara (Cuba) in 1979. He graduated from the EICTV in 2009. FILMOGRAFA FILMOGRAPHY La ausencia (en postproduccin / in postproduction), La revolucin es un automvil que avanza siempre (2009), Nos quedamos (2009), Entre la luz y la fe (2008), Revelacin (2008), La inercia (2008), Todos los pantgrafos van al cielo (2008), El husped (2007), El proceso (2007), Fisonoma de un campen (2007), El ansia (2007), Te quiero mucho (2007), Descubriendo Pancha (2004). SERGIO DA COSTA entretien avec almiro vilar da costa Portugus nacido en 1984 en Lausana, ha recibido formacin como diseador multimedia. Estudia en la Haute cole dArts et de Design, Ginebra.
Portuguese born in Lausanne in 1984, he has a background in multimedia design. He studied at the Haute cole dArts et de Design, Geneva. FILMOGRAFA FILMOGRAPHY Corps incompris (2007).
Born in Siauliai, Lithuania in 1946. From 1964 to 1990 he worked in film studios in Lithuania. Since 1991 he has been doing work as an independent director, producer and camera operator. FILMOGRAFA FILMOGRAPHY The Way of Milk. Milky Way (2007), The Brass Band (2006), The Tiny Birds of God (2005), The Master (2004), Scarecrow (2002), Household (2001), Territory (1999), The Bathhouse (1997), The Pain (1995), The Waste (1993), The Dirge (1991), Ona and Mykolas (1990). CARMEN GUARINI salida de los obreros de la fbrica Licenciada en Ciencias Antropolgicas por la Universidad de Buenos Aires en 1980. En 1988 obtuvo el Doctorado en Estudios Teatrales y Cinematogrficos, con especialidad en Cine Antropolgico, en la Universidad de Pars I-Sorbona y Pars X-Nanterre (Francia). Su tesis doctoral fue dirigida por Jean Rouch. Desde 1992 es investigadora del Consejo Nacional de Investigaciones Cientficas y Tcnicas (CONICET, Argentina). Ese mismo ao cre y comenz a dirigir el Programa de Antropologa Visual en el Instituto de Ciencias Antropolgicas de la Universidad de Buenos Aires, en la que trabaja como docente desde 1984. Ha dictado y dicta numerosos cursos de Cine Documental en diversas instituciones, como la Fundacin Universidad del Cine (Maestra en Cine Documental), TEA Fotoperiodismo, EICTV de Cuba, en la Universidad de Santiago de Compostela y en Barcelona. Tambin fue profesora invitada en lcole des Hautes tudes en Sciences Sociales de Pars. Desde 1988 es socia fundadora y codirectora de la productora de cine documental pionera en Argentina Cine Ojo. En 2000 cre y comenz a codirigir, junto a Marcelo Cspedes y Luciano Monteagudo, el DocBuenos Aires, Muestra Internacional de Cine Documental y Frum de Coproduccin Internacional. En la actualidad es miembro de la comisin directiva de DAC (Directores Argentinos Cinematogrficos) y de la de ASAECA (Sociedad Cientfica Argentina de Estudios de Cine). Integra tambin la Comisin Asesora de Historia, Antropologa y Geografa de CONICET y ha sido miembro del Comit de Evaluacin de Proyectos Documentales del INCAA. En 2001 fue nominada por la Fundacin Konex de Argentina como una de las mejores cineastas documentalistas del pas y ha recibido becas y subsidios del Gobierno de Canad, CONICET, Fondo Nacional de las Artes, Instituto Nacional de Cine y Artes Audiovisuales, Soros Documentary Found, Jan Vrijman Fund, entre otras. Ha participado como jurado en diversos festivales de cine nacionales e internacionales, como Friburgo (Suiza), Lisboa (Portugal), La Habana (Cuba), Trieste (Italia), Baha, Tudo Verdade (Brasil) y Documenta Madrid, entre otros. Ha dirigido y codirigido numerosos largometrajes documentales, todos estrenados comercialmente en Argentina y difundidos tanto en diversos festivales internacionales de cine como en muestras retrospectivas. Ha dirigido tambin numerosos cortometrajes y vdeos.
Graduated in Visual Communication at University Carlos III of Madrid while working as a technician in a television production company in Madrid. She then completed several short documentary films while finishing her Diploma in Documentary Filmmaking at NIC Film Institute of Madrid. She is currently studying a MFA in Film Directing at Edinburgh College of Art (Screen Academy Scotland), where she has collaborated on many film projects and finished her first film, Just to Call You Dad. She is already working on the development of her next project. YASSINE EL IDRISSI waiting for the snow Tras descubrir su pasin por la fotografa a la edad de 16 aos, Yassine El Idrissi (que tiene ahora 26) ha adquirido una amplia experiencia profesional en poco tiempo. Despus de trabajar como fotoperiodista para varios medios de comunicacin nacionales e internacionales, como la agencia de prensa holandesa ANP y el peridico independiente Al Jarida Al Oula, pas a formar parte del equipo de Al Massae, el diario ms importante de Marruecos, donde trabaja en la actualidad. Waiting for the snow es su primer documental.
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Having discovered his passion of photography at the age of 16, Yassine El Idrissi (now 26 years old) has gained broad professional experience in a short time. After having worked as a photo-journalist for several national and international news organizations such as the Dutch Press Agency (ANP) and the independent newspaper Al Jarida Al Oula, he is currently working for Moroccos leading daily Al Massae. Waiting for the snow is El Idrissis first documentary film. FERNANDO FRANCO les variations dielman Licenciado en Comunicacin Audiovisual y titulado en Montaje por la ECAM, ha montado una quincena de largometrajes en la ltima dcada. Sus tres cortometrajes han cosechado premios en festivales de todo el mundo. Es jefe de la especialidad de Montaje en la ECAM y colabora como profesor de documental en la Escuela Internacional de Cine y Televisin de San Antonio de los Baos, Cuba.
A graduate in Audiovisual Communication and a degree-holder in Editing from the ECAM, he has edited around fifteen full-length films over the past decade. His three short films have earned awards at festivals worldwide. He is the head of the Editing Specialization at the ECAM and collaborates as a documentary professor at the San Antonio de los Baos International Film and Television School, Cuba. FILMOGRAFA FILMOGRAPHY Tu(a)mor (2009), The End (2008), Mensajes de voz (2007).
She graduated in Anthropological Sciences from the University of Buenos Aires in 1980. In 1988 she got her PhD in Theater and Film Studies, with a specialization in Anthropological Film from the Univerisity of Paris I-Sorbonne and Paris X-Nanterre (France). Her dissertation was directed by Jean Rouch. Since 1992 she has been a reasercher at the
Born in 1977 in Graz, Austria, Puja Khoschsorur lived in Iran until 1980. He graduated in Law from the University of Graz (Austria) and Amsterdam (Netherlands) and has been to Southeast Asia on numerous occasions. He founded the association Le Donja. BARTEK KONOPKA rabbit la berlin Nacido en 1972, estudi Direccin Cinematogrfica en la escuela Krzysztof Kielowski WriTV de Katowice y en la Andrew Wajda Master School of Film s Directing. Es uno de los cineastas polacos ms premiados. Su pelcula Trjka do wziecia (Three for Taking) ya ha ganado doce premios en todo el mundo (entre ellos el Gran Premio y el Premio al Mejor Actor en Brest, y el Premio al Mejor Debut en el Festival Internacional de Cine Message to Man, de San Petersburgo). Su anterior documental, The Goat Walker, recibi el Premio Planete en la Berlinale de 2004. En 2009, Konopka dirigi su primer largometraje, Le wysokoci: ,k s Acrophobia (The Fear of Heights).
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Born in 1972, he studied Film Directing at the Krzysztof Kielowski WriTV school s of Katowice and at the Andrew Wajda Master School of Film Directing. He is one of Polands most award-winning filmmakers. His movie Trjka do wziecia (Three for Taking) has won twelve awards worldwide including the Grand Prize and the Award for Best Actor in Brest and the Award for Best Debut at the Message to Man International Film Festival of St Petersburg. His previous documentary The Goat Walker received the Planete Award at the 2004 Berlinale. In 2009 Konopka directed his first feature film Acrophobia (The Fear of Heights). FILMOGRAFA FILMOGRAPHY The Fear of Heights (2009), Kings of Downtown (2007), Three for the Taking (2006), Scenes from the Warsaw Uprising (2005), The Goat Walker (2004). HELGA LANDAUER diversions Naci en Mosc, y estudi en el Instituto Estatal Ruso de Cine (VGIK) de dicha ciudad. Ha escrito numerosos guiones para largometrajes, animacin y documentales, adems de trabajar en la Televisin Nacional Rusa dirigiendo programas de difusin. Desde 1996 reside con su familia en California, Estados Unidos, donde contina su labor como escritora,
Born 1966 in Norway, was educated at North East London Polytechnic, St. Martins College of Art, London, and received a Masters of Fine Art Filmmaking from San Francisco Art Institute. She has made a number of experimental animation films with support from Arts Council England, Film London and the Norwegian Film Institute,
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Born in 1985 in Santa Rosa, La Pampa, Argentina, she studied Film Directing in Crdoba. She worked as a freelance photographer and directors assistant for production companies of advertising films. Her still photography work and experimental videos have participated in different individual and collective exhibitions. She contributes to cultural magazines in Argentina and Spain. She is currently living and studying in Barcelona, where she is specializing in digital video. FILMOGRAFA FILMOGRAPHY Ad Libitum (2007), 15 primaveras (2006), A un paso (2005), Cscara (2004). STUART POUND oh, no, not you again! Afincado en Londres, en su trabajo confluye su experiencia en cine, informtica y vdeo digital. Durante los ltimos 14 aos ha colaborado con la poeta Rosemary Norman en numerosos vdeos. Su trabajo se ha proyectado en multitud de festivales internacionales, adems de publicarse en Internet. El MoMA (Pars), Beaubourg Centro Georges Pompidou
Born in Somerset, 1972, he studied Fine Arts at the Falmouth School of Art from 1990 to 1993. He has exhibited at many international film festivals and galleries, and won various awards. He has been the recipient of a number of commissions, including a London Artists Film and Video Award. FILMOGRAFA FILMOGRAPHY May Tomorrow Shine the Brightest of all your Many Days as it will Be your Last (2009), A World Rattled of Habit (2008), Origin of the Species (2008), Srdal (2008), Ah, Liberty! (2008), House (2007), Dove Coup (2007), Greenhouse (2007), Terror! (2006), The Coming Race (2006), Astika (2006), This Is My Land (2006), The Bomb with a Man in his Shoe (2005), The Hyrcynium Wood (2005), We The People (2004), The Ironworks (2004), Old Dark House (2003).
Born in Sarajevo in 1980, where he lived until 1992. Since then he has been living in Copenhagen, Denmark. From 2003 to 2009 he studied in the Audiovisuals Department of the Royal Danish Academy of Fine Arts under the direction of professor Thomas Locher. From 2008 to 2009 he did a residency at the Akademie der bildenden Knste Vienna, Media Arts, where he worked with the professor Constanze Ruhm and the director Harun Farocki. FILMOGRAFA FILMOGRAPHY The Valley of Shadows (2006), Echo (2005), The Trilogy: Dead Nature and Movements, The Pianist, The Mailman (2003-2004). MIKHAIL ZHELEZNIKOV for home viewing Nacido en Leningrado en 1972, es realizador independiente.
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She was born in 1983 in Madrid. She joined the Department of Information Sciences at the Complutense University of Madrid to study Audiovisual Communication, and she got her degree in 2006. Alongside, she did a Master in Photography in the Polytechnic University of Madrid and she directed two fiction short films, Desde tu armario and Mi cama, tu cama, a documentary short film 7 paraguas and several pieces of video art and photography series. In 2006 she was admitted into the ECAM (School of Cinematography and Audiovisual of Madrid) in the speciality of Editing. During the three years that she studied at the ECAM, she got especially interested in nonfiction films and did several pieces of videoart and poetic-documentary photography. In 2008 she studied Documentary Filmmaking at the EICTV (San Antonio de los Baos International School of Cinema and Television), Cuba, where she made the documentary Flores de tango. Back in Madrid, she wrote and directed Formol, that was her final graduate thesis at the ECAM in 2010. She is currently developing a new documentary project. FILMOGRAFA FILMOGRAPHY Flores de tango (2008), Hombre negro, hombre blanco (2007), 7 paraguas (2005), Tu cama, mi cama (2003), Desde tu armario (2003). NICOLS TESTONI el oscuro vientre de una ballena blanca Realizador de cine y vdeo nacido en Baha Blanca, Argentina, en 1974. Su trabajo ha recibido el apoyo de las fundaciones Jan Vrijman y Prince Claus y ha sido exhibido, entre otros, en los festivales IDFA, International Documentary Film Festival Amsterdam (msterdam, 2006) y Visible Evidence (Bristol, 2004).
Born in Leningrad in 1972, he is an independent filmmaker. FILMOGRAFA FILMOGRAPHY Booths (2008), Timewarp (2008), Collection N1 (2006), Lara, her dogness (2003), Tales on the Marshes (2002), Something in the air (2001).
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A film and video director born in Baha Blanca, Argentina in 1974. His work has received aid from the Jan Vrijman and Prince Claus Foundations and has been shown at the IDFA-International Documentary Film Festival Amsterdam (Amsterdam, 2006) and Visible Evidence (Bristol, 2004), among others. FILMOGRAFA FILMOGRAPHY A siete kilmetros de ac (2008), Canto de aves pampeanas (2007), El puerto (2006).
17 AUGUST
17 DE AGOSTO / 17 AVGUSTA ALEXANDER GUTMAN Betacam / 63 / 2009 / Rusia / Russia V. O. RUSO / RUSSIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
AVENIDA ARGENTINA
ARGENTINA AVENUE LUCA-MILENA BONSE 35 mm / 84 / 2009 / Alemania / Germany V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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La primera prisin rusa para los sentenciados a cadena perpetua. Una celda individual. Recluso Boris Bezotechestvo. Cadena perpetua. Artculo 102. Triple asesinato. En ntima comunin con un Dios indiferente a su destino, reza a pesar de no ser creyente. Sus palabras llenan el aire de la celda, habla y se escucha a s mismo. El espacio de la celda le consume. Su mundo son cuatro paredes y la vista desde la ventana. La prisin le lanza fsicamente a los brazos del tiempo, larga sucesin de das y noches, tras los cuales est el infierno o el cielo. The first prison in Russia for those sentenced to life terms. A single cell. Prisoner Boris Bezotechestvo. Life sentence. Article 102. Triple murder. Communing with a God who is indifferent to his fate. He prays, but is not a believer. His words fill the air of the cell. He talks and listens to himself. The space within the cell consumes him. His world is four walls and the view from the window. The prison physically thrusts the prisoner into time. A long succession of days and nights, after which comes hell or heaven.
Mencin de Honor / Honorary Mention, Dok-Leipzig (Alemania / Germany, 2009)
Una noche en Buenos Aires. Gente joven que entre la cada de la tarde y el alba salen en busca de basura, amor, justicia o un futuro. Cuatro vidas que se cruzan pero no se tocan. Un mosaico de interrogantes. A dnde lleva la Avenida Argentina? Bonse explora cuatro mundos opuestos entre los estratos sociales de la Argentina actual, entre pobres y ricos, la gente con y sin estudios, los indgenas y los de descendencia europea. One night in Buenos Aires. Young people between sunset and sunrise, in search of trash, love, justice, a future. Four life lines that will cross but wont touch each other. A mosaic with question marks. Where does the Avenida Argentina lead? Bonse explores four opposite worlds along the social ranks of Argentina today: between poor and rich, unschooled and studied, indigenous and of European descent.
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FOUR WALLS AND THE WORLD / QUATRE MURS ET LE MONDE MARC WEYMULLER Betacam / 53 / 2009 / Francia / France V. O. PORTUGUS, FRANCS / PORTUGUESE, FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
EL GAUCHO
THE GAUCHO ANDRS JARACH Betacam / 90 / 2009 / Argentina, Francia / Argentina, France V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Aquel ao regres a la isla de Pico. Quera conocer al escritor Jos Dias de Melo en su pueblo natal. Quera pasar algunos das a su lado, ver cmo viva. Quera orle hablar, escucharle contar algunas de las historias que han marcado su vida. Pero cuando llegu a Calheta de Nesquim, descubr que estaba enfermo y que haba sido hospitalizado en otra isla del archipilago. Nadie supo decirme cundo volvera. As que decid esperarle. That year I returned to the island of Pico. I wanted to meet the writer Jos Dias de Melo in his hometown. I wanted to spend some days with him, to see how he lived. I wanted to hear him speak, hear him tell some stories that marked his life. But when I arrived to Calheta de Nesquim, I learned he was ill and had been hospitalized on another island of the archipelago. No one could tell me when he would return. So I decided to wait for him.
El adusto Andrs Retamal, jinete y domador, lleva por primera vez a Gabi, su hijo de cuatro aos, a la temporada de doma a travs de la Patagonia argentina. Un viaje inicitico y una exploracin del mundo mtico e intemporal de una figura poco conocida: el gaucho. The harsh horse rider and tamer Andrs Retamal takes his four-year-old son Gabi for the first time to the horse taming season across the Argentinian Patagonia. A journey of initiation and an exploration of the mythical and timeless world of a little known figure: the gaucho.
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THE DREAM OF THE BAOBAB LAURA HERNNDEZ MANONELLAS Betacam / 48 / 2009 / Espaa / Spain V. O. FRANCS, INGLS, SUNIKE, WOLOF / FRENCH, ENGLISH, SUNIKE, WOLOF. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
EN CAS DE DEPRESSURISATION
EN CASO DE DESPRESURIZACIN / IN CASE OF LOSS OF PRESSURE SARAH MOON HOWE Betacam / 46 / 2009 / Blgica / Belgium V. O. FRANCS / FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Un lugar: frica. Un hombre: Samba. Un sueo: el baobab. Un valor: la lucha. One place: Africa. One man: Samba. One dream: the baobab. One value: struggle.
Cmo encajas que te digan que tu hijo tiene una minusvala? La noticia te golpea como un tsunami, te vaca de sangre. Todos tus sueos se hacen aicos ante esta tragedia que se apodera de tu vida. Pero pronto estos sentimientos dan paso a otros. Para sobrevivir, film lo que experimentaba con mi hijo a diario y me fui de gira con un grupo de danza unos das al mes durante un periodo de dos aos. Si quera ayudar a mi hijo, tena tambin que cuidarme a m. Sarah Moon Howe How do you cope with being told your child has a handicap? The news hits you like a tidal wave, drains you of your blood. All your dreams shatter in the face of this tragedy that takes over your life. But, very quickly, these feelings give way to others. In order to stay alive, I filmed what I experienced with my son and I toured with a dance troop a few days each month, over a period of two years. If I wanted to help my son, I also had to take care of myself. Sarah Moon Howe Estreno en Espaa / Premiere in Spain
DIRECCIN, GUIN / DIRECTION, SCRIPT Sarah Moon Howe PRODUCCIN / PRODUCTION Pierre Levie, Franoise Levie, Sofidoc FOTOGRAFA / CINEMATOGRAPHY Kassim Ahmed MONTAJE / EDITING Karim Brusseleers SONIDO / SOUND Michal Ferrasson MSICA / MUSIC Ad Cominotto, Daan SOFIDOC 46, rue Colonel Bourg. 1030 Bruselas, Blgica. Tel. +32 27 050 990. info@sofidoc.be CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 7, 17:00 h / Friday 7th, 5:00 pm CINES PRINCESA Sala 9 / Theater 9 Martes 11, 22:00 h / Tuesday 11th, 10:00 pm
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HUNKY BLUES: EL SUEO AMERICANO / HUNKY BLUES. AZ AMERIKAI LOM PTER FORGCS Betacam / 100 / 2009 / Hungra / Hungary V. O. HNGARO / HUNGARIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
IN COMPARISON
EN COMPARACIN / ZUM VERGLEICH HARUN FAROCKI Betacam / 62 / 2009 / Austria, Alemania / Austria, Germany V. O. INGLES / ENGLISH. SUBT. ESPAOL / SPANISH
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Fueron cientos de miles los hombres y mujeres hngaros que llegaron a los Estados Unidos entre 1890 y 1921. Para contar sus historias, Forgcs teji esta epopeya a partir de pelculas americanas antiguas, imgenes recicladas, fotografas y entrevistas, una mirada a los difciles momentos de la llegada, la integracin y la asimilacin, que alimentaron la dicha de las posteriores generaciones y su cumplimiento del sueo americano. A documentary exploring the fate of hundred thousands of Hungarian men and women who arrived to the United States between 1890 and 1921. To tell their sagas, Forgcs wove this epic from early American cinema, found footage, photographs and interviews. The film shows the difficult moments of arrival, integration and assimilation, which eventually fed the happiness of the later generations and their fulfillment of the American dream.
En frica, India y Europa se fabrican ladrillos que se utilizan para construir clnicas, orfanatos, colegios y edificios residenciales. Los ladrillos se moldean, se cuecen o prensan a mano, con mquinas o con robots. Dependiendo del pas donde se producen, se precisa de un trabajador o de multitud de ellos. El ttulo revela un aspecto clave: Farocki se limita a ofrecer un material a los espectadores, que tendrn que hacer sus propias comparaciones entre las sociedades tradicionales, en vas de industrializacin e industrializadas. Bricks are manufactured in Africa, India and Europe and used to build clinics, childrens homes, schools and residential buildings. Bricks are cast, fired or pressed by hands, machines or robots. Depending on the country of production, this involves a single worker or a large group. The films title communicates a key aspect: Farocki merely offers material to the viewers, who have to make their own comparisons between traditional, early industrial, and fully industrialized societies.
Premio ARTE de Documental / Documentary ARTE Prize, Duisburger Filmwoche 2009 (Alemania / Germany)
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JOB Y EL ESTADO LIBRE DE HOLANDA / JOB EN DE HOLLANDSE VRIJSTRAAT ROSEMARIE BLANK Betacam / 47 / 2009 / Pases Bajos / The Netherlands V. O. HOLANDS / DUTCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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En 1988 conoc a un hombre discretamente excntrico que viva en la calle Conrad de msterdam, donde se alojaban ms de cien okupas, en su mayora artistas. Job era, en mi opinin, el ms autntico de todos. Despus de que la polica desalojara la calle, los okupas desaparecieron. Solo Job, el erudito idiota, se qued all. Job pareca vivir ajeno al espacio y al tiempo y, sin embargo, vea algo en las piedras y en las virutas de madera que nadie ms vea. In 1988, I met a quietly eccentric man who lived on Conrad Street in Amsterdam. More than 100 squatters lived there, mostly artists. Job was, in my eyes, the most genuine of them all. After Conrad Street was cleared by the police, the squatters left. Only Job, the idiot savant, stayed behind. Job apparently lived beyond awareness of time and space yet he seemed to see something in stones and wood chippings that no one else saw.
En su 38. trabajo, el maestro documentalista Frederick Wiseman centra su atencin en una de las ms grandes compaas de ballet del mundo: el Ballet de la pera de Pars. La danse consagra la mayor parte de su metraje a la observacin de hombres y mujeres de extremada belleza (entre ellos Nicolas Le Riche, Marie-Agns Gillot y Agns Letestu), mientras ensayan la coreografa de Mats Ek, Wayne McGregor, Rudolf Nureyev y Pina Bausch. Ofrece, as mismo, un delicioso manjar de momentos exquisitos, a cada cual ms glorioso, cuya naturaleza efmera aumenta an ms su valor. Documentary master Frederick Wisemans 38th film turns his attention to one of the worlds greatest ballet companies, the Paris Opera Ballet. La danse devotes most of its time to watching impossibly beautiful young men and women among them Nicolas Le Riche, Marie-Agns Gillot, and Agns Letestu rehearsing the choreography of Mats Ek, Wayne McGregor, Rudolf Nureyev and Pina Bausch. La danse serves up a scrumptious meal of delectable moments, each more glorious than the last, made even more precious by their fleeting nature. Estreno en Espaa / Premiere in Spain
DIRECCIN, GUIN / DIRECTION, SCRIPT Frederick Wiseman PRODUCCIN / PRODUCTION Idale Audience FOTOGRAFA / CINEMATOGRAPHY John Davey MONTAJE / EDITING Gilles Granier SONIDO / SOUND Emmanuel Croset DOC&FILM 13, rue Portefoin. 75003 Pars, Francia. Tel. +33 142 775 687. doc@docandfilm.com CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 7, 22:00 h, y sbado 8, 22:00 h / Friday 7th, 10:00 pm, and Saturday 8th, 10:00 pm
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LA PAURA
PIPPO DELBONO Betacam / 69 / 2009 / Francia / France V. O. ITALIANO / ITALIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
LA QUEMADURA
THE BURN REN BALLESTEROS Betacam / 65 / 2009 / Francia, Chile / France, Chile V. O. ESPAOL, FRANCS / SPANISH, FRENCH. SUBT. INGLS, ESPAOL / ENGLISH, SPANISH
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Filmada ntegramente con un telfono mvil, muestra imgenes captadas sobre la marcha por Pippo Delbono, artista italiano conocido sobre todo por su trabajo teatral. Las diversas secuencias, caracterizadas por la granulosidad tpica de estas cmaras en miniatura, dan vida a una incisiva poesa. Shot entirely on a mobile phone, it is composed of moments caught on the fly by the Italian actor better known for his work in theatre Pippo Delbono. Over the course of these sequences, with the graininess so characteristic of those miniature cameras, an incisive poetry develops.
La madre del director se fue de Chile hace 26 aos. Ni l ni su hermana la volvieron a ver. Desapareci en el silencio familiar, en el del padre y de la abuela que los cri. Su nico rastro fue una pequea biblioteca de la editorial Quimant, libros prohibidos y quemados bajo la dictadura militar chilena. Los nios han crecido: l es documentalista; la hermana, archivista. Ahora van a intentar comprender, reparar, dar un cuerpo a la voz telefnica de la madre, para terminar con el hechizo del miembro fantasma de la familia. The directors mother left Chile 26 years ago. Neither he nor his sister heard from her again. She disappeared into family silence, of the father and grandmother who raised them. The only trace of her was a small collection from the Quimant publishing house, books banned and burned during the Chilean dictatorship. The children grown up he, a documentary filmmaker, the sister an archivist. Now they are trying to understand, repair and give a body to the telephone voice of their mother, to put an end to the spell of the dissapeared member of the family. Estreno en Espaa / Premiere in Spain
DIRECCIN, GUIN, MSICA / DIRECTION, SCRIPT, MUSIC Ren Ballesteros PRODUCCIN / PRODUCTION Frdric Papon (Le Fresnoy Studio National des Arts Contemporains) FOTOGRAFA / CINEMATOGRAPHY Severine Pin, Jacquesaud Loeuille, Enrique Ramrez, Ren Ballesteros MONTAJE / EDITING Catherine Rascon, Marina Meliande, Ren Ballesteros SONIDO / SOUND Marco Burdiles, Yann-Elie Gorans, Ren Ballesteros LE FRESNOY STUDIO NATIONAL DES ARTS CONTEMPORAINS 22 rue du Fresnoy, 59000 Tourcoing, Francia. Tel. +33 (0)320 283 800. fpapon@lefresnoy.net CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 7, 17:00 h / Friday 7th, 5:00 pm CINES PRINCESA Sala 9 / Theater 9 Martes 11, 22:00 h / Tuesday 11th, 10:00 pm
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LAS RACES DE LA NIEBLA / IF FOG HAD ROOTS DOUNIA BOVET-WOLTCHE Betacam / 54 / 2009 / Blgica / Belgium V. O. FRANCS / FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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En 1951, Ernesto Guevara, joven estudiante de medicina de 23 aos, empez un viaje a travs de Amrica Latina, que determinar su toma de conciencia poltica y supondr la matriz de su futuro revolucionario. En 2001, acompaado de su diario de viaje a modo de gua, emprend el mismo viaje, de Buenos Aires a San Pablo de Loreto, en lo ms profundo de la selva amaznica peruana. ntegramente filmada en Super 8, es una road movie impresionista que nos hace descubrir otra Amrica Latina. La que sigue creyendo, luchando y pensando de un modo distinto al modelo neoliberal generalizado. Fabrice Castanier In 1951, the young 23 year-old medical student Ernesto Guevara set out on a journey across Latin America, leading him to a political realization and the matrix for a future revolution. In 2001 I set out on the same journey with his travel diary as a guide, from Buenos Aires to San Pablo de Loreto deep in the Peruvian Amazon. Filmed entirely on Super 8, it is an impressionist road movie that portrays another Latin America. The one that continues growing, fighting and thinking about a way that is different from the generalized neo-liberal model. Fabrice Castanier Estreno en Espaa / Premiere in Spain
DIRECCIN, GUIN, FOTOGRAFA / DIRECTION, SCRIPT, CINEMATOGRAPHY Fabrice Castanier PRODUCCIN / PRODUCTION Etienne Chambolle (Flight Movie) MONTAJE / EDITING Fabrice Castanier, Valrie Brgaint SONIDO / SOUND Daniel Sobrino MSICA / MUSIC Bettina Kee, Emiliano Turi LOCUCIN / VOICE Miguel Benasayag FLIGHT MOVIE PRODUCTION 14 rue Charles V. 75004 Pars, Francia. Tel. + 33 (0)142 711 976. flightmovie@flightmovie.com CINES PRINCESA Salas 9 y 7 / Theaters 9 and 7 Viernes 7, 22:00 h, y sbado 8, 22:00 h / Friday 7th, 10:00 pm, and Saturday 8th, 10:00 pm
Ali yace moribundo en un hospital de Pars. Junto a l est Axelle. En 1954, Ali fue condenado a muerte por los franceses acusado de luchar por la independencia de Argelia. Axelle le conoci en 1962 en Argel, recin llegada de Francia y en medio de la euforia de la independencia. Tras la muerte de Ali, ella vuelve al pueblo argelino donde an vive la mujer de este. All, enfrentada con los signos de su pasado comn, escucha las promesas que resuenan a su alrededor. Una pelcula de Super 8 en blanco y negro relatada a tres voces: la de Axelle, la de Ali y la de Dounia, la directora. Ali is dying in a hospital in Paris and Axelle is next to him. In 1954, Ali was condemned to death by the French because of his fight for Algerias independence. In 1962, Axelle who just arrived from France, met him in Algiers in the context of the euphoria of the independence. After Alis death, Axelle goes back to the Algerian village where Alis wife still lives. There, faced with the signs of their common past, she listens to the echoing promises around her. A Super-8 black and white film told in three voices (Axelle, Ali and Dounia, the director).
Mencin Especial / Special Mention, FID Marseille (Francia / France, 2009)
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MUJERES XAVANTE SIN NOMBRE / UNNAMED XAVANTE WOMEN TIAGO CAMPOS TORRES, DIVINO TSEREWAH Betacam / 56 / 2009 / Brasil / Brazil V. O. XAVANTE, PORTUGUS / XAVANTE, PORTUGUESE. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
PRETAROUCA: TENEMOS QUE IR CON LOS TIEMPOS / PRETAROUCA WE HAVE TO GO WITH THE TIMES JOS COSTA BARBOSA Betacam / 84 / 2009 / Portugal V. O. PORTUGUS / PORTUGUESE. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Desde 2002, Divino Tserewah intenta producir una pelcula sobre el ritual de iniciacin femenino, que ya no se practica en ninguna otra aldea xavante. Sin embargo, hasta el momento, todos los intentos han sido interrumpidos. Asistimos a un debate entre jvenes y viejos sobre las dificultades y resistencias que se presentan a la hora de llevar a cabo la celebracin. Since 2002, Divino Tserewah has been trying to produce a film about the Xavante female initiation ritual, which is no longer performed in any other Xavante village. But since 2002, all the attempts have been interrupted. We witness young and elder people debate about the difficulties and resistance to carry out this celebration.
Durante dos aos, seguimos la construccin de una presa que suministrar agua a los pueblos vecinos y observamos su influencia en la vida de los habitantes de un aislado pueblecito de montaa, donde el trabajo rural sigue girando en torno a los animales. For two years, we follow the construction of a dam for supplying water to neighboring villages and the influence it has on the livelihood of the inhabitants of an isolated mountain village, where rural work still relies on animals.
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ROCAS DEL VINO / WINES ROCKS ERMANNO OLMI Betacam / 53 / 2009 / Italia / Italy V. O. ITALIANO / ITALIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
TABOU
TAB / TABOO ORANE BURRI Betacam / 52 / 2009 / Francia / France V. O. FRANCS / FRENCH. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Cinco son los motivos para beber: la llegada de un amigo, la excelencia del vino, la sed presente y la que vendr, y cualquier otro. Ermanno Olmi vuelve al cine documental y recorre valles, rocas vivientes y la cultura de las laderas de la Valtellina. There are five reasons for drinking: a friends arrival, the excellence of the wine, present and future thirst, and whatever else you care to add. Ermanno Olmi has returned to documentary filmmaking and makes a journey through valleys, living rocks and the culture of the Valtellina hillsides.
Thomas tiene 20 aos. A la edad en la que otros estn empezando su vida, l ha decidido acabar con ella. Apasionado del cine, filma sus ltimos meses y se sincera ante la cmara. Un legado que dejar a su amiga de la infancia, Orane Burri. Diez aos despus, convertida en cineasta, esta se atreve a sumergirse de nuevo en las imgenes de Thomas; para romper un tab Thomas is 20. At the age where others are just beginning their life, he has decided to end his. Passionate about films, he films the last months of his life, revealing himself in front of the camera. He will leave this legacy to a childhood friend, Orane Burri. Ten years later as a filmmaker, she dares to plunge into the images left by Thomas. To break a taboo
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LOS QUE FLOTAN SOBRE MADERAS / PLOTOGONI KIRILL MAKARENKOV Betacam / 109 / 2009 / Rusia / Russia V. O. RUSO / RUSSIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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Un grupo de leadores tala rboles en los fros bosques del norte de la regin rusa de Kostroma, a unos 800 kilmetros de Mosc. Para primavera ya habr 36 enormes balsas construidas. A finales de abril, la nieve se habr derretido y sus tripulantes podrn llevrselas. Estos hombres que flotan sobre maderas son los hroes de la pelcula. Construyen balsas grandes y pequeas y emprenden su viaje por el agua. Wood-cutting team fell trees in the cold in the northern woods of Russian Kostroma region, 800 kilometers from Moscow. 36 huge rafts are made by the springtime. The snow must vanish by the end of April and wood floaters will be able to take these rafts away then. Wood floaters are the heroes of the film. They prepare small and big rafts and begin their trip on the water.
En algn lugar en medio de una maraa de fronteras, un campo de refugiados. Gente atrapada en una situacin que se vuelve cada da ms absurda, intentando llevar una vida humana, con coraje, astucia e incluso humor. No vemos sus caras, no vemos los lugares de los que hablan; sin embargo, somos partcipes de su experiencia personal, mientras seguimos, lnea a lnea, los mapas que dibujan para mostrar la complejidad de lo que les rodea. Somewhere, in the middle of a tangle of borders: a refugee camp. People caught in a situation that becomes more absurd every day. Just trying to live a human life. With courage, with craftiness, with humour too. We dont see their faces. We dont see the places they talk about. Yet we are projected closely into their intimate experience, while following line by line the maps they are drawing to represent the complexity of what surrounds them.
Gran Premio (Competicin Francesa) / Grand Prix (French Competition), FID Marseille (Francia / France, 2009)
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REN BALLESTEROS la quemadura Naci en Temuco, al sur de Chile. Es psiclogo, especializado en el trabajo con nios de la calle, y msico. Ha realizado estudios de cine en la EICTV (Cuba) y en la Universit Paris VIII (Francia). Actualmente es residente en Le Fresnoy, Studio National des Arts Contemporains (Tourcoing, Francia).
Born in Temuco, southern Chile. He is both a psychologist specializing in working with children living on the street, as well as a musician. He did his film studies at the EICTV (Cuba) and at the Universit Paris VIII (France). He is currently residing in Le Fresnoy, Studio National des Arts Contemporains (Tourcoing, France).
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FILMOGRAFA FILMOGRAPHY Las estrellas (2008). ROSEMARIE BLANK job and the dutch free state Estudi en la Academia de Arte de Berln y vive en msterdam desde 1978. Ha sido miembro del Amsterdam Stadsjournaal, una productora holandesa fundada por cineastas, periodistas y acadmicos. En la actualidad dirige documentales, cortometrajes y largometrajes. Su pelcula Crossing Borders obtuvo un Becerro de Oro en 1994.
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She studied at the Art Academy in Berlin and has been living in Amsterdam since 1978. She worked at the Amsterdam Stadsjournaal, a Dutch production initiative of filmmakers, journalists and academics. She makes documentaries, short films and feature films. Her film Crossing Borders was awarded a Golden Calf in 1994. FILMOGRAFA FILMOGRAPHY Job And The Dutch Free State (2009), Schattenpaar (2006), The Comedians (2004), Almost Real Life (2003), Now Boarding (2001), Vaarwel Pavel (1999), Crossing Borders (1994), Transit Levantkade (1991), The Ants (1987), Divided Earth (1985), Living With A Rubbish Heap (1982). LUCA-MILENA BONSE avenida argentina Desde 2001 estudi en el Departamento de Cine y Televisin Documental de la Universidad de Mnich. Entre 2005 y 2006 estudi en la Universidad del Cine de Buenos Aires, donde realiz numerosos cortometrajes documentales y particip en varios proyectos Mitarbeit. Se licenci en 2009 con Avenida Argentina.
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Belgian director born in Saoula (Tipaza), Algeria in 1980. In 1997 she got a Advanced Studies Diploma in Art and Literature with a specialization in Film from the University of Aix-en-Provence. Between 1997 and 2002, she studied at the Institut National Suprior des Arts du Spectacle et des Techniques de Diffusion in Brussels. Between 2000 and 2001 she worked on her final documentary project Murs, a story about migration between Romania and Belgium, which was selected at the Songe dune Nuit DV Festival of Paris. In 2003 she worked as Production Manager on the film La musique, by Cedric LeRoy. FILMOGRAFA FILMOGRAPHY Murs (2001); Tant quon est l Nostalghia, Un tram (19972001). ORANE BURRI tabou Esta joven directora se licenci en el Instituto Internacional de Imagen y Sonido (Francia) en 2004. Dirige documentales, vdeos artsticos y pelculas de ficcin. Grain de Sable produce su primer documental, Tabou, con la colaboracin de RITA Productions y los canales de televisin RTBF y TSR.
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She is a young director who graduated in 2004 from the International Image and Sound Institute (France). She directs documentaries as well as art video and fiction films. The Grain de Sable production company produces her first documentary, Tabou, with the help of RITA Productions, and the television channels RTBF and TSR. FILMOGRAFA FILMOGRAPHY Armes fatales (en produccin / in production), Humour et confidences (2005). TIAGO CAMPOS TORRES, DIVINO TSEREWAH mulheres
Tiago Campos Torres naci en Belo Horizonte en 1982, donde vivi hasta los 15 aos, edad a la que se traslad a Brasilia para comenzar sus estudios de Antropologa en la UNB. Termin sus estudios en 2008 con una monografa
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Born in Paris (France) in 1969, after graduating in Political Science and doing a Masters in Cinematography at the University of the Sorbonne (Paris), he started working as a fiction film director with the short films Mort Dore and Omaha Beach. In 1998 he started taking an interest in social and political documentary film and made May Be Peace, a film about the end of the civil conflict in Northern Ireland. Between 2000 and 2004 he made a documentary series about AIDS for Doctors Without Borders, in addition to several music documentary for public French television and cable television. FILMOGRAFA FILMOGRAPHY Conexin francesa (2008), Ir y venir (2005), Yo soy salsa (2004), ARV... et aprs? (2004), Chantier Sida (2001), Craintes et Engagements (2001), Omaha Beach (2000), May Be Peace (1998), Mort Dore (1996), Le Cri du Cochon (1995). JOS COSTA BARBOSA pretarouca temos que ir com os tempos Ha trabajado ms de 25 aos como fotgrafo, en el campo del documental. Ha realizado un Mster en Estudios sobre Cine en la Universidade Lusfona de Humanidades e Tecnologias. Este es su primer largometraje.
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He has worked as a photographer for more than 25 years, specifically in the the field of documentary film. He did a Masters in Film Studies at the Universidade Lusfona de Humanidades e Tecnologias. This is his first feature film. PIPPO DELBONO la paura Autor, director y bailarn, es uno de los artistas de teatro ms originales y menos convencionales de Italia. Sus estudios teatrales comenzaron en una escuela tradicional, que abandon cuando conoci al actor argentino Pepe Robledo, que hua de la dictadura en su pas. En los ochenta, Delbono se traslad a Dinamarca, donde estudi las tcnicas de la danza oriental siguiendo un entrenamiento que continuara desarrollando en sucesivos viajes a la India, China y Bali. En 1985 comenz a trabajar en su primer montaje, Il tempo degli assassini, en el que defini el personal lenguaje teatral que caracteriza sus trabajos.
Born in 1944 in Nov Jicin (Neutitschein) in the Czechoslovakia annexed by Germany. Between 1966 and 1968, he studied at the German Film and Television Academy in West Berlin. From 1974 to 1984 he was the editor of the magazine Filmkritik in Munich and between 1993 and 1999 he was a visiting professor at the University of California, Berkeley. Since 1996 he has made over one hundred productions for television and cinema, including TV programs for children, documentaries, film essays and narrative films. Likewise he has done numerous individual and collective exhibitions in museums and galleries. In 2007 he participated in Documenta 12 in Kassel with Deep Play. In 2004 he was received
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Born in 1950, he is a Budapest-based media artist and independent filmmaker whose works have been exhibited worldwide. Since 1978 he has made more than thirty
Born in Moscow in 1974, he graduated from the VGIK (Russian State University of Film) in 2001. He worked for twelve years at the Museum of Applied Decorative Arts and Folklore of Russia. He has worked as a film critic and lecturing professor of Film History. FILMOGRAFA FILMOGRAPHY Kristina and Napoleon (en produccin / in production), Black Salt Curse (en produccin / in production), Black Salt (2007). SARAH MOON HOWE en cas de dpressurisation Licenciada en Psicologa Clnica, en 2003 dirigi Ne dites pas ma mre / Dont tell to my mother, un documental autobiogrfico sobre el strip-tease que result seleccionado en la 60 Mostra de Venecia (seccin Nuevos Territorios) y gan el premio especial del jurado en el Festival de Nyon y el Gran Premio al Mejor Documental del Festival Kino im Fluss de Saarbrcken. Ese mismo ao dirigi Hope para el concurso internacional Tourn Mont de cine en Super 8, donde gan el segundo premio. Entre 2006 y 2008 trabaj como bailarina en una coreografa realizada por Wim Vandekeybus.
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Born in Barcelona, she studied Fine Arts and Film Directing at the Center for Film Studies of Catalonia. She later did an intensive screenwriting course, a documentary screenwriting course, and an introduction to editing with Adobe Premiere. In 1998 she started working as a script. In 1999 she wrote and directed the short film Un globo imaginario, which was given the Plcido Award at the Film Noir International Festival of Manresa and was selected at the festivals of Sitges, lAlternativa of Barcelona, the Spanish Film Festival of Malaga, and the Iberoamerican Film Festival of Huelva, among others. FILMOGRAFA FILMOGRAPHY Espectculo de danza contempornea, msica y malabares con fuego (2000), Un globo en el armario (1999), 100 anys creant il.lusi (1999), Mamadou (1998). ANDRS JARACH el gaucho Andrs Jarach naci en Buenos Aires (Argentina) en 1972. En 1991 emigr a Francia, donde estudi Antropologa Visual en lcole des Hautes Etudes en Sciences Sociales (EHESS). Paralelamente a sus estudios trabaj como asistente de direccin en numerosos documentales y largometrajes de ficcin. Desde 1998 dirige documentales para la televisin.
She has a BS in Clinical Psychology. In 2003 she directed Ne dites pas ma mre / Dont tell to my mother, an autobiographical documentary about strip-tease, which was selected for the 60th Venice Film Festival (New Territories section) and won the special jury award at the Festival of Nyon and the Grand Prize for Best Documentary at the Kino im Fluss Festival of Saarbrcken. That same year she directed Hope for the international Tourn Mont Super8 film contest, where she won the second prize. Between 2006 to 2008 she worked as a dancer in a performance choreographed by Wim Vandekeybus. FILMOGRAFA FILMOGRAPHY Hope (2003), Ne dites pas ma mre / Dont tell to my mother (2003). ERMANNO OLMI rupi del vino Tras dirigir numerosos documentales, realiz su primer largometraje de ficcin, Il tempo si fermato (El tiempo se par), en 1959. Con Il posto (El puesto) obtuvo el Premio OCIC y el Premio de la Crtica en el Festival de Venecia (1961). Entre sus trabajos ms destacados figuran: Lalbero degli zoccoli (El rbol de los zuecos, 1978), ganadora de la Palma de Oro del Festival
Andrs Jarach was born in Buenos Aires (Argentina) in 1972. In 1991 he emigrated to France, where he studied Visual Anthropology at the lcole des Hautes Etudes en Sciences Sociales (EHESS). While doing his studies, he also worked as an assistant
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Born in Marseille in 1965, since 1989 he has written and made fiction and documentary films dealing with absence, with the forms of existence for those marginalized, disappeared and lost. Using these themes, he made, in particular, La espera (1996), a short fiction film without dialogues, Aqu y all, relato de un viaje inmvil (1998), a fictional wandering through the streets of Lisbon, and A pesar de la noche (2005), a portrait of a religious man of extraordinary religiousness. He is currently preparing two films: La vida a lo lejos (thanks to the grant Brouillon dun rve granted by the French Society of Authors and Publishers, SCAM), a full-length documentary about an isolated region of northern Portugal, and Una higuera sin hojas (with help on writing from the French National Film Center, the CNC, and production aide from the Regional Council of Burgandy), about the memory of the inhabitants of Belchite, an emblematic city of the collective amnesia that overtook Spain after the Civil War. FILMOGRAFA FILMOGRAPHY Una higuera sin hojas (en desarrollo / in development), La vida a lo lejos (en desarrollo / in development), A pesar de la noche (2004), Aqu y all, relato de un viaje inmvil (1998), La espera (1996). FREDERICK WISEMAN la danse - le ballet de lopra de paris Nacido en 1930, reside en Cambridge (Massachusetts) y es miembro del Colegio de Abogados de Massachussetts. Empez a hacer cine en 1967, tras aos trabajando como instructor y/o investigador en la Universidad de Boston, la Universidad de Brandeis y Harvard. En 1970 fund Zipporah Films, Inc., que contina distribuyendo sus documentales. Wiseman tambin ha producido abundante literatura y dado numerosas conferencias sobre cuestiones relacionadas con la aplicacin de la ley. En 2009, Documenta Madrid le dedic una amplia retrospectiva como homenaje a toda su carrera.
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An amateur in applied geography, visual artist, he belongs to a family of explorers. Born in 1974 in Germany, he creates and shows his work (books, video films, slide
Born in 1930, Wiseman is a Cambridge (Massachusetts) resident and member of the Massachusetts Bar Association who turned to filmmaking in 1967, after years as an instructor and/or researcher at Boston University, Brandeis University, and Harvard. In 1970 he founded Zipporah Films, Inc., which continues to distribute his documentaries.
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En la relacin con los personajes durante todo el proceso de realizacin de un film hay siempre una gran tensin, entre nuestro deseo y el de ellos, que estimula la creacin. Lo que se les pide es que nos toleren; lo que se les da es respeto. In the relationship with the characters during the entire process of making a film, there is always tension, between our desire and theirs, which stimulates creation. What is asked of them is to put up with us, what is given is respect. Carmen Guarini
Harutyun Khachatryan Wang Bing Hanns Eisler Gonzalo Herralde Tommaso Cotronei
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Informative Section
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Alanis Obomsawin es miembro de la nacin Abenaki y una de las directoras ms prominentes de Canad. Durante ms de cuatro dcadas ha dirigido documentales para el National Film Board of Canada que retratan la vida y las preocupaciones de los aborgenes de su pas y exploran cuestiones que nos incumben a todos. En 2009 fue homenajeada con una retrospectiva en el Festival Internacional Canadiense de Cine Documental Hot Docs, donde tambin se celebr el estreno mundial de su ltimo trabajo, el documental del NFB Professor Norman Cornett: Since when do we divorce the right answer from an honest answer?, un estimulante tributo a un educador excepcional y una reflexin sobre la naturaleza del aprendizaje. Su documental Gene Boy Came Home (2007) ofrece una mirada a la monstruosidad de la guerra a travs de los ojos de un superviviente, el veterano de la guerra de Vietnam Eugene Gene Boy Benedict, oriundo la comunidad natal de la directora: Odanak. El pueblo de Odanak y sus historias tambin constituyen el tema central de su galardonado largometraje documental de 2006 Waban-Aki: People from Where the Sun Rises. Su drama Sigwan (2005) narra la historia de una nia que recibe ayuda de los animales del bosque. Our Nationhood, un documental del NFB de 2003, es una crnica de la determinacin y tenacidad del pueblo listuguj migmaq a la hora de utilizar y manejar los recursos naturales de su tierra. Los migmaq de Esgenoopetitj (Burnt Church), Nuevo Brunswick, son los protagonistas de su documental de 2002 Is the Crown at War with Us?, una impactante mirada al conflicto de los derechos de pesca basada en una concienzuda investigacin. Rocks at Whiskey Trench, producida por el NFB en 2000, es la cuarta pelcula de su serie sobre la crisis de Oka de 1990. La primera, Kanehsatake: 270 Years of Resistance (1993), un largometraje que documenta el levantamiento mohawk de 1990 en Kanehsatake y Oka, le vali 18 premios internacionales. A este le siguieron My Name is Kahentiiosta (1995), una pelcula sobre una joven kahnawake mohawk que fue arrestada tras un enfrentamiento armado de 78 das; y Spudwrench Kahnawake Man (1997), que retrata a Randy Horne, un obrero de la comunidad mohawk de Kahnawake. Obomsawin empez su carrera como cantante, escritora y narradora de cuentos, y debut en el mundo del cine en 1971 con Christmas at Moose Factory, pelcula que escribi y dirigi. Desde entonces ha hecho ms de 30 documentales contundentes sobre cuestiones que afectan a los indgenas de Canad. Entre sus otras pelculas figuran: Incident at Restigouche (1984), un impactante retrato de la redada realizada por la polica de Quebec en la reserva migmaq; Richard Cardinal: Cry from a Diary of a Mtis Child (1986), el inquietante anlisis del suicidio de un adolescente, y No Address (1988), una mirada al mundo de los indigentes de Montreal. En 2008 fue galardonada con el Premio de Artes Escnicas del Gobernador General por su trayectoria artstica en el Rideau Hall de Ottawa. En mayo de ese mismo ao, se realiz una retrospectiva sobre su trabajo en el Museo de Arte Moderno de Nueva York. Obomsawin tambin protagoniza el primer libro sobre cineastas nativos, Alanis Obomsawin: The Vision of a Native Filmmaker, de Randolph Lewis, publicado en 2006 por la editorial de la Universidad de Nebraska.
Fue investida en 1983 como miembro de la Orden de Canad y diecinueve aos despus consigui ser nombrada oficial de dicha Orden. Entre sus mltiples galardones figuran el Premio del Gobernador General en la categora de Arte Audiovisual y Multimedia, el Premio Luminaria a la Trayectoria Profesional del Festival de Cine de Santa Fe, el Premio Pionero de la Asociacin Internacional de Documentales, el Premio Outstanding Achievement en la categora de Direccin, otorgado por el TWIFT (Mujeres en Cine y Televisin de Toronto), el Premio Nacional Aborigen de la Fundacin Canadiense de Arte Nativo y el Premio de la CSAA (Asociacin Canadiense de Sociologa y Antropologa) por su inestimable contribucin; este ltimo es el primer premio concedido por la CSAA a un candidato no acadmico en el campo de la sociologa y la antropologa. National Film Board of Canada Alanis Obomsawin, a member of the Abenaki Nation, is one of Canadas most distinguished filmmakers. For over four decades, she has directed documentaries at the National Film Board of Canada that chronicle the lives and concerns of First Nations people and explore issues of importance to all. In 2009, Ms. Obomsawin was honoured with an Outstanding Achievement Award Retrospective at the Hot Docs Canadian International Documentary Festival, which also hosted the World Premiere of her latest film, the NFB documentary Professor Norman Cornett Since when do we divorce the right answer from an honest answer? a thought-provoking tribute to an exceptional educator and a reflection on the true nature of learning. In her 2007 documentary Gene Boy Came Home, Obomsawin turns her camera on the ugliness of war through the eyes of one survivor, Vietnam War veteran Eugene Gene Boy Benedict, from her home community of Odanak. The people of Odanak and their stories are also the subject of her awardwinning 2006 feature documentary Waban-Aki: People from Where the Sun Rises. Obomsawins 2005 drama Sigwan focuses on a young girl who is aided by the animals of the forest. Her 2003 NFB documentary Our Nationhood chronicles the determination and tenacity of the Listuguj Migmaq people to use and manage the natural resources of their traditional lands. The Migmaq of Esgenoopetitj (Burnt Church), New Brunswick were the subject of her 2002 documentary, Is the Crown at War with Us?, a powerful and painstakingly researched look at the conflict over fishing rights. The 2000 NFB release Rocks at Whiskey Trench was Obomsawins fourth film in her series about the 1990 Oka crisis. The first, Kanehsatake: 270 Years of Resistance (1993), was a feature-length film documenting the 1990 Mohawk uprising in Kanehsatake and Oka, which has won 18 international awards. It was followed by My Name is Kahentiiosta (1995), a film about a young Kahnawake Mohawk woman who was
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arrested after the 78-day armed standoff, and Spudwrench Kahnawake Man (1997), profiling Randy Horne, a high-steel worker from the Mohawk community of Kahnawake. Obomsawin began her career as a singer, writer and storyteller, but dove into filmmaking in 1967 with Christmas at Moose Factory, which she wrote and directed. Since then, Obomsawin has made over 30 uncompromising documentaries on issues affecting Aboriginal people in Canada. Her other films include: Incident at Restigouche (1984), a powerful depiction of the Quebec police raid of a Migmaq reserve; Richard Cardinal: Cry from a Diary of a Mtis Child (1986), the disturbing examination of an adolescent suicide, and No Address (1988), a look at Montreals homeless. In 2008, Obomsawin was honoured with the Governor Generals Performing Arts Award for Lifetime Artistic Achievement at Rideau Hall in Ottawa. In May of that same year, she was also the subject of a special retrospective at the Museum of Modern Art in New York City. Obomsawin is the subject of the first-ever book on Native filmmakers, Alanis Obomsawin: The Vision of a Native Filmmaker, by Randolph Lewis, published in 2006 by the University of Nebraska Press. Following her investiture as a Member of the Order of Canada in 1983, Obomsawin was named an Officer of the Order of Canada in 2002. Her many honours also include the Governor Generals Award in Visual and Media Arts, the Luminaria Tribute for Lifetime Achievement from the Santa Fe Film Festival, the International Documentary Associations Pioneer Award, the Toronto Women in Film and Television (TWIFT) Outstanding Achievement Award in Direction, the Canadian Native Arts Foundation National Aboriginal Achievement Award, and the Outstanding Contributions Award from the Canadian Sociology and Anthropology Association (CSAA). The latter marks the first time that the CSAA has honoured someone who is not an academic in the field of sociology and anthropology. National Film Board of Canada
Mi preocupacin constante ha sido siempre la educacin, principalmente porque se nos priv de nuestra historia. El Gobierno canadiense cre escuelas especiales para educar a nuestros nios, pero con frecuencia estaban a ms de 1.000 kilmetros de donde vivan. Al principio las normas dictaban que los nios deban ser sacados de sus hogares a la edad de 5 o 6 aos para volver a los 18. En estas escuelas trabajaban media jornada e iban a clase la otra media. Se les prohiba hablar su idioma y se les obligaba a adoptar el estilo de vida del hombre blanco. Todo ello provoc el sufrimiento de muchas generaciones y la prdida de la identidad. Personalmente, era consciente de la magnitud de la injusticia y quera hacer algo para inducir al cambio. Al principio, la nica manera que se me ocurra de hacer que las cosas fueran de otra forma era presentarme en clases de nios de todas las edades para contar nuestra historia y hablarles de nuestras tradiciones. A lo largo de los aos he recorrido cientos de colegios. Ron Kelley, un director de la CBC, hizo un documental sobre mi trabajo y a raz de ello me invitaron a colaborar con la NFB como asesora. Pronto me di cuenta del poder de las imgenes y de las palabras. Estos son los motivos por los que empec a hacer pelculas y por los que contino hacindolas. Alanis Obomsawin My constant concern has always been education. Mainly because our history was denied. The Canadian government created special schools to educate our children but these schools were often located as far away as 700 hundred miles from where the child came from. At first the rules were that the children were removed from their homes at the age of 5 or 6 years old and would then return home at the age of 18. In these schools the children worked for half a day and were schooled for half a day. They were forbidden to speak their language and forced into the white mans way of life. This created hardship for many generations and a loss of identity. Personally, I knew there was something really wrong and I wanted to influence change. At first, the only way I could think that would make a difference was to be present in the classrooms of children of all ages to tell our history and sing to them words of our traditions. Over the years, I have toured in hundreds of schools. Ron Kelley, a film director for CBC, made a documentary on my work and from there I was invited to the NFB to work as a consultant. I quickly saw the power of images and the power of the word. These are the reasons I started and continue to make films. Alanis Obomsawin
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AMISK
ALANIS OBOMSAWIN Betacam / 40 / 1977 / Canad / Canada V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
INCIDENT AT RESTIGOUCHE
INCIDENTE EN RESTIGOUCHE ALANIS OBOMSAWIN 16 mm / 46 / 1984 / Canad / Canada V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
Dibujos infantiles con lpices de colores y la voz de una nia explicndolos son los ingredientes de un encantador estudio de la vida durante la Navidad en Moose Factory, un antiguo asentamiento de la costa de la baha James (Canad) poblado principalmente por familias indias. Los grandes y pequeos incidentes son ilustrados y descritos con candor infantil, transmitiendo al espectador una fuerte sensacin de encontrarse all mismo.
Un grupo de personas de Montreal organiz un festival de una semana con el fin de recaudar fondos para apoyar a los indios cree, que estaban a punto de perder sus tierras por el proyecto hidroelctrico de la baha James. La pelcula combina espectaculares representaciones de indios e inuit con las salas de reuniones de Mistassini, donde hablan de su pasado como una forma de defender su futuro. A week-long festival was organized by a group of Montreal residents to raise funds in support of the Cree Indians who stood to lose their land because of the James Bay hydro-electric project. This film alternates between spectacular performances by Indian and Inuit peoples and the meeting halls of Mistassini, where they talk of their past as a way of defending their future.
lbum de la mujer nativa que retrata una orgullosa sociedad matriarcal presionada durante siglos para que adopte normas y costumbres distintas. Todas las mujeres retratadas comparten la creencia de que la tradicin es una importante fuente de fortaleza frente al cambio. This film is an album of Native womanhood, portraying a proud matriarchal society that for centuries has been pressured to adopt different standards and customs. All of the women featured share a belief in the importance of tradition as a source of strength in the face of change.
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Childrens crayon drawings, and the voice of a little girl telling what the pictures are about, create a charming study of life at Christmas time in Moose Factory, an old settlement, mainly of Indian families, on the shore of James Bay (Canada). Incidents big and small are illustrated and described with childish candor, conveying to the viewer a strong sense of being there.
El 11 y el 20 de junio de 1981, la Polica Provincial de Quebec (QPP) hizo redadas en la reserva de Restigouche. El objeto de conflicto eran los derechos de pesca del salmn de los migmaq. Debido a que el salmn ha sido tradicionalmente una fuente de alimento e ingresos para este pueblo, la decisin del Gobierno de Quebec de restringir la pesca suscit consternacin y rabia entre los indios. La pelcula ofrece una perspectiva histrica de este asunto, documentos, noticias, fotografas y entrevistas, adems de las dos redadas policiales. Una entrevista con el exministro de Pesca de Quebec, Lucien Lessard, explicando los motivos de su decisin complementa la versin de los hechos de los migmaq. On June 11 and 20, 1981, the Qubec Provincial Police (QPP) raided Restigouche Reserve. At issue were the salmon-fishing rights of the Migmaq people. Because salmon has traditionally been a source of food and income for the Migmaqs, the Qubec governments decision to restrict fishing aroused consternation and anger among the Indians. This film provides a historical perspective on the issue, and documents, with newsclips, photographs and interviews, the two police raids. An interview with former Qubec Minister of Fisheries Lucien Lessard explaining the motives of his decision complements the Migmaqs account of the event.
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Mejor Mediometraje Documental / Best Semi-Documentary, San Francisco Annual American Indian Film Festival (Estados Unidos / USA, 1978) Gran Premio / Grand Prize, International Festival of Films on the Arctic (Dieppe, Francia / France, 1983) DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Wolf Koenig (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Ben Low SONIDO / SOUND Jacques Drouin MSICA / MUSIC Sinclair Cheecho, Jane Cheecho, Arthur Cheecho CINES PRINCESA Salas 9 y 7 / Theaters 9 and 7 Jueves 13, 19:30 h, y viernes 14, 19:30 h / Thursday 13th, 7:30 pm, and Friday 14th, 7:30 pm DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Bob Charlie, Buckley Petawabano SONIDO / SOUND Albert Canadian MONTAJE / EDITING Jeanette Lerman, Buckley Petawabano, Daniel Wapachee, Judith Merritt CINES PRINCESA Salas 9 y 7 / Theaters 9 and 7 Jueves 13, 19:30 h, y viernes 14, 19:30 h / Thursday 13th, 7:30 pm, and Friday 14th, 7:30 pm DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHYDon Virgo, Bob Riddell, Laval Fortier SONIDO / SOUND Louis Echaquan, Raymond Marcoux, Bob Charlie, Claude Hazanavicius, Christopher Tate, Bev Davidson, J. G. Normandin MONTAJE / EDITING John Laing CINES PRINCESA Salas 9 y 7 / Theaters 9 and 7 Jueves 13, 19:30 h, y viernes 14, 19:30 h / Thursday 13th, 7:30 pm, and Friday 14th, 7:30 pm DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Andy Thomson, Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Roger Rochat, Savas Kalogeras SONIDO / SOUNDYves Gendron, Bev Davidson MONTAJE / EDITING Alan Collins, Wolf Koenig FILMOTECA ESPAOLA Sala 2 / Theater 2 Domingo 9, 20:00 h / Sunday 9 th, 8:00 pm
NO ADDRESS
SIN DIRECCIN ALANIS OBOMSAWIN 16 mm / 56 / 1988 / Canad / Canada V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
Conmovedor tributo a Richard Cardinal, un adolescente mtis que se suicid en 1984. Contaba 4 aos cuando lo sacaron de su casa por problemas familiares, y pas el resto de sus 17 escasos aos entrando y saliendo de 28 casas de acogida distintas, hogares para grupos y albergues de Alberta. Este joven sensible y elocuente dej tras de s un diario, en el cual est basado este relato.
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A moving tribute to Richard Cardinal, a Mtis adolescent who committed suicide in 1984. He had been taken from his home at the age of four because of family problems, and spent the rest of his seventeen short years moving in and out of twenty-eight foster homes, group homes and shelters in Alberta. A sensitive, articulate young man, Richard Cardinal left behind a diary upon which this film is based.
Muchos indgenas van a Montreal en busca de sustento y una vida mejor. Llegan sin dinero, sin amigos, sin trabajo, y pronto pasan a formar parte de la poblacin indigente que vive en la calle. La directora nativa Alanis Obomsawin analiza la difcil situacin de estas personas, alejadas de sus valores tradicionales, alienadas del resto de la poblacin, que se debaten entre quedarse y volver a casa. Tambin ofrece una mirada al Montral Native Friendship Centre y otras organizaciones que intentan ayudar a estas personas. Many Native people come to Montral searching for jobs and a better life. They come without money, without friends, without jobs, and very quickly become part of the homeless population that lives on the streets. Native filmmaker Alanis Obomsawin examines the plight of these people dislocated from their traditional values, alienated from the rest of the population, torn between staying and returning home. She also looks at the Montral Native Friendship Centre and other organizations that are attempting to help these individuals.
Un caluroso da de julio de 1990, un enfrentamiento histrico puso los problemas de los nativos de Kanehsatake y el pueblo de Oka en el punto de mira internacional y la conciencia canadiense. Alanis Obomsawin estuvo 78 angustiosos das y noches filmando el enfrentamiento armado entre los mohawk, la polica de Quebec y el Ejrcito canadiense. El resultado es un retrato de las personas tras las barricadas, que ofrece una mirada a la inquebrantable determinacin de los mohawk de proteger su tierra. On a hot July day in 1990, an historic confrontation propelled Native issues in Kanehsatake and the village of Oka, Qubec, into the international spotlight and into the Canadian conscience. Alanis Obomsawin endured 78 nerve-wracking days and nights filming the armed stand-off between the Mohawks, the Qubec police and the Canadian army. The result is a portrait of the people behind the barricades, providing insight into the Mohawks unyelding determination to protect their land.
En el verano de 2000 Canad observaba con incredulidad cmo agentes del Ministerio de Pesca declaraban la guerra a los pescadores migmaq de Esgenoopetitj, o Burnt Church, Nuevo Brunswick. Por qu atacaran agentes del Gobierno canadiense a ciudadanos por ejercer derechos ratificados por el Tribunal Supremo del pas? Qu ocurri en Burnt Church? Obomsawin indaga en un radio amplio de la historia para proporcionar un contexto a lo sucedido en la baha de Miramichi. It was the summer of 2000 and Canada watched with disbelief as federal fishery officers appeared to wage war on the Migmaq fishermen of Esgenoopetitj, or Burnt Church, New Brunswick. Why would officials of the Canadian government attack citizens for exercising rights that had been affirmed by the highest court in the land? What happened at Burnt Church? Obomsawin casts her nets into history to provide a context for the events on Miramichi Bay.
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Mejor Documental / Best Documentary, San Francisco Annual American Indian Film Festival (Estados Unidos / USA, 1986) Premio Cinta Roja / Red Ribbon Award, New York Film and Video Festival (Estados Unidos / USA, 1988) Manzana de Cristal / Crystal Apple Award, Oakland National Education Film and Video Festival (California, Estados Unidos / USA, 1989) DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Alanis Obomsawin, Marrin Canell, Robert Verrall (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Roger Rochat SONIDO / SOUND Raymond Marcoux MONTAJE / EDITING Rita Roy MSICA / MUSIC Dario Domingues CINES PRINCESA Salas 9 y 7 / Theaters 9 and 7 Viernes 14, 17:00 h, y domingo 16, 20:30 h / Friday 14th, 5:00 pm and, Sunday 16th, 8:30 pm
Mejor Documental / Best Documentary, San Francisco Annual American Indian Film Festival (Estados Unidos / USA, 1989) Mencin de Honor / Honorable Mention, Columbus International Film and Video Festival (Estados Unidos / USA, 1989) DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Marrin Canell, Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Roger Rochat SONIDO / SOUND Jacques Drouin, Yves Gendron MONTAJE / EDITING Marrin Canell MSICA / MUSIC Dominique Tremblay FILMOTECA ESPAOLA Sala 2 / Theater 2 Domingo 9, 20:00 h / Sunday 9 th, 8:00 pm
Mejor Largometraje Documental / Best Long Documentary, MEDIAWAVE / Gyr International Festival of Visual Arts (Hungra / Hungary, 1997) Mejor Largometraje Documental / Best Documentary Feature Film, San Francisco Annual American Indian Film Festival (Estados Unidos / USA, 1993) Sestercio de Plata / Silver Sesterce, Visions du Rel, Festival International du Cinma Documentaire, Nyon (Suiza / Switzerland, 1993) Premio NFB de Largometraje Documental / NFB Feature Documentary Award, Vancouver International Film Festival (Canad / Canada, 1993) Mejor Montaje / Best Editing, Halifax Atlantic Film Festival (Canad / Canada, 1993) DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Wolf Koenig, Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Roger Rochat, Jean-Claude Labrecque, Philippe Amiguet, Susan Trow, Franois Brault, Barry Perles, Zoe Dirse, Jocelyn Simard, Andr-Luc Dupont, Savas Kalogeras MONTAJE / EDITINGYurij Luhovy MSICA / MUSIC Claude Vendette, Francis Grandmont CINE ESTUDIO CRCULO DE BELLAS ARTES Martes 11, 19:30 h, y jueves 13, 17:00 h / Tuesday 11th, 7:30 pm, and Thursday 13th, 5:00 pm
Mejor Pelcula Documental / Best Documentary Feature, San Francisco Annual American Indian Film Festival (Estados Unidos / USA, 2003) Premio Distincin de Documental / Documentary Award of Distinction, West Allis Indian Summer Festival (Estados Unidos / USA, 2003) DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Philippe Amiguet, Yoan Cart, Michel La Veaux MONTAJE / EDITING Alison Burns SONIDO / SOUND Raymond Marcoux, Ismal Cordeiro MSICA / MUSIC Francis Grandmont CINE ESTUDIO CRCULO DE BELLAS ARTES Mircoles 12, 22:00 h / Wednesday 12th , 10:00 pm CINES PRINCESA Sala 7 / Theater 7 Viernes 14, 22:00 h / Friday 14th, 10:00 pm
SIGWAN
ALANIS OBOMSAWIN Betacam / 13 / 2005 / Canad / Canada V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
PROFESSOR NORMAN CORNETT: SINCE WHEN DO WE DIVORCE THE RIGHT ANSWER FROM AN HONEST ANSWER?
PROFESOR NORMAN CORNETT: DESDE CUNDO SE DISTINGUE ENTRE RESPUESTA CORRECTA Y RESPUESTA HONESTA? ALANIS OBOMSAWIN Betacam / 81 / 2009 / Canad / Canada V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
Conmovedora historia de una nia a la que consuelan y aconsejan los animales del bosque. Aborda la cuestin de la exclusin y los prejuicios que existen en muchas comunidades de todo el mundo. The touching story of a young girl who is comforted and counselled by the animals of the forest. It addresses issues of exclusion and prejudice that exist within many communities worldwide.
Yvonne MSadoques se mece en su silla. Hace ms de un siglo que vive en la comunidad abenaki de Odanak y tiene un buen puado de historias que contar: El cura entraba con paso firme en nuestra casa y nos ordenaba que dejramos de bailar; deca que iramos al infierno. Hace una pausa con un destello de humor en los ojos: Pero sabe qu? La verdad es que no creo en el infierno, y usted?. Yvonne MSadoques rocks forward in her chair. Shes lived in the Abenaki community of Odanak for over a century and has no shortage of stories to tell. The priest would march into our home and order us to stop dancing. We were going to the devil, he said. She pauses, a humorous glint in her eye. But you know I dont really believe in the devil. Do you?
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Eugene Gene Boy (pronunciado Yeni Boy) Benedict fue criado por sus tos abuelos en la reserva india de Odanak, una hora y media al este de Montreal, Quebec, Canad. Se fue de casa a los 15 aos para trabajar en la construccin en el estado de Nueva York. A los 17 aos, desorientado y a la deriva, acept un reto y se alist en la Marina de los Estados Unidos. Unos meses despus estaba de camino al frente de la guerra de Vietnam. Gene Boy Came Home es la desgarradora y profundamente conmovedora historia de sus dos aos de servicio en Vietnam y su largo viaje de vuelta a Odanak. Eugene Gene Boy (pronounced Genie Boy) Benedict was raised by his Great Uncle and Aunt on the Odanak Indian Reserve an hour and a half east of Montreal, Qubec, Canada. He left home at age 15 to work in construction in New York State. At 17, adrift and beginning to lose his way, he accepted a dare and enlisted in the US Marines. A few months later, he was on his way to the frontlines of the Vietnam War. Gene Boy Came Home is the harrowing and deeply moving story of his two years of service in Vietnam and his long journey back to Odanak afterwards.
Empieza el nuevo semestre y un nuevo grupo de universitarios llena la clase del profesor Norman Cornett. Se despierta una curiosidad creciente mientras Cornett distribuye la letra de Another Brick in the Wall, para posteriormente dirigir a los alumnos en una entusiasta interpretacin del himno contracultural: No necesitamos que controlen nuestros pensamientos. No era exactamente lo que esperaban de la asignatura de Religin. A lo largo de los aos, el profesor Cornett se ha ganado el respeto y la lealtad de cientos de alumnos con su original visin de la enseanza. Sea una clase sobre cuidados paliativos, cuestiones relacionadas con los pueblos aborgenes o sobre la improvisacin en el jazz, desafa el conocimiento establecido a la vez que educa a los jvenes en un momento clave de sus vidas y les ensea a pensar por s mismos. Its the start of a new semester and a fresh crop of undergraduates is filing into Professor Norman Cornetts class. There is a growing sense of curiosity in the room as Cornett distributes the lyrics to Another Brick in the Wall and then leads the students in a rousing rendition of the counter-culture anthem: We dont need no thought control This is not what they were expecting from Religious Studies. Over the years Professor Cornett has won the respect and loyalty of scores of students with his unconventional approach to teaching. Whether its a lesson on palliative care, First Nations issues or jazz improvisation, he challenges accepted wisdom while nurturing young people at a pivotal moment in their lives and teaching them to think for themselves.
DIRECCIN / DIRECTION Alanis Obomsawin PRODUCCIN / PRODUCTION Adam Symansky, Robert Verrall (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Martin Duckworth MONTAJE / EDITING Alison Burns CINES PRINCESA Salas 9 y 7 / Theaters 9 and 7 Viernes 14, 17:00 h, y domingo 16, 20:30 h / Friday 14th, 5:00 pm, and Sunday 16th, 8:30 pm
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Mejor Documental / Best Documentary, Toronto Imagine Native Media Arts Festival (Canad / Canada, 2006) DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Philippe Amiguet MONTAJE / EDITING Alison Burns SONIDO / SOUND Raymond Marcoux MSICA / MUSIC Francis Grandmont CINE ESTUDIO CRCULO DE BELLAS ARTES Mircoles 12, 22:00 h / Wednesday 12th, 10:00 pm CINES PRINCESA Sala 7 / Theater 7 Viernes 14, 22:00 h / Friday 14th, 10:00 pm DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Philippe Amiguet MONTAJE / EDITING Alison Burns SONIDO / SOUND Raymond Marcoux, Ismal Cordeiro MSICA / MUSIC Francis Grandmont CINE ESTUDIO CRCULO DE BELLAS ARTES Martes 11, 22:00 h / Tuesday 11th, 10:00 pm CINES PRINCESA Sala 7 / Theater 7 Jueves 13, 22:00 h / Thursday 13th, 10:00 pm DIRECCIN, GUIN / DIRECTION, SCRIPT Alanis Obomsawin PRODUCCIN / PRODUCTION Alanis Obomsawin (National Film Board of Canada) FOTOGRAFA / CINEMATOGRAPHY Philippe Amiguet MONTAJE / EDITING Alison Burns SONIDO / SOUND Raymond Marcoux MSICA / MUSIC Francis Grandmont CINE ESTUDIO CRCULO DE BELLAS ARTES Martes 11, 22:00 h / Tuesday 11th, 10:00 pm CINES PRINCESA Sala 7 / Theater 7 Jueves 13, 22:00 h / Thursday 13th, 10:00 pm
HARUTYUN KHACHATRYAN
Seccin Informativa
Informative Section
Ya no se trata solo de enmarcar la realidad mediante su puesta en escena ms calculada; aqu se estudian tambin los ingredientes y los mtodos de coccin del entramado creativo. No estamos lejos, pues, ni del Vctor Erice de El sol del membrillo (1992), ni del Abbas Kiarostami de A travs de los olivos (1994). El hombre de la cmara desvela los mecanismos de su no-ficcin mientras proyecta resultados inesperados del ejercicio metalingstico. H. K. nos habla de la herida abierta ahogada en sangre de los continuos conflictos armados en Armenia a travs de algo tan nimio como el traslado de una escultura de un poeta ignoto de origen georgiano; nos descubre el artificio del retratista al mostrar a un documentalista increpar a un nio para que llore a cmara; nos narra un cuento pico de superacin a travs de los ojos de un buey malherido, testigo mudo, insondable y minimalista de todo aquello que le rodea. Aprehender la mirada de H. K. no solo nos descubre una parte del mundo desconocida, sino que nos ensea ms de nosotros mismos de lo que quizs quisiramos descubrir. Alejandro G. Calvo
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stripped of action, dramaturgy and nineteenth century narrative. An accounting of the day-to-day in a ghost town inhabited by increasingly fading ghosts, in the more anthropological part of his film work (to the two mentioned earlier, the medium-length Kond (1987) must also be added), the filmmaker-craftsman captures still shots of the dullest parts (separately and in segments) of human tasks. More than narrating interstices, his shots capture a lost yet contemporary time. More than people, what the camera seizes is knowable otherness: figures whipped by reality, who no longer belong anywhere, to any single place. But there is more, much more. H. K.s work possesses two inseparable and at the same time reflective parts; a perfect example of theory and praxis, or of how the scientific method can offer us a visual glimpse of the transmutation of the vade mecum into the final outcome of the equation. In the fine empirical line joining White Town (1988), Documentarist (2003) and Return of the Poet (2005) lies the key to understanding the achievements in his most purified work. Films of experimentation, of searching, of continuous crafting, these films reveal this Armenian director as a man tied to his camera, an end-of-the-century Dziga Vertov both in the poetic sense and in the political. And it is not just a question of his framing of reality through highly calculated mis-en-scene; here there are also studies in the ingredients and cooking instructions for the creative process; we are not far from either Vctor Erices El sol del membrillo (1992) or Abbas Kiarostamis Through the Olive Grove (1994). The man behind the camera reveals the mechanisms of his non-fiction while projecting unexpected results of meta-linguistic exercise. H. K. tells us of the open wound drowning in the blood of Armenias constant armed conflicts through something as insignificant as moving of a sculpture of a forgotten poet of Georgian origin; we see the artifice of the portrait artist by showing a documentary-maker rebuking a boy so he will cry on camera; he tells us an epic story of overcoming through the eyes of a wounded ox, a silent, unfathomable and minimalist witness of everything around him. To comprehend H. K.s vision is not only to discover a part of the unknown world, but also to be shown more of ourselves than we perhaps might want to discover. Alejandro G. Calvo
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Los personajes son materia prima y sustancia. The characters are the raw material and substance. Gustavo Galeano
KOND
HARUTYUN KHACHATRYAN 35 mm / 40 / 1987 / Armenia SIN DILOGOS / WITHOUT DIALOGUES
SPITAK QAGHAQ
CIUDAD BLANCA / WHITE TOWN HARUTYUN KHACHATRYAN 35 mm / 37 / 1988 / Armenia SIN DILOGOS / WITHOUT DIALOGUES
VAVERAGROGH
DOCUMENTALISTA / DOCUMENTARIST HARUTYUN KHACHATRYAN 35 mm / 62 / 2003 / Armenia V.O. ARMENIO / ARMENIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
Los habitantes de Kond, uno de los barrios ms antiguos de Yerevan, azotado por graves problemas sociales, fueron objeto de una observacin a largo plazo: la maana, el da, la tarde, la noche; despertarse, tareas diarias, trabajo, comida, ocio, sueos. Pero tambin bodas y entierros, incendios y el nacimiento de un nio, el ciclo completo de la existencia humana. Y esta rutina relativamente general se completa con fragmentos de la vida real, que se presentan al espectador desde distintas perspectivas.
Akhalkalaki, ciudad de Georgia habitada por armenios, es retratada como un modelo burlesco y a la vez trgico de ciudad sovitica. Rodada en 1988, tan solo unos aos antes de la cada de la Unin Sovitica, predijo en cierto modo los inminentes conflictos internos y el auge de los movimientos nacionales. Akhalkalaki, a town in Georgia inhabited by Armenians, is depicted as burlesque and, at the same time, tragic model of a Soviet town. Shot in 1988, only a few years before the collapse of the USSR, in a way predicted the impending national conflicts on one side and the rise of the national movements on the other.
Durante muchos aos, la nacin armenia, al no tener categora de Estado, concentraba todos sus valores en la familia, convirtindola en el centro del espritu nacional. Cuando los protagonistas de la pelcula llegaron al norte de Armenia, no venan precisamente del paraso. Eran refugiados que huan de la violencia. Ambos eran jvenes, ella estaba embarazada. Crearon un mundo a su alrededor y, al hacerlo, se crearon a s mismos. For many years the Armenian nation, having no statehood, concentrated all its values on the family and made it the center of the national spirit. When the main characters of the film arrived in northern Armenia, they were hardly coming from paradise. They were refugees fleeing violence. Both were young. The woman pregnant. They created a world around themselves, and in so doing, created themselves.
Drama en varios captulos. El protagonista, un director de cine documental, y su pequeo equipo analizaron y filmaron diversas historias. La pelcula est compuesta por materiales diversos que ofrecen una mirada a la Armenia de mediados de los 90: la tragedia del periodo de transicin. Desesperacin que engendra esperanza. Documentary drama in several chapters. The main character, a documentary film director, and his small crew shoot and look at several different stories. The film is composed of a variety of materials providing an account of Armenia in mid 90s. The tragedy of the transition period. Despair that gives birth to hope.
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The inhabitants of Kond, one of the oldest districts of Yerevan, lashed by serious social problems, became the real object of longterm observation. The morning, afternoon, evening, night; waking up daily chores work lunch leisure dream. But also a wedding and a burial, a fire and the birth of a child the entire cycle of human existence. And this relatively general routine is filled with fragments of real life, which are presented to the viewer from a variety of perspectives.
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Primer Premio / First Prize, Moscow Young Filmmakers Festival (Rusia / Russia, 1987) Mejor Documental / Best Documentary, Festival of Festivals (Kazajistn / Kazakhstan, 1988) Mejor Documental / Best Documentary, Sverdlovsk Documentary Film Festival (Rusia / Russia, 1988) Premio Mejor Pelcula del Ao / Best Film of the Year Prize, Tbilisi Film Festival (Georgia, 1988) DIRECCIN, GUIN / DIRECTION, SCRIPT Harutyun Khachatryan PRODUCCIN / PRODUCTION Hayfilm/Armenfilm Studio FOTOGRAFA / CINEMATOGRAPHY Armen Mirakyan SONIDO / SOUND Anahit Kesayan MSICA / MUSICVagharshak Zakaryan CINES PRINCESA Sala 9 / Theater 9 Jueves 13, 17:00 h / Thursday 13th, 5:00 pm CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 14, 20:00 h / Friday 14th, 8:00 pm
Segundo Premio / Second Prize, Nyon International Documentary Film Festival (Suiza / Switzerland, 1989) DIRECCIN / DIRECTION Harutyun Khachatryan PRODUCCIN / PRODUCTION Hayfilm/Armenfilm Studio GUIN / SCRIPT Harutyun Khachatryan, Mikayel Stamboltsyan FOTOGRAFA / CINEMATOGRAPHY Armen Mirakyan SONIDO / SOUND Anahit Kesayan MSICA / MUSIC Emma Mihranyan CINE ESTUDIO CRCULO DE BELLAS ARTES Jueves 13, 22:00 h / Thursday 13th, 10:00 pm CINES PRINCESA Sala 7 / Theater 7 Sbado 15, 20:30 h / Saturday 15th, 8:30 pm
Premio del Jurado Ecumnico / Ecumenical Jury Award, St. Petersburg International Festival Message to Man (Rusia / Russia, 1993) Elefante Blanco / White Elephant, Premio de la Crtica Rusa / Russian Film Critics Guilds Award, 1993 Premio Especial / Special Prize, Gyor International Festival (Hungra / Hungary, 1993) DIRECCIN / DIRECTION Harutyun Khachatryan PRODUCCIN / PRODUCTION Hayfilm/Armenfilm Studio GUIN / SCRIPT Mikayel Stamboltsyan, Harutyun Khachatryan FOTOGRAFA / CINEMATOGRAPHY Artyom Melkumyan SONIDO / SOUND Anahit Kesayan MSICA / MUSIC Avet Terteryan CINE ESTUDIO CRCULO DE BELLAS ARTES Mircoles 12, 19:30 h / Wednesday 12th, 7:30 pm CINES PRINCESA Sala 9 / Theater 9 Viernes 14, 22:00 h / Friday 14th, 10:00 pm
Mencin Especial del Jurado / Jurys Special Mention, Karlovy Vary International Film Festival (Repblica Checa / Czech Republic, 2003) Mejor Pelcula / Best Film, Premios de la Crtica Armenia / Armenian Film Critics Awards, 2003; Mejor Director / Best Director, Arsenal International Film Forum (Letonia / Latvia, 2004) DIRECCIN / DIRECTION Harutyun Khachatryan PRODUCCIN / PRODUCTION Harutyun Khachatryan, Gevorg Gevorgyan, (Hayfilm / Armenfilm Studio) GUIN / SCRIPT Harutyun Khachatryan, Mikayel Stamboltsyan, Valeri Gasparyan FOTOGRAFA / CINEMATOGRAPHYVahagn Ter-Hakobyan, Armen Mirakyan, Levon Petrosyan SONIDO / SOUND Anahit Kesayan CINES PRINCESA Sala 9 / Theater 9 Jueves 13, 17:00 h / Thursday 13th, 5:00 pm CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 14, 20:00 h / Friday 14th, 8:00 pm
POETI VERADARDZE
RETORNO DEL POETA / RETURN OF THE POET HARUTYUN KHACHATRYAN 35 mm / 84 / 2006 / Armenia V. O. ARMENIO / ARMENIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
BORDER (SAHMAN)
FRONTERA HARUTYUN KHACHATRYAN 35 mm / 82 / 2009 / Armenia, Pases Bajos / Armenia, The Netherlands SIN DILOGOS / WITHOUT DIALOGUES
Jivani fue un poeta del siglo xix nacido en Akhalkalak, una regin de Georgia poblada de armenios en la que un siglo despus nacera el director Harutyun Khachatryan. Esta obra de sensualidad tctil describe nominalmente la creacin paso a paso de una estatua en honor del poeta, que acaba viajando en un camin por la campia armenia hasta el pueblo natal de Jivani. Un viaje que se transforma en una observacin potica del pas y evoca el alma y la vida diaria de su gente.
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Jivani was a 19th century poet born in Akhalkalak, a region in Georgia populated with Armenians, where a century later director Harutyun Khachatryan was born. A work of tactile sensuality, it nominally depicts the step-by-step creation of a monumental statue of a poet that ends up traveling on the back of a truck through the Armenian countryside en route to Jivanis birthplace. This journey turns into a poetic observation of the country and evokes the soul and daily life of its people.
Ambientada en el periodo postsovitico, despus del conflicto armenio-azer, gira en torno a un pueblo en el que un benefactor americano de origen armenio abre un comedor benfico y una granja donde trabajan refugiados de diferentes procedencias. Un bfalo, cuyos ojos sern los nuestros, sirve de hilo conductor de esta historia que empieza cuando los habitantes del pueblo encuentran al animal malherido y lo llevan a la granja, donde es visto con recelo y acosado por los perros guardianes, los animales recogidos de aqu y all, y por los granjeros y refugiados, hastiados de la guerra y embrutecidos por el incesante martilleo de las explosiones. Set in the post-Soviet period, after the Armenian-Azeri conflict. A village in which an American benefactor of Armenian descent opens a charitable canteen and farm where refugees from different places work. A buffalo, through whose eyes we see, serves as the storys theme, which begins when the villagers find the animal stuck in a ditch, half alive. It is regarded with distrust and harassed by the guard dogs, by the animals gathered from here and there, and by the farmers and refugees weary from war, their senses dulled from the barrage of constant explosions.
Premio Platino / Platinum Award, WorldFest Houston (Estados Unidos / USA, 2009) Mejor Largometraje Documental / Best Feature Documentary, Syracuse International Film Festival (Estados Unidos / USA, 2009) Mejor Pelcula de No-Ficcin / Best Non-Fiction, Festival Internacional de Cine de Gijn (Espaa / Spain, 2009) DIRECCIN / DIRECTION Harutyun Khachatryan PRODUCCIN / PRODUCTION Harutyun Khachatryan, Gevorg Gevorgyan, Denis Vaslin (Armenian National Film Centre, Golden Apricot FCD, Volya Films BV con el apoyo del / with the support of Hubert Bals Fund) GUIN / SCRIPT Harutyun Khachatryan, Mikayel Stamboltsyan FOTOGRAFA / CINEMATOGRAPHYVrezh Petrosyan SONIDO / SOUND Anahit Kesayan MSICA / MUSIC Avet Terteryan CINE ESTUDIO CRCULO DE BELLAS ARTES Jueves 13, 22:00 h / Thursday 13th, 10:00 pm CINES PRINCESA Sala 7 / Theater 7 Sbado 15, 20:30 h / Saturday 15th, 8:30 pm
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DIRECCIN / DIRECTION Harutyun Khachatryan PRODUCCIN / PRODUCTION Harutyun Khachatryan, Gevorg Gevorgyan (Hayfilm / Armenfilm Studio) GUIN / SCRIPT Harutyun Khachatryan, Mikayel Stamboltsyan FOTOGRAFA / CINEMATOGRAPHY Artyom Melkumyan, Armen Mirakyan, Ashot Movsisyan, Vrezh Petrosyan SONIDO / SOUND Anahit Kesayan MSICA / MUSIC Avet Terteryan CINES PRINCESA Sala 7 / Theater 7 Jueves 13, 19:30 h, y domingo 16, 22:45 h / Thursday 13th, 7:30 pm, and Sunday 16th, 10:45 pm
El proceso de creacin documental es una experiencia vital adems de creativa. The creative process in documentary filmmaking is a both vital and creative experience. Patricia Delso Lucas
WANG BING
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Quizs nos apresuramos a pensar que, con la llegada del cine digital, se estaba produciendo el advenimiento final de un nuevo cine directo. Una poca, se pensaba, en la que la escritura cinematogrfica tendera a cero, hasta casi desaparecer, para dar paso a un cine cada vez ms limpio, cada vez ms real, en el que la intervencin (ay, la tan denostada intervencin) del cineasta terminara por desaparecer. Algo as ocurri con Wang Bing. Su debut con Tie Xi Qu (2003), una pelcula de nueve horas en la que, aparentemente, el director se limitaba a hacernos llegar, como si la cmara fuese solamente un ojo de vigilancia, la realidad de una zona industrial en descomposicin, apuntal la idea de Wang Bing como un mero testigo, impvido y casi asptico, y de su cine como lo ms parecido a la vida en pantalla. Habra llegado ya el momento en que cine y vida correran a la par, sin ms diferencias que la pantalla que los separa? Las catorce horas, que queran ser muchas ms, de su Crude Oil (2008), o la aparente sencillez de Largent du charbon (2009) as parecan apuntarlo: la vida en directo, por fin. Y quizs no est de ms recordar las palabras de Chris Marker cuando sealaba que el acrnimo de digital video (DV) coincida tambin con las siglas de Dziga Vertov, s, el creador de la teora del cine-ojo, pero sobre todo el autor de la imprescindible, y no siempre bien reivindicada, El hombre de la cmara, quizs la primera pelcula apologtica de la capacidad intervencionista del director-camargrafo en la realidad. Por eso es importante vincular, aunque sea una hereja histrica, el cine de Wang Bing, rodado hasta ahora en pequeas cmaras DV, con la herencia del primer DV: Dziga Vertov. Porque en el cine de Wang Bing, donde l es una presencia en apariencia silenciosa, y donde muchos han querido ver una progresiva desaparicin del autor, no hay sino uno de los exponentes mximos de un nuevo cine documental, nacido al calor de las tecnologas digitales, que desmonta la ortodoxia documental desde, por ejemplo, un gesto tan bsico como el que sostiene su pelcula He Fengming (2007): convertir la pelcula en un testimonio, en un rostro parlante. Nada ms lejos, pues, de la aspiracin documental clsica (una ventana a la realidad, una mirada limpia) que la de ceder el relato de la historia a la voz de una persona, nica, y fsicamente reconocible, palpable en su rostro arrugado; la anttesis de la escritura cero y la consagracin de la realidad como un discurso construido a partir de miradas. Gonzalo de Pedro Amatria It might have been hasty of us to think that the introduction of digital film would bring with it the final arrival of a new direct cinema. It was thought to be a period in which film writing would plummet until it almost disappeared, to make way for an increasingly clean cinema, increasingly real, in which intervention (ay, the ever-cursed intervention) by the filmmaker would come to an end altogether. Something like that happened with Wang Bing. His nine-hour debut film, in which the director apparently limited himself to bringing us there, as though the camera were just an overseeing eye, the reality of an
industrial area in decay, Tie Xi Qu (2003) underscored Wang Bings idea of being a mere witness, dauntless and nearly aseptic, and of his film as what most closely mirrors life on screen. Had the moment arrived when film and life would walk hand in hand, with no longer any differences other than the screen separating the two? The fourteen hours, which were supposed to be more, of Crude Oil (2008), and the apparent simplicity of Largent du charbon (2009), seemed to aim for that: life as is, direct, finally. And it might not be too much to remember Chris Markers works when pointing out that the Digital Video acronym (DV) also coincides with the initials of Dziga Vertov, indeed, the creator of the cine-eye, but more importantly the director of the essential and sometimes underrecognized The Man with the Camera, perhaps the first film to defend the interventionist capacity of the director-camera operator into reality. For this reason, it is important to associate (even if it is historical heresy) Wang Bings cinema, so far filmed on small DV cameras, with the legacy of the first DV: Dziga Vertov. Because in Wang Bings cinema, where he is an apparently silent presence, and where many have wanted to see a progressive disappearance of the director, there is instead one of the greatest exponents of a new kind of documentary film, one born out of digital technology, that strips apart documentary orthodoxy from, for example, such a basic notion as the one behind his film He Fengming (2007): to make film a testimony, a talking face. And therefore, nothing further from the classic documentary (a window to reality, a clean view) film aspiration of handing the storytelling over to a single, physically recognizable persons voice, someones tangible, wrinkled face; the antithesis of zero writing and the established view of reality as a discourse built up out of view points. Gonzalo de Pedro Amatria
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HE FENGMING
FENGMING, CRNICA DE UNA MUJER CHINA / FENGMING, A CHINESE MEMOIR WANG BING Betacam / 186 / 2007 / China V. O. CHINO / CHINESE. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
CRUDE OIL
CRUDO / CAIYOU RIJI WANG BING DVD / 840 / 2008 / China, Pases Bajos / China, The Netherlands V. O. CHINO / CHINESE. SUBT. INGLS / ENGLISH
El barrio de Tie Xi, en la ciudad de Shenyang, cerca de la frontera norcoreana, se hunde econmicamente por el cierre progresivo de sus fbricas. Cerca de un milln de obreros se van quedando sin trabajo o viven bajo presin hasta el desmantelamiento total. La msera barriada obrera es derruida y sus vecinos desalojados en medio de todo tipo de conflictos. La pelcula, que tard ms de un ao en rodarse, recoge la decadencia y los vestigios de una poca de febril actividad, en tres partes: Herrumbre, Vestigios y Rales.
Invierno en China. Al anochecer, una mujer envuelta en una manta roja camina lentamente por una barriada perifrica en direccin a su casa. Una vez en el saln, Fengming se sienta en su butaca y comienza a recordar. Sus recuerdos nos transportan hasta el ao 1949. Comienza entonces un viaje a travs de ms de 30 aos de su vida, que son, al mismo tiempo, 30 aos de la historia de China. Winter in China. At dawn a woman draped in a red blanket walks slowly through a neighborhood on the way home. Once in her living room, Fengming sits in an armchair and starts recalling. Her memories take us back to 1949. That was when an over 30 year journey of her life started that, at the same time, shows 30 years in the history of China.
A raz de una propuesta hecha por el Festival de Rterdam, Wang Bing film durante tres jornadas a los trabajadores de una explotacin petrolfera situada en el desierto del Gobi, Mongolia, de lo que resultaron 14 horas en las que el director muestra las condiciones de vida y el devenir cotidiano en dicha plataforma. As a result of a proposal made by the Rotterdam Film Festival, Wang Bing filmed the workers of an oil exploration site in the Mongolian Gobi desert for three days, out of which came fourteen hours of footage in which the director shows the living conditions and daily developments on that platform.
En la ruta del carbn que va de las minas de Shanxi al gran puerto de Tianjin, los conductores de camiones de cien toneladas viajan constantemente de un lado para otro, da y noche. En el borde de la carretera, prostitutas, policas, mafiosos de tres al cuarto, dueos de talleres, mecnicos On the coal road linking the Shanxi mines with the large port of Tianjin, in northern China, the drivers of 100-ton trucks shuttle endlessly to and fro, day and night. On the roadside: prostitutes, cops, petty racketeers, garage owners, mechanics...
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The Tie Xi neighborhood in the city of Shenyang, near the North Korean border is economically crushed by the gradual closing of its factories. Around a million workers have been put out of work and are oppressed to the point ruin. This squalid working class area is being torn down and the residents driven away by the many conflicts. This film captures the decline and remains of a period of feverish activity. The documentary took over a year to film and is divided into three parts: Rust, Remnants and Rails.
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Gran Premio / Grand Prix, Festival International du Documentaire de Marseille (Francia / France, 2003) Premio Robert y Frances Flaherty / Robert & Frances Flaherty Prize, Yamagata International Documentary Festival (Japn / Japan, 2003) Primer Premio / First Prize, Festival Internacional de Cine Contemporneo de la Ciudad de Mxico (Mxico / Mexico, 2005) DIRECCIN, FOTOGRAFA / DIRECTION, CINEMATOGRAPHY Wang Bing PRODUCCIN / PRODUCTION Wang Bing, Zhu Zhu MONTAJE / EDITING Adam Kerby, Wang Bing SONIDO / SOUND Chen Chen, Bing Hang PARTE I / PART 1 240 CINE ESTUDIO CRCULO DE BELLAS ARTES Sbado 15, 16:00 h / Saturday 15th, 4:00 pm PARTE II / PART 2 176 CINE ESTUDIO CRCULO DE BELLAS ARTES Sbado 15, 20:30 h / Saturday 15th, 8:30 pm PARTE III / PART 3 135 CINE ESTUDIO CRCULO DE BELLAS ARTES Domingo 16, 16:00 h / Sunday 16th, 4:00 pm Segundo Premio de Creacin Documental / Original Documentary Second Prize, Documenta Madrid 09 (Espaa / Spain, 2009) DIRECCIN, GUIN, FOTOGRAFA, SONIDO / DIRECTION, SCRIPT, CINEMATOGRAPHY, SOUND Wang Bing PRODUCCIN / PRODUCTION Serge Lalou, Hlne Cerutti MONTAJE / EDITING Catherine Rascon CINE ESTUDIO CRCULO DE BELLAS ARTES Domingo 16, 18:30 h / Sunday 16th, 6:30 pm
DIRECCIN, FOTOGRAFA / DIRECTION, CINEMATOGRAPHY Wang Bing PRODUCCIN / PRODUCTION Francesca Feder, Lihong K., Louise Prince GUIN / SCRIPTYang Wang MONTAJE / EDITING Adam Kerby SONIDO / SOUND Shen Jinguang CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 14, 22:00 h / Friday 14th, 10:00 pm
DIRECCIN / DIRECTION Wang Bing PRODUCCIN / PRODUCTION Li Hong, Wang Bing FOTOGRAFA / CINEMATOGRAPHY Huang Wenhai, Wang Bing, Zhang Yuedong MONTAJE / EDITING Guo Hengqi SONIDO / SOUND Xiao He ARCHIVO DOCUMENTA / DOCUMENTA ARCHIVES Disponible para visionados privados / Available for individual viewings at the Documenta Archive
HANNS EISLER
Seccin Informativa
Informative Section
para el cine, y algunos, pocos, artculos especializados componen la exigua recepcin de Hanns Eisler en espaol. De ah el imprescindible agradecimiento a Filmoteca Espaola, al Goethe Institut, a la Internationale Hanns Eisler Gesellschaft y a los organizadores del Festival Documenta Madrid por esta iniciativa que contribuye a normalizar esa recepcin y a que el conocimiento de la obra de Eisler ocupe el lugar que merece. Por primera vez se podrn ver en un solo ciclo pelculas que haba que buscar y rebuscar y otras que no se haban podido ver hasta ahora. Muchos aos despus, Eisler vuelve a Madrid. Antonio Notario Ruiz Universidad de Salamanca
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in Spanish culture. His affinity for communism has not benefited him, nor has the fact that he spent his last years in the former Democratic Republic of Germany, nor that he died long before the beginning of the Spanish transition to democracy. Which is why, as pointed out by the late lamented ngel Fernando Mayo in the prologue to the only book on Eisler translated into Spanish, Albrecht Betzs Hanns Eisler: Msica de un tiempo que est hacindose ahora mismo, it is almost impossible to even find Eislers musical work in Spanish shops. A partial Cuban translation of some texts, Escritos tericos: materiales para una dialctica de la msica, some of Breixo Viejos work, which includes the translation of the book written in collaboration with Adorno and Eisler while in exile in California, Composicin para el cine, and a few, not many, specialized articles make up the meager reception Hanns Eisler has had in Spanish. And so thanks must be given to the Filmoteca Espaola, the Goethe Institute and the Internationale Hanns Eisler Gesellschaft and the staff at the Documenta Madrid Festival for this initiative, which helps to normalize his presence and gives Eislers work the place that it deserves. For the first time, we will be able to see films that one used to have to search and search for, and others that could not be seen until now. Many years later, Eisler returns to Madrid. Antonio Notario Ruiz University of Salamanca
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Hacer un documental es para m una manera de ir al encuentro con los otros. To make a documentary is for me a way of going to meet others. Sophie Bolze
REGEN
LLUVIA / RAIN JORIS IVENS, MANNUS H. K. FRANKEN 35 mm / 12 / 1932 / Pases Bajos / The Netherlands SIN DILOGOS / WITHOUT DIALOGUES
NIEUWE GRONDEN
NUEVA TIERRA / NEW EARTH JORIS IVENS 35 mm / 30 / 1933 / Pases Bajos / The Netherlands V. O. HOLANDS / DUTCH. SUBT. ESPAOL / SPANISH
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Poema flmico sobre la irrupcin y el final de un aguacero en msterdam, ciudad que, al igual que muchas otras capitales, como Mosc, Berln, Pars o Nueva York, fue retratada por directores de vanguardia de los aos 20. Es una obra impresionista compuesta segn pautas musicales. Ivens tard ms de dos aos en filmar, en distintos lugares de la ciudad, los suficientes chubascos para poder hacer la pelcula. En 1932-1933, Helen van Dongen hizo una versin sonora de Regen con msica de Lou Lichtveld (seudnimo de Albert Helman). Ms adelante, la pelcula inspirara a otros msicos, como Hanns Eisler en 1941. A film poem about the rise and demise of a rain shower in Amsterdam, as many capitals were filmed by avant-garde filmmakers in the 1920s (a.o. Moskow, Berlin, Paris, New York). The film is impressionistic and composed following musical guidelines. It took Ivens over two years to shoot enough rain showers on different locations in the city to be able to compose this film. In 1932/33 Helen van Dongen made a sound version of Rain with music by Lou Lichtveld (alias from Albert Helman). More composers would later be inspired to write music for this film, like Hanns Eisler in 1941.
La organizacin juvenil del Partido Comunista de la Unin Sovitica, el Komsomol, como parte del primer plan quinquenal de Stalin, se entrega a la fabricacin de una planta de acero que sea capaz de desafiar a sus rivales occidentales. Magnitogorsk, en los Urales, donde se construye en pocos aos una ciudad industrial de ms de 200.000 habitantes, y la cuenca del Obi, Siberia, son el escenario elegido para este tributo a los logros de aquellos voluntarios, que sin embargo no muestra el lado oscuro de la historia: los miles de prisioneros de los gulags que fueron sometidos a trabajos forzados bajo unas condiciones inhumanas. As part of the Stalins first five year plan, the Soviet Unions Communist youth worker organisation Komsomol, started building blast furnaces to rival its Western rivals. Magnitogorsk in the Ural Mountains, where an industrial city of over 200,000 people was built in just a few years, and the Ob basin in Siberia are the settings chosen to render tribute to the achievements of the volunteers, though it does not show the dark side of history: the thousands of imprisoned Gulag doing hard labour under terrible conditions.
En 1934 Ivens utiliz el material elaborado para la pelcula Zuiderzee, e imgenes adicionales para crear esta nueva versin, en la que se aade un mensaje poltico, el montaje es ms potente, y que est secundada por la conmovedora msica de Hanns Eisler. Al fragmento correspondiente a la reivindicacin de nuevas tierras para la agricultura y al cierre de la presa, le siguen imgenes de la crisis econmica y la pobreza que asolaron a los trabajadores. Ivens contrapone esto a la especulacin de mercado: los que participaron de la reivindicacin estn ahora sin trabajo y hambrientos, mientras el grano se vierte al mar para mantener los precios altos. In 1934 Ivens used the same material elaborated for the film Zuiderzee, and additional footage, to make this new version, which this time has a political message, features stronger editing, and is sustained by the stirring music of Hanns Eisler. After the part on the reclamation of new land for agriculture and the closing of the dyke, the film continues with images of the economic crisis and the poverty among labourers. Ivens opposes this with the speculation on the market: those who helped with the reclamation of new land for agriculture are now unemployed and starving, while grain is dumped at sea to keep prices up.
Durante la invasin japonesa, el Kuomintang (Partido Nacionalista Chino), liderado por Chiang Kai-shek, interrumpi la lucha que mantena contra el Partido Comunista de China por la hegemona en la regin para formar un frente unido al menos en teora contra su enemigo comn. Partiendo del bombardeo japons de Hankow, se nos muestran todos los aspectos de la guerra: el campo de batalla, los refugiados, los muertos y heridos, el miedo y el sufrimiento humanos. La resistencia se sita en el contexto de la antigua cultura china. La msica de Hanns Eisler es la primera banda sonora compuesta con la tcnica de doce tonos de su maestro Arnold Schnberg. During the Japanese invasion, the Kuomintang (Chinese Nationalist Party) led by Chiang Kai-shek interrupted the fight it was having against the Chinese Communist Party over hegemony in the region in order to form a united front, at least in theory, against their common enemy. The film opens with a Japanese bombardment of Hankow, showing all aspects of warfare: the field battles, the refugees, dead and wounded, fear and human suffering. The film also places the resistance in the context of Chinas ancient culture. The music by Hanns Eisler is the first score composed with the twelve tone technique of Eislers teacher Arnold Schnberg.
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DIRECCIN / DIRECTION Joris Ivens, Mannus H. K. Franken PRODUCCIN / PRODUCTION CAPI Amsterdam FOTOGRAFA, MONTAJE / CINEMATOGRAPHY, EDITING Joris Ivens MSICA / MUSIC Lou Lichtveld (1932), Hanns Eisler (1941) FILMOTECA ESPAOLA Salas 1 y 2 / Theaters 1 and 2 Viernes 7, 17:30 h, y viernes 14, 20:00 h / Friday 7th, 5:30 pm, and Friday 14th, 8:00 pm
DIRECCIN / DIRECTION Joris Ivens PRODUCCIN / PRODUCTION Mesjrabpom Film GUIN / SCRIPT Josif Skljoet FOTOGRAFA / CINEMATOGRAPHY Alexander Sjelenkov MONTAJE / EDITING Joris Ivens, Herbert Marshall MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Salas 1 y 2 / Theaters 1 and 2 Viernes 7, 17:30 h, y viernes 14, 20:00 h / Friday 7th, 5:30 pm, and Friday 14th, 8:00 pm
DIRECCIN, GUIN, LOCUCIN / DIRECTION, SCRIPT, VOICE Joris Ivens PRODUCCIN / PRODUCTION CAPI Amsterdam FOTOGRAFA / CINEMATOGRAPHY Joris Ivens, John Fernhout, Joop Huisken, Helen van Dongen, Eli Lotar MONTAJE / EDITING Joris Ivens, Helen van Dongen MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Salas 1 y 2 / Theaters 1 and 2 Sbado 8, 20:00 h, y martes 11, 17:30 h / Saturday 8th, 8:00 pm, and Tuesday 11th, 5:30 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Joris Ivens PRODUCCIN / PRODUCTION History Today Inc. FOTOGRAFA / CINEMATOGRAPHY John Fernhout, Robert Capa MONTAJE / EDITING Helen van Dongen MSICA / MUSIC Hanns Eisler LOCUCIN / VOICE Frederic March, Sidney Lumet FILMOTECA ESPAOLA Salas 1 y 2 / Theaters 1 and 2 Sbado 8, 20:00 h, y martes 11, 17:30 h / Saturday 8th, 8:00 pm, and Tuesday 11th, 5:30 pm
WHITE FLOOD
INUNDACIN BLANCA LIONEL BERMAN, ROBERT STREBBINS , DAVID WOLFF DVD / 15 / 1940 Estados Unidos / USA V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
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Pieza sobre la edad del hielo con msica dodecafnica, realizada por la productora filocomunista Frontier Films. Algunos colaboradores de la misma haban rodado imgenes en Alaska, los Alpes y diferentes secuencias con la nieve como protagonista. Berman, Maddow y Meyers escribieron el guin y montaron esas imgenes, lo que result en un documental con vocacin didctica que, a travs del agua, los glaciares, la nieve y el hielo, pretende presentar la actividad de la naturaleza desde la perspectiva de la transformacin permanente. A piece about the Ice Age featuring twelve-tone music made by the pro-communist production company Frontier Films. Some of the collaborators on it have shot images in Alaska, the Alps and different sequences featuring snow. Berman, Maddow and Meyers wrote the screenplay and edited the footage, resulting in an educational documentary that depicts nature at work in water, glaciers, snow and ice, with an overarching theme of permanent transformation.
Durante la Segunda Guerra Mundial, un nio es enviado a una granja para evitar los bombardeos de Londres. During the Second World War, a child is sent to a farm to avoid the bombing of London.
Estudio sociolgico de los habitantes de un pueblo de la provincia de Santiago, en las remotas montaas del noreste de Mxico. La vida del pequeo Juan Diego y su familia refleja hasta qu punto la comunidad se encuentra alejada de la civilizacin moderna. Denuncia del gobierno y la religin, que mantienen a los campesinos en situacin de pobreza, analfabetismo y anclados en la supersticin y la miseria. A sociological study of the people living in a small town in the province of Santiago, in the remote mountains of northeastern Mexico. The villagers have not caught up with modern civilization, as reflected in the life of a young boy, Juan Diego, and his family. A protest against the government and religion that keeps the peasants poor, uneducated and rooted to superstition and poverty.
Basndose en materiales documentales, Andrew Thorndike muestra la trayectoria vital de Wilhelm Pieck: desde joven trabajador a luchador de la clase obrera alemana, y de enemigo del nacionalsocialismo a primer presidente de la Repblica Democrtica Alemana. Basing his work on documentary material, Andrew Thorndike tells the life story of Wilhelm Pieck: from young worker to fighter for the German working class, and from enemy of national-socialism to the first president of the German Democratic Republic.
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DIRECCIN, GUIN, MONTAJE / DIRECTION, SCRIPT, EDITING Lionel Berman, Robert Strebbins (Sidney Meyers), David Wolff (Ben Maddow) PRODUCCIN / PRODUCTION Frontier Films FOTOGRAFA ORIGINAL / ORIGINAL CINEMATOGRAPHY William O. Field jr., Sherman Pratt MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Sala 2 / Theater 2 Mircoles 12, 19:30 h / Wednesday 12th, 7:30 pm
DIRECCIN / DIRECTION Joseph Losey PRODUCCIN / PRODUCTION John Fernhout, Joseph Losey GUIN / SCRIPT Munro Leaf MSICA / MUSIC Hanns Eisler LOCUCIN / VOICE Lloyd Gough FILMOTECA ESPAOLA Sala 2 / Theater 2 Mircoles 12, 19:30 h / Wednesday 12th, 7:30 pm
DIRECCIN / DIRECTION Alexander Hammid, Herbert Kline PRODUCCIN / PRODUCTION Alexander Hammid, Herbert Kline, Rosa Harvan Kline GUIN / SCRIPT John Steinbeck FOTOGRAFA / CINEMATOGRAPHY Alexander Hammid MONTAJE / EDITING Herbert Kline MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Sala 1 / Theater 1 Domingo 9, 17:30 h / Sunday 9th, 5:30 pm
DIRECCIN / DIRECTION Andrew Thorndike PRODUCCIN / PRODUCTION DEFA-Studio fr Dokumentarfilme GUIN / SCRIPT Andrew Thorndike, Otto Winzer FOTOGRAFA / CINEMATOGRAPHY Erwin Anders, Harry Bremer MONTAJE / EDITING Ella Ensink MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Sala 2 / Theater 2 Martes 11, 20:00 h / Tuesday 11th, 8:00 pm
NUIT ET BROUILLARD
NOCHE Y NIEBLA / NIGHT AND FOG ALAIN RESNAIS 35 mm / 32 / 1955 / Francia / France V. O. FRANCS / FRENCH. SUBT. ESPAOL / SPANISH
AKTION J
ACCIN J / ACTION J WALTER HEYNOWSKI Betacam / 81 / 1961 / Alemania / Germany V. O. ALEMN / GERMAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
UNBNDIGES SPANIEN
ESPAA INDMITA / INDOMITABLE SPAIN JEANNE STERN, KURT STERN 35 mm / 79 / 1962 / Alemania / Germany V. O. ALEMN / GERMAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
Vvido retrato del horror de los campos de concentracin nazis. Rodada en 1955, en el Auschwitz de la posguerra, combina secuencias en color, imgenes de noticiarios y fotogramas para relatar la historia del Holocausto y de la brutal crueldad del hombre. A vivid depiction of the horrors of Nazi Concentration Camps. Filmed in 1955 at the post-war site of Auschwitz, the film combines color footage with black and white newsreels and stills to tell the story of the Holocaust and the mans brutal inhumanity.
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Retrato propagandstico de la carrera poltica de Hans Globke, secretario de Estado del Bundeskanzleramt bajo la jefatura de Konrad Adenauer. A travs de documentos originales, fotografas y relatos de testigos, se describe el importante papel que, como comentarista y corredactor de las leyes de Nuremberg, Globke desempe en la elaboracin del decreto antisemita y a la hora de determinar la manera en la que este se aplicara. Del mismo modo que se pone de relieve su importante papel poltico en la Alemania Occidental, se recuerda su parte de responsabilidad en el Holocausto. A propagandistic portrait of the political career of Hans Globke, the former state secretary in the Bundeskanzleramt under Konrad Adenauers leadership. Through original documents, photographs and witness accounts, it describes the important part that Globke, as commentator and co-writer of the Nuremberg laws, played in the anti-Semitic decree and in determing the way it was to be carried out. At the same time, it highlights his powerful political role in West Germany and recalls his share of the responsibility for the Holocaust.
Sobre la base de The Spanish Earth, pelcula de Joris Ivens rodada en 1937 con la colaboracin de Ernest Hemingway y otros, Kurt y Jeanne Stern utilizaron msica de Hanns Eisler y fotomontajes de John Heartfield para el nuevo eplogo y prlogo de la pelcula. Las imgenes muestran la dura vida de los campesinos, convertidos ahora en dueos de las tierras. Para defender lo que acaban de conseguir, se incorporan a las milicias que, con el apoyo de tropas regulares republicanas y voluntarios del todo el mundo, luchan contra los golpistas de Franco. El nuevo material quiere mostrar cmo Occidente trat de convertir a Franco en su aliado durante la Guerra Fra, pero tambin la actuacin constante de la oposicin en Espaa a travs de huelgas y manifestaciones. Basing their work on the 1937s The Spanish Earth Joris Ivens film made with the help of Ernest Hemingway and others, Kurt and Jeanne Stern used Hanns Eislers music and John Heartfields photo montages to make a new epilogue and prologue for the film. The images show the hard life of the peasants, now as landowners. To defend what they had just managed to acquire, they join the militias who, with support from the regular republican troops and volunteers from all over the world, fight against the Franco coup. The new material seeks to show how the West sought to convert Franco into an ally during the Cold War, in addition to the constant opposition in Spain through strikes and demonstrations.
Reportaje en torno a las celebraciones del 20 aniversario de la Repblica Democrtica Alemana, para cuya banda sonora se utiliz una composicin previa de Hanns Eisler. A report on the celebrations of the 20th anniversary of the German Democratic Republic, the soundtrack of which features a composition done earlier by Hanns Eisler.
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Mejor Cortometraje / Best Short Film, Premios Jean Vigo (Francia / France, 1956) DIRECCIN, MONTAJE / DIRECTION, EDITING Alain Resnais PRODUCCIN / PRODUCTION Anatole Dauman, Samy Halfon, Philippe Lifchitz FOTOGRAFA / CINEMATOGRAPHY Ghislain Cloquet, Sach Vieny MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Sala 1 / Theater 1 Domingo 9, 17:30 h / Sunday 9th, 5:30 pm DIRECCIN, GUIN / DIRECTION, SCRIPT Walter Heynowski PRODUCCIN / PRODUCTION Deutscher Fernsehfunk FOTOGRAFA / CINEMATOGRAPHY Rolf Sperling MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Sala 2 / Theater 2 Mircoles 12, 19:30 h / Wednesday 12th, 7:30 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Jeanne Stern, Kurt Stern PRODUCCIN / PRODUCTION DEFA-Studio fr Wochenschau und Dokumentarfilme FOTOGRAFA / CINEMATOGRAPHY Peter Hellmich, Christian Lehmann MONTAJE / EDITING Inge Dochow MSICA / MUSIC Hanns Eisler LOCUCIN / VOICE Norbert Christian, Mathilde Danegger, Manfred Krug, Hilmar Thate, Ekkehard Schall FILMOTECA ESPAOLA Sala 1 / Theater 1 Jueves 13, 17:30 h / Thursday 13th, 5:30 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Karl Gass PRODUCCIN / PRODUCTION DEFA-Studio fr Dokumentarfilme FOTOGRAFA / CINEMATOGRAPHY Peter Barthel, Hans Borrmann, Georg Kilian, Werner Kohlert, Hans-Jrgen Kruse, Gerhard Mnch, Nicola Pawloff, Hans-Jrgen Reinicke, Rolf Sohre MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Sala 2 / Theater 2 Mircoles 11, 20:00 h / Wednesday 11th, 8:00 pm
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Hanns Eisler, posiblemente uno de los ms grandes compositores del siglo xx, es tambin uno de los menos conocidos. Este comunista devoto fue perseguido por los fascistas alemanes, el Comit de Actividades Antiamericanas tras huir a Estados Unidos y, finalmente, por el Gobierno comunista de Alemania del Este, el acoso ms doloroso. Su cercana relacin con personalidades como Arnold Schnberg, Bertolt Brecht y Charlie Chaplin, sus convicciones polticas y humansticas y la extraordinaria diversidad de su msica para teatro, cine, cantantes solistas y coros (incluido el himno nacional de Alemania del Este) quedan al descubierto en este retrato documental. Hanns Eisler, arguably one of the greatest composers of the twentieth century, is also one of the least known. A devoted communist, he was persecuted by the fascists of Germany, the House Committee on Un-American Activities in the US after he fled here, and then finally, and most painfully, the communist government of East Germany. His close relationships with such personalities as Arnold Schnberg, Bertolt Brecht, and Charlie Chaplin, his political and humanistic convictions, and his remarkably diverse music for theatre, film, orchestra, singers and choir even East Germanys national anthem are all illuminated in this documentary portrait.
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DIRECCIN / DIRECTION Thomas Wallner, Larry Weinstein PRODUCCIN / PRODUCTION Gabrielle Faust, Niv Fichman (Rhombus Media) GUIN / SCRIPTThomas Wallner, Larry Weinstein FOTOGRAFA / CINEMATOGRAPHY Horst Zeidler MONTAJE / EDITING David New MSICA / MUSIC Hanns Eisler FILMOTECA ESPAOLA Sala 2 / Theater 2 Viernes 7, 20:00 h / Friday 7th, 8:00 pm
Las relaciones con los personajes podran definirse como el corazn del corazn del documental. The relationships with characters could be defined as the heart in the heart of documentary. Bruno Bigoni
GONZALO HERRALDE
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El lugar que ocupa el documental en la produccin cinematogrfica de Gonzalo Herralde es discreto y, al mismo tiempo, insoslayable, tanto si nos referimos al conjunto de su filmografa como si atendemos al marco, ms amplio, del cine de la Transicin espaola. Y es que tanto en Raza, el espritu de Franco (1977) como en El asesino de Pedralbes (1978) Herralde abord con una tcnica novedosa algunos de los grandes tabes del rgimen franquista cuando la sociedad espaola apenas despertaba del mal sueo de la Dictadura. En el primero de sus documentales, Herralde desenmascar los mitos del franquismo esbozados en la pelcula Raza (Jos Luis Senz de Heredia, 1942), cuyo guin haba escrito el propio Francisco Franco bajo seudnimo. Fruto de una estrecha colaboracin con el crtico perteneciente a la gauche divine de la Escuela de Barcelona, Romn Gubern, que trabaj en este proyecto como guionista, Raza, el espritu de Franco constituye un brillante ejercicio de montaje y desmontaje a partir del cual los autores se proponan diseccionar el guin escrito por el caudillo en clave autobiogrfica para entender sus fantasmas y la lgica que sustentaba la psique del dictador. Si las escenas de la pelcula de Senz de Heredia, extradas de su contexto narrativo original, parecan hablar por s solas de las frustradas aspiraciones pequeoburguesas de Franco, las declaraciones de su hermana Pilar y del galn cinematogrfico Alfredo Mayo aadan enjundia al jugoso retrato trazado por Herralde. Con El asesino de Pedralbes, el director barcelons abord la psicopatologa de uno de los delincuentes ms mediticos del tardofranquismo, Jos Luis Cerveto, para proporcionar, a travs de su relato en primera persona, las claves de algunas de las secuelas que la represiva cultura dictatorial dej en la sociedad espaola. Tal y como el periodista Fernando Samaniego seal en su momento, por primera vez en esta pelcula un detenido explicaba su situacin ante la sociedad y cuestionaba las instituciones disciplinarias. Utilizando mtodos propios del cine de ficcin para generar un complejo mecanismo de identificaciones en el espectador, Herralde teji un relato magistral a travs del cual el propio Cerveto vivi una transformacin personal mediante la que pudo vislumbrar una catarsis, una liberacin de sus traumas que, por lo dems, habra de revelarse fallida. Sonia Garca Lpez Gonzalo Herraldes documentary work holds a discreet and yet unavoidable place in his film production, both when referring to the whole of his filmography, as well as when viewed as a broader part of Spanish film from the transition period. Indeed, in both Raza, el espritu de Franco (1977) and in El asesino de Pedralbes (1978) Herralde tackled some of the great taboo subjects of the Franco regime with a novel technique, just when Spanish society was waking up for the bad dream of the Dictatorship. In the first of his documentaries, Herralde unmasked the myths of the Franco era sketched out in the film Raza (Jos Luis Senz de Heredia, 1942), the screenplay of
which had been written by Francisco Franco under a pseudonym. The result of close collaboration with the gauche divine critic from the Barcelona School of Film, Romn Gubern, who worked on this project as a screenwriter, Raza, el espritu de Franco is a brilliant exercise in editing and unediting, through which the filmmakers sought to dissect the screenplay that El Caudillo had written as an autobiography in order to understand his ghosts, and the logic the dictator used to sustain his psyche. While the scenes from the Senz de Heredia film extracted from their original narrative context seemed to speak for themselves about Francos frustrated petit bourgeois aspirations, the statements from his sister Pilar and the screen idol Alfredo Mayo added weight to the playful portrait sketched out by Herralde. With El asesino de Pedralbes, the director from Barcelona tackled the psychopathology of one of the most widely reported criminals in the press at the end of the regime, Jos Luis Cerveto. Through this story in the first person, Herralde provided the keys to understanding some of the scars that the dictatorships cultural repression left on Spanish society. As the journalist Fernando Samaniego pointed out at that time, this film was the first time a prisoner explained his situation to society and questioned the disciplinary institutions. Using methods typical in fiction film to instill the spectator with a complex identification mechanism, Herralde masterfully weaves together a story in which Cerveto himself experiences a personal transformation, through which he could begin to see a catharsis, a liberation from a trauma that any other way would have turned out unsuccessful. Sonia Garca Lpez
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MI TERRAZA
MY TERRACE GONZALO HERRALDE 16 mm / 15 / 1973 / Espaa / Spain SIN DILOGOS / WITHOUT DIALOGUES
EL ASESINO DE PEDRALBES
THE MURDERER OF PEDRALBES GONZALO HERRALDE 35 mm / 86 / 1978 / Espaa / Spain V. O. ESPAOL / SPANISH
Realizado con el Studio PER Arquitectos (Pep Bonet, Cristian Cirici, Lluis Clotet y scar Tusquets) para la XV Triennale de Miln, muestra cuatro puntos de vista diferentes sobre terrazas en distintos contextos urbanos y sociales. A short film made with the Studio PER Arquitectos (Pep Bonet, Cristian Cirici, Lluis Clotet y Oscar Tusquets) for the 15th Triennale of Milan. Four different points of view on terraces in different urban and social contexts.
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Construida a modo de divertimento, fragmentos de la pelcula Raza (1942) rebautizada en 1950 como El espritu de una raza, de la que fue autor indiscutible Francisco Franco Bahamonde, se alternan con intervenciones de Pilar Franco (ltima superviviente de los hermanos Franco Bahamonde) y de Alfredo Mayo como actor protagonista y lter ego de las fantasas narrativas del autor. A partir de la pelcula original, en la que se cuenta la trayectoria de la familia Churruca, iremos descubriendo semejanzas y divergencias entre ellos y la propia familia Franco. Una contraposicin llena de singulares sugerencias sobre su personalidad, del proceso de sublimacin y desplazamiento que tiene como punto de partida la novela original de Franco, en que Raza se basa. Made for fun, fragments from the film Raza (1942) (later retitled El espritu de una raza in 1950), unquestionably by Francisco Franco Bahamonde, are mixed together with the words of Pilar Franco (the last survivor of the Franco Bahamonde siblings), and Alfredo Mayo playing the protagonist and alter ego of the authors fantasy storytelling. Using the original films story of the Churruca family, we will find similarities and differences between them and the Franco family itself. A juxtapositioning full of unique suggestions about its personality, the process of sublimation and displacement that serves as the starting point for the original novel by Franco, on which the film Raza is based.
En mayo de 1974, Juan Roig y Mara Rosa Recolons son asesinados mientras dorman por Jos Luis Cerveto. Cuatro aos ms tarde del famoso crimen que agit a la Barcelona de finales del franquismo, con el asesino de Pedralbes cumpliendo su condena, Herralde consigue entrar en la prisin de Huesca para entrevistarle. En su testimonio, repasa su difcil niez e infancia y sus primeras inclinaciones pedfilas, para terminar con la narracin del asesinato. In May 1974, Juan Roig and Mara Rosa Recolons were murdered in their sleep by Jos Luis Cerveto. Four years after this famous crime shook up Barcelona, at the end of the Franco regime and with the murderer of Pedralbes carrying out his sentence, Herralde managed to enter the prison in Huesca to interview him. In his testimony, he talks about his difficult infancy and childhood and his first pedophile inclinations, and ends with his narration of the murder.
A partir de una exposicin de 300 dibujos y esculturas de ngel Jov, con la referencia de los centenarios del escultor Leandre Cristfol y del escritor Cesare Pavese, Gonzalo Herralde realiza un retrato ntimo y global de Jov, con especial incidencia en los aos de posguerra. From out of an exhibit of 300 drawings and sculptures by ngel Jov, on the centennials of the sculptor Leandre Cristfol and the writer Cesare Pavese, Gonzalo Herralde makes an intimate and comprehensive portrait of ngel Jov, with focus on the postwar years.
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DIRECCIN, GUIN / DIRECTION, SCRIPT Gonzalo Herralde PRODUCCIN / PRODUCTIONTrasbals S. A., Studio PER FOTOGRAFA / CINEMATOGRAPHYToms Pladevall MONTAJE / EDITING Miguel Bonastre ACADEMIA DE CINE Mircoles 12, 20:00 h / Wednesday 12th, 8:00 pm
DIRECCIN / DIRECTION Gonzalo Herralde PRODUCCIN / PRODUCTION Septiembre P. C. GUIN / SCRIPT Gonzalo Herralde, Romn Gubern FOTOGRAFA / CINEMATOGRAPHYToms Pladevall MONTAJE / EDITING Emilio Rodrguez SONIDO / SOUND Jos Nogueira ACADEMIA DE CINE Mircoles 12, 20:00 h / Wednesday 12th, 8:00 pm
DIRECCIN / DIRECTION Gonzalo Herralde PRODUCCIN / PRODUCTION Fgaro Films GUIN / SCRIPT Gonzalo Herralde, Juan Merelo Barber, Pep Cuxart FOTOGRAFA / CINEMATOGRAPHY Jaume Peracaula MONTAJE / EDITINGTeresa Alcocer ACADEMIA DE CINE Jueves 13, 19:00 h / Thursday 13th, 7:00 pm
DIRECCIN / DIRECTION Gonzalo Herralde PRODUCCIN / PRODUCTIONTrasbals S. A. GUIN / SCRIPT Gonzalo Herralde, M. J. Balsach FOTOGRAFA / CINEMATOGRAPHY Pere Caldern MONTAJE / EDITING Gonzalo Herralde, Pere Caldern SONIDO / SOUND Jaume Figueras ACADEMIA DE CINE Jueves 13, 19:00 h / Thursday 13th, 7:00 pm
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Tommaso Cotronei no es un director de documentales convencional. Su toma de contacto con el cine fue tarda y, en cierta medida, fruto de la casualidad. Nacido en 1965 en Dinami, una remota localidad calabresa al pie de los Apeninos meridionales, creci en un entorno que parece abocado a desaparecer lenta pero inexorablemente. Un lugar en el que el tiempo todava viene marcado por el paso de las estaciones y la vida de las personas depende de aquello que la naturaleza les proporciona: la lea de los bosques, los frutos de la tierra, la leche, la carne y las pieles del ganado, los peces del mar. Una tierra en la que las tradiciones de antao, fuertemente arraigadas entre la poblacin de edad ms avanzada, entonan su canto de cisne. En la azarosa vida de Cotronei ha tenido cabida el trabajo en el bosque junto a su padre cuando era nio, el deseo de huir cuando era adolescente, el paso por la universidad y el regreso al trabajo manual, como obrero emigrante en Suiza y en Alemania. Por ello, despus de todo, parece haber algo del orden de la predestinacin en su encuentro, a principios de los 90, con Vittorio de Seta, el gran retratista de los campesinos y los pescadores de Sicilia y Calabria, cuya filmografa, mayoritariamente documental, extiende sus races hasta comienzos de los aos 50. Junto a De Seta comenz a trabajar Cotronei en el cine, como ayudante de direccin de la pelcula In Calabria (1993), y de l hered una manera de mirar a la clase trabajadora que es silenciosa, material y terrena, y la inquietud por retratar un mundo a punto de desaparecer, prcticamente en el momento en que se desvanece. Pero si en sus primeros documentales De Seta eligi el cinemascope y el tecnicolor para filmar aquellos frescos de los contadini de la tierra y del mar que parecen evocar las pinturas de Sorolla, Cotronei utiliza el vdeo y reduce el equipo de rodaje a la mnima expresin. No retrata a la comunidad, sino a los individuos que viven y mueren con ella, y no hay en sus pelculas el menor rastro de nostalgia, sino ms bien una especie de desasosiego propio del que desea a toda costa sobrevivir al naufragio. Su primera pelcula, Nel blu cercando fiabe (1998), fue estrenada en Arcipelago Cinema, en Roma, aunque se dio a conocer con Lavoratori (2005), en la que abordaba el trabajo infantil que tanto le marc de nio y que fue presentada en el Festival Internacional de Locarno y premiada en el Festival de Turn. Posteriormente realiz Ritrarsi (2007), Preparativi di fuga (2008) y Le unghie, le lacrime, la rosa (2009), tres documentales en los que el director persiste en la exploracin de las regiones ms apartadas y empobrecidas del sur de Italia para retratar la pugna por la supervivencia de los individuos que protagonizan cada relato. La mirada que construye Cotronei en estas pelculas es la de un etngrafo que se hubiera despojado del discurso cientfico para quedarse nicamente con el producto de la observacin recogido por la cmara, que sigue silenciosamente a los personajes dejando or nicamente sus voces o los sonidos que llegan de su entorno: la radio, la televisin, el telfono, objetos cuya presencia en el lugar nos parece tan extraa y desvinculada de sus vidas como si viniera de otro tiempo. En su ltima pelcula hasta la fecha, Terra (2010), Cotronei realiza un doble ejercicio de acercamiento y extraamiento para retratar a la comunidad guaran que
habita en algn lugar de la triple frontera entre Paraguay, Argentina y Brasil. Tambin aqu la vida cotidiana se desarrolla en contacto constante con la naturaleza, y los rumores del mundo que llegan en forma de anuncios publicitarios o seriales televisivos emitidos por las cadenas locales parecen devolver al cineasta, de manera paradjica, al lugar del que siempre quiso salir. Sonia Garca Lpez Tommaso Cotronei is not a conventional documentary film director. He was a latecomer to filmmaking and, to a certain extent, just stumbled into it. Born in 1965 in Dinami, a remote Calabrian island at the foot of the Southern Apennines, he grew up in an setting that seemed bound to disappear slowly but surely. A place in which time is still marked by the passing of the seasons and peoples lives depend on what nature provides them: firewood from the forests, the fruits of the earth, milk, meat and fur, fish from the sea. A land in which the traditions of yesteryear, deeply rooted in an aging population, are singing their swan song. Cotroneis eventful life has seen him as a child working in the forest alongside his father, his desire to run away as a teenager, a time at university and his return to manual labor as an emigrant worker in Switzerland and Germany. For this reason most of all, there seems to have been a hint of predestination in his encounter in the early 90s with Vittorio de Seta, the great portrait artist of the peasants and fishermen of Sicily and Calabria, whose documentary-heavy filmography has roots stretching back to the 1950s. Alongside De Seta, Cotronei started working in film as an assistant director on In Calabria (1993), an experience in which he learned a way of seeing the working class that is silent, material and earthly, and a concern for portraying a world on the verge of practically disappearing at the moment when it is fading away. While in his early documentaries De Seta chose the Cinemascope and Technicolor to film those frescos of the contadini of the earth and the sea, so evocative of painting by Sorolla, Cotronei used video and reduced his crew to the bare minimum. He does not portray the community, but rather individuals that live and die with it, and there is not even the slightest trace of nostalgia in his films, rather a kind of restlessness typical of a castaway struggling to survive at all costs. His first film Nel blu cercando fiabe (1998) premiered at Arcipelago Cinema in Rome, though he became known for Lavoratori (2005), a film dealing with the child labor that marked him so much as a child, presented at the Locarno International Film Festival and awarded at the Torino Film Festival. He later made Ritrarsi (2007), Preparativi di fuga (2008) and Le unghie, le lacrime, la rosa (2009), three documentaries in which the director furthers his exploration of the remotest and poorest regions of southern Italy in depicting the struggle for survival by the individuals featured in each story. The vision that Contronei constructs in these films is one of an ethnographer
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stripped of scientific discourse, one left with nothing but the product of observation captured by the camera, who silently follows people, letting nothing be heard save their voices or the sounds in their surroundings: the radio, television telephone; objects whose presence to us seems so strange and out of place in their lives, as though from another era. In his most recent film to date, Terra (2010), Cotronei performs a two-fold exercise in approach and estrangement in portraying the Guarani community living somewhere in border area between Paraguay, Argentina and Brazil. Here too, everyday life is lived in constant contact with nature and the murmuring of the world arrives in the form of advertisements, and television series broadcast by local television stations seem to paradoxically return the filmmaker to the place he always wanted to leave. Sonia Garca Lpez
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Si los personajes se olvidan de ti, se caen. Si nunca se olvidan de que ests, t eres el que cae. If the characters forget about you, they fall. If they never forget about you, you fall. Oona Spengler
LAVORATORI
TRABAJADORES / WORKERS TOMMASO COTRONEI Betacam / 54 / 2005 / Italia / Italy SIN DILOGOS / WITHOUT DIALOGUES
RITRARSI
RETIRARSE / WITHDRAWN TOMMASO COTRONEI Betacam / 80 / 2007 / Italia / Italy V. O. ITALIANO, INGLS / ITALIAN, ENGLISH. SUBT. ESPAOL / SPANISH
PREPARATIVI DI FUGA
PREPARATIVOS DE FUGA / PREPARATIONS FOR ESCAPE TOMMASO COTRONEI Betacam / 37 / 2008 / Italia / Italy SIN DILOGOS / WITHOUT DIALOGUES
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No es raro que los mejores campesinos jvenes, que han sido bruscamente sacados de la escuela a la edad de 14 aos para trabajar de sol a sol, intenten volver al colegio para recibir una educacin despus de la adolescencia. Lo mismo les sucede a los jvenes de clase obrera. Sus padres no deberan tener derecho a impedrselo, y los intelectuales deberan estar ah para ayudarles a comprenderlo. Seran los intelectuales perfectos. Si nuestra cultura se acercara a la perfeccin, estara por encima de las clases sociales, pero como es mediocre, es en gran parte una cultura de intelectuales burgueses y sobre todo, de un tiempo a esta parte, una cultura de intelectuales funcionarios. It is not uncommon for the best young farm workers, who had been abruptly taken out of school at the age of fourteen to work full-time, to try to go back to school for an education after adolescence. This also even happens to young working class people. But their parents should not have the right to stop them from doing so. And the intellectuals should be there to help make the parents understand. Those would be perfect intellectuals. If our culture were even close to perfection, it would stand above social class. But since it is mediocre, it has for quite some time been mainly a culture of bourgeois intellectuals, a culture of intellectual civil servants.
La historia del aislamiento en uno de los numerosos pueblos del sur de Italia. En este caso, la cmara retrata a un hombre y a una mujer en la cotidianidad de Calabria. Dos historias dispares que al principio parecen entrar en colisin: una que normalmente est fuera de cmara y que el director decide filmar en esta ocasin; y otra que da tras da invade con prepotencia nuestras vidas, nuestras pantallas y radios, y que en esta pelcula queda al margen, como un ruido de fondo. A story of isolation in one of many villages in Southern Italy. In this case, the camera depicts a man and a woman in their everyday life in Calabria. Two clashing stories that initially appear to collide: one, which is normally kept off-screen and which the director decides to shoot on this occasion, and the other which overbearingly invades our life day after day, our screens and radios, which in this film are kept on the margin, like background noise.
A travs de una serie de imgenes granulosas en blanco y negro, que nos sumergen en la esplndida y a la vez extremadamente spera campia de Calabria, Tommaso Cotronei describe la vida cotidiana de los habitantes de la regin que le vio nacer. La pelcula denuncia la falta total de perspectivas de su gente, relegada a una pobreza que niega cualquier posibilidad de eleccin, sea existencial o laboral, y condenada desde su nacimiento a unas condiciones de miseria que ningn cambio social o poltico parece poder mejorar. Through a series of grainy black and white images introducing us into the beautiful and yet rugged countryside of Calabria, Tommaso Cotronei portrays everyday life in the region in which he was born. The film denounces the utter lack of prospects these people have, mired in poverty with no possibility of choosing, much less finding work; people born into a miserable situation that no social or political change ever seems to be able to improve.
En el trabajo manual, que es el trabajo propiamente dicho, hay un elemento irreductible de servidumbre al que ni siquiera una sociedad perfectamente igualitaria podra hacer frente. Y tiene que ver con el hecho de que est gobernado por la necesidad y no por la finalidad. Se realiza para ganarse la vida, como dicen los que se ven abocados a l. Se produce un esfuerzo al trmino del cual, se mire por donde se mire, no se tendr ms de lo que se tiene. Y sin este esfuerzo, lo que se tiene se pierde. Simone Weil. In manual labor, which is, strictly speaking work, there is an irreducible element of servitude to which not even the perfectly egalitarian society can face up to. And it has to do with the fact that it is governed by necessity and not by purpose. It is done to make a living, as said by those engaged in it. An effort is made after which, no matter how you look at it, you do not have more than what you have. And should that effort not be made, what you have you will lose. Simone Weil.
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Premio CinemAvvenire / CinemAvvenire Award, Torino Film Festival (Italia / Italy, 2005) DIRECCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, SCRIPT, CINEMATOGRAPHY, EDITINGTommaso Cotronei PRODUCCIN / PRODUCTIONTommaso Cotronei (Stig Dagerman Film) CINES PRINCESA Sala 7 / Theater 7 Jueves 13, 17:00 h / Thursday 13th, 5:00 pm DIRECCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, SCRIPT, CINEMATOGRAPHY, EDITINGTommaso Cotronei PRODUCCIN / PRODUCTIONTommaso Cotronei (Stig Dagerman Film) CINES PRINCESA Sala 7 / Theater 7 Viernes 14, 17:00 h / Friday 14th, 5:00 pm DIRECCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, SCRIPT, CINEMATOGRAPHY, EDITINGTommaso Cotronei PRODUCCIN / PRODUCTIONTommaso Cotronei (Stig Dagerman Film) CINES PRINCESA Sala 7 / Theater 7 Viernes 14, 17:00 h / Friday 14th, 5:00 pm
DIRECCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, SCRIPT, CINEMATOGRAPHY, EDITINGTommaso Cotronei PRODUCCIN / PRODUCTIONTommaso Cotronei (Stig Dagerman Film) MSICA / MUSIC Anne Chagall CINES PRINCESA Sala 7 / Theater 7 Sbado 15, 16:00 h / Saturday 15th, 4:00 pm
TERRA
TIERRA / LAND TOMMASO COTRONEI Betacam / 72 / 2010 / Italia / Italy V. O. GUARAN / GUARANI. SUBT. ESPAOL / SPANISH
En la regin de la triple frontera entre Paraguay, Argentina y Brasil, una comunidad de indios guaranes desarrolla su vida cotidiana en contacto constante con la naturaleza. Hasta all solo llegan leves murmullos de la sociedad de consumo: los emitidos por el dial de Santa Rosa, Misiones, o aquellos que provienen de los seriales televisivos, contemplados en las pantallas domsticas de baja resolucin que los habitantes del pueblo tienen instaladas en sus cabaas.
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In the border region shared by Paraguay, Argentina and Brazil, a community of Guarani Indians live out their everyday lives in constant contact with nature. Consumer society reaches this place as just a soft whisper: the radio broadcasts from Santa Rosa, Misiones, or the television series that make their way in on low resolution screens, to the homes of the towns inhabitants with TVs in their huts.
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DIRECCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, SCRIPT, CINEMATOGRAPHY, EDITINGTommaso Cotronei PRODUCCIN / PRODUCTIONTommaso Cotronei (Stig Dagerman Film) CINES PRINCESA Sala 7 / Theater 7 Jueves 13, 17:00 h / Thursday 13th, 5:00 pm
Me interesan las pelculas que estn hechas con los personajes y no sobre ellos. I am interested in the films which are made with the characters and not on the characters. Flavia Tavares
Seccin Informativa
Informative Section
PETER HUTTON
Seccin Informativa
Informative Section
Este ballenero ha sido mi Yale College y mi Harvard University Ismael, en Moby Dick Como Ismael en Moby Dick, Peter Hutton atribuye su formacin emocional a los aos que trabaj como marino en un buque mercante entre 1964 y 1974. Aquel aprendizaje fue una manera de confrontar con la realidad las viejas fantasas alimentadas en la infancia, cuando pasaba horas ordenando las fotografas y postales que su padre, tambin marino, traa de los puertos de Shanghi, Calcuta y Angkor Wat. Durante el tiempo a bordo, el Hutton cineasta aprendi el poder de la lentitud y la relatividad de las escalas, de cmo lo lejano y lo extico podan ser atributos de lo cotidiano. El barco me forz a detenerme y mirar. Conforme ms tiempo pasas mirando las cosas, tanto ms se revelan ellas mismas. Desde entonces, y a lo largo de los ltimos cuarenta aos, Hutton ha recorrido los mares de frica y Asia, ha vagado sin rumbo por Nueva York, Budapest o Lodz, ha remontado ros como el Yangts hacia el corazn de las tinieblas, y regresado luego al edn americano, al mtico y pintoresco valle del ro Hudson, donde ahora tiene su hogar. De todos estos viajes el cineasta-marino ha vuelto con un puado de imgenes, apenas unos pocos minutos, mayoritariamente en blanco y negro, aunque tambin en color, con los que ha conformado una obra de retratos, sinfonas y estudios (atendiendo a los ttulos) admirada profundamente por su amigo James Benning, con el que compone lo ms audaz del paisajismo cinematogrfico norteamericano contemporneo. No preguntis a Hutton qu se llevara a una isla desierta, sino qu se traera de all: en su respuesta encontraris el secreto de su cine. Sus imgenes nacen y mueren ante los ojos de forma natural, sin apenas cortes ni ajustes de montaje, como la sombra del eclipse (metfora a la que se refiere en ocasiones), que se toma su tiempo para aparecer y desaparecer lentamente, con una velocidad no impuesta sino necesaria. La imagen densa frente a la imagen extensa; la imagen nica, que aparece y se va; unos pocos planos que guardan el secreto de las formas del mundo; y sobre todo el silencio. Uno llega a pensar que todo el empeo cinematogrfico de Hutton no tiene otro objeto que enmarcar la experiencia del silencio, con la misma intencin con la que John Cage pergeaba tretas para atraparlo, siquiera como hiptesis. La brevedad de su filmografa y su mirada esencial hermanan a Hutton con otros directores apasionados y solitarios, como Jean Vigo o Maya Deren. El historiador estadounidense P. Adams Sitney, agrupa a Hutton, junto con Marie Menken, Stan Brakhage, Ernie Gehr y Jonas Mekas, bajo el espritu emersoniano (en relacin con Ralph W. Emerson) del cine experimental americano. Pocos adultos son capaces de ver la naturaleza escriba el filsofo y telogo en su libro Nature, en 1836. [] El amante de la naturaleza es aquel cuyos sentidos interiores y exteriores an siguen amoldados verdaderamente el uno al otro; aquel que ha conservado en su madurez el espritu de la infancia. En la filmografa de Hutton podemos reconocer el rastro de la tradicin diarstica a la manera de su mentor Jonas Mekas (quien precisamente premi sus primeros cortos en el Festival de Yale de 1972); la capacidad meditativa frente a la naturaleza de Henwar
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Rodakiewicz; los experimentos acuticos de Ralph Steiner; la ciudad de Paul Strand y los cielos de Steiglitz; la fragilidad de las vistas Lumir y la curiosidad antropolgica de Robert Gardner. Pero su anclaje es ms lejano: Scott MacDonald entiende que Hutton es el depositario directo de la herencia del paisaje norteamericano del siglo xix, fundamentalmente de la escuela del Ro Hudson, los llamados Iluministas, primeros retratistas del edn americano y que, en opinin del crtico, son la fuente de toda una tradicin del cine estadounidense, desde luego no mayoritaria pero s la ms radical, que llega hasta hoy. Hutton no est interesado en las grandes epopeyas del paisaje, en el paisaje como espectculo ni como escenario, sino en la sencillez y la serenidad de lo que, en la naturaleza, cambia cuando nadie lo observa. En esta aventura en busca de la sombra y del silencio, Peter Hutton cita a Joseph Conrad: Al nacer, el ser humano se precipita en un sueo como un hombre que cae al mar, advirtiendo al espectador del aspecto de extraa irrealidad que envolver a quien se adentre en su cine. Apenas unos meses despus del reconocimiento del MoMA de Nueva York, este ciclo nos permite remontar ro arriba, desde el mar de At Sea a July 71, y por primera vez en Europa, la filmografa completa de uno de los grandes cineastas contemporneos. Carlos Muguiro Comisario de la retrospectiva A whale-ship was my Yale College and my Harvard Ismael, in Moby Dick Like Ismael in Moby Dick, Peter Hutton attributes his emotional background to the years he worked as a sailor on a merchant ship between 1964 and 1974. His learning was a way of using reality to deal with the old fantasies he was fed as a child, as he spent hours sorting through the photographs and post cards his father, also a sailor, brought back from the ports of Shanghai, Calcutta and Angkor Wat. During his time at sea, Hutton the filmmaker learned the power of slowness and the relativity of scale, how what is far away and exotic might be attributed with an everyday nature. The ship forced me to stop and look. The more time you spend watching things, the more they reveal themselves. Since then, and over the last forty years, Hutton has traveled the seas of Africa and Asia, he has wandered through New York, Budapest and Lodz, has gone up rivers such as the Yangtze to the heart of darkness, and then returned to the American Eden, to the mythical and picturesque vally of the Hudson River where he now lives. From all those journeys, the filmmaker/sailor has returned with a handful of images, hardly even a few minutes, mostly in black and white, though some also in color, with which he has made a work of portraits, symphonies and studies (as taken from their titles), deeply admired by his friend James Benning, with whom he composes the boldest of contemporary North American landscape films.
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Do not ask Hutton what he would take with him to a deserted island, but rather what he would take from one: the secret to his filmmaking could be found in his answer. His images are born and die naturally before our eyes, with hardly any cuts or editing adjustments, like the shadow of the eclipes (a metaphor he makes reference to on occasion), which takes its time to appear and disappear slowly, not with an imposed speed, but rather a necessary one. The dense image as opposed to the lengthy image; the unique image that appears and leaves; a few shots that hold the secret of the forms of the world; and especially the silence. One might think that all Hutton undertakes in film has no object other than to frame the experience of silence, with the same intention that John Cage at least hypothetically sketched out in his attempt to capture it. The brief nature of his film work and his essential view link Hutton to other such passionate and solitary directors as Jean Vigo and Maya Deren. The American historian P. Adams Sitney groups Hutton, along with Marie Menken, Stan Brakhage, Ernie Gehr and Jonas Mekas, into the Emersonian spirit (in reference to Ralph W. Emerson) of American experimental film. Few adult persons can see nature, wrote the philosopher and theologian in his book Nature in 1836, The lover of nature is he whose inward and outward senses are still truly adjusted to each other; who has retained the spirit of infancy even into the era of manhood. In Huttons film work, we can recognize traces of the diary tradition in the vein of his mentor Jonas Mekas (who was the very one to award his first short films at the Festival of Yale in 1972); the meditative capacity in confronting nature of Henwar Rodakiewicz; the acuatic experiments of Ralph Steiner; the city of Paul Strand and Steiglitzs skies; the fragility of the Lumir vistas and the anthropological curiosity of Robert Gardner. But his roots go further back: Scott MacDonald understands Hutton to be the direct inheritor of the 19th century North American landscape art, fundamentally the Hudson River school, the so-called Luminists, the first portrait artists of the American Eden who, in the opinion of this critic, are the source of an entire US film tradition, certainly not its mainstream but indeed its most radical, which stretches into the present day. Hutton is not interested in great landscape epics, in the landscape as a spectacle or even as a setting, but rather in the simplicity and serenity of that which, in nature, changes when no one is observing it. In this adventure, in search of shadow and silence, Peter Hutton quotes Joseph Conrad: At birth, human beings are thrown into a dream, like a man falling into the sea, warning the spectator of the strange unreal aspect that will come over anyone watching his film work. Just a few months after the New York MoMAs recognition, this series will give us a chance to go back upriver, from the sea in At Sea to July 71, and for the first time in Europe, to see the complete filmography of one of the great contemporary filmmakers. Carlos Muguiro Organizer of the retrospective Las personas que aparecen en un documental siempre dan ms de lo que reciben. The people appearing in a documentary always give more than they receive. Silvia Garca Ponzoda
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JULY 71 IN SAN FRANCISCO / LIVING AT BEACH STREET / WORKING AT CANYON CINEMA / SWIMMING IN THE VALLEY OF THE MOON
JULIO DEL 71 EN SAN FRANCISCO / VIVIR EN BEACH STREET / TRABAJAR EN CANYON CINEMA / NADAR EN EL VALLE DE LA LUNA PETER HUTTON 16 mm / 35 / 1971 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
FLORENCE
FLORENCIA PETER HUTTON 16 mm / 7 / 1975 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
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Las pelculas a modo de diario se han convertido en un gnero distintivo del movimiento de cine independiente. [...] La pelcula de Peter Hutton es, en mi opinin, una de las mejores de este gnero, ya que nos permite realmente introducirnos en la mente y las sensaciones del cineasta a travs de su papel como tal y en conjuncin con este. Es casi como si viramos que el hecho de llevar su cmara y enfocar a gente, cosas y acontecimientos distintos cambia y pule su percepcin habitual de los mismos. La cmara se convierte en un instrumento que, ms all de grabar la realidad, la expande. Y, como cualquier diario, es a la vez una exploracin y una cristalizacin de los acontecimientos e impresiones de la vida de uno. David Bienstock Diary films have become a distinct genre of the independent film movement. [...] Peter Huttons film is, to my mind, one of the best of the genre for it truly lets us get inside the filmmakers mind and sensations through, and in conjunction with, his role as filmmaker. It is almost as if we see how carrying around the camera and focusing on different people, things and events actually changes and refines the filmmakers normal perception of them. The camera becomes an instrument not to record reality but to expand it. And like any diary, it is both an exploration and crystallization of events and impressions in ones life. David Bienstock
A travs de vibrantes yuxtaposiciones de sombra y movimiento, esta pelcula muda y surrealmente potica examina los sutiles cambios de luz y paisaje de la ciudad de Nueva York. New York Near Sleep explota el potencial bsico de la pelcula de capturar refracciones de luz. Hutton aplica en su filme la esttica de la fotografa fija y utiliza como instrumento estructural la duracin de la percepcin del reflejo sutil de los movimientos y la iluminacin. Bill Moritz, Theatre Vanguard. Using exciting juxtapositions of shade and movement, this silent and surreally poetic film examines subtle changes of light and landscape in New York City. New York Near Sleep exploits the basic potential of film for capturing light refractions. Hutton imposes on this film the aesthetics of still photography and uses as a structural device the duration of perception of the subtle reflection of movements and illuminations. Bill Moritz, Theatre Vanguard.
Images of Asian Music contiene imgenes recabadas entre 1973 y 1974, cuando Peter Hutton viva en Tailandia y trabajaba en el mar como marino mercante. A pesar de ser una pelcula muda, el ttulo pretenda suscitar una comparacin con la msica asitica clsica. Images of Asian Music es un canto personal a Asia que se sustenta sobre la sensibilidad hacia la composicin flmica y sobre la percepcin de unas imgenes enmarcadas en un tiempo silente creado ex profeso. Whitney Museum of American Art Images of Asian Music represents footage compiled during 1973-1974 when Peter Hutton was living in Thailand and working at sea as a merchant seaman. While the film is silent, the title was intended to evoke a comparison to the movement of classical Asian music. Images of Asian Music is a personal celebration of Asia formed by a sensitivity to filmic composition and to the perception of these images in a silent time created by the filmmaker. Whitney Museum of American Art
Al igual que otras pelculas de Hutton, Florence es un estudio contemplativo de la luz y las sombras, las texturas y los planos, que hace un bello uso de las cualidades tonales de la pelcula en blanco y negro. A lo largo del filme hay un doble movimiento de mostrar y ocultar, en las nubes, reflejos y brumas, y en el comportamiento de la luz al pasar por distintas aberturas o sustancias. Con frecuencia, las imgenes son detalles ambiguos. Da la sensacin de que Hutton se siente muy cmodo en el mundo que ve, y que mira las cosas con algo ms de detenimiento que la mayora de la gente. Ken DeRoux, Museo de Arte Moderno de San Francisco Like Huttons previous films, Florence is a contemplative study of light and shadows, textures and planes, that makes beautiful use of the tonal qualities of black and white film. Throughout the film there is a motion of obscuring and revealing in clouds, reflections and mists, and in the behavior of light as it passes through various openings or substances. Frequently, the images are ambiguous details. One feels that Hutton is very at home in the world he sees, and that he looks at things a little more closely than most people Ken DeRoux, San Francisco Museum of Modern Art
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Premio / Award, Yale Film Festival (Estados Unidos / USA, 1972) DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 18:00 h, y domingo 16, 11:00 h / Wednesday 12th, 6:00 pm, and Sunday 16th, 11:00 am DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 18:00 h, y domingo 16, 11:00 h / Wednesday 12th, 6:00 pm, and Sunday 16th, 11:00 am DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 20:00 h / Wednesday 12th, 8:00 pm DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 18:00 h, y domingo 16, 11:00 h / Wednesday 12th, 6:00 pm, and Sunday 16th, 11:00 am
BOSTON FIRE
INCENDIO DE BOSTON PETER HUTTON 16 mm / 8 / 1979 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
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Nueva York es retratado en las oscuras noches de un invierno solitario. El ritmo de la vida de la calle no tiene papel alguno en New York Portrait; la densa poblacin metropolitana y el imponente escenario urbano desaparecen ante el inters de Hutton por la fuerza primaria de una presencia universal. Su buen ojo para lo corriente hace que apunte su cmara hacia las nubes para encontrar bandadas de pjaros, o que se vuelva hacia los objetos sencillos de su casa intentando evocar una intuicin personal con su presencia. Hutton encuentra una relacin armnica y a veces melanclica con los elementos naturales, que conservan su gracia a pesar del entorno artificial de la ciudad. Nueva York se convierte en una ciudad fantasma que el director transforma en un vehculo que refleja su propio estado de nimo. Millennium Film Journal New York is framed in the dark nights of a lonely winter. The pulse of street life finds no role in New York Portrait; the dense metropolitan population and imposing urban locale disappear before Huttons concern for the primal force of a universal presence. With an eye for the ordinary, Hutton can point his camera toward the clouds finding flocks of birds, or turn back to the simple objects around his apartment struggling to elicit a personal intuition from their presence. Hutton finds a harmonious, if at times melancholy, rapport with the natural elements that retain their grace in spite of the citys artificial environment. The city becomes a ghost town that the filmmaker transforms into a vehicle reflecting his personal mood. Millennium Film Journal
Boston Fire encuentra grandeza en el humo que asciende elocuentemente de un incendio en la ciudad. Nubes de oscuridad se mezclan con fuentes cuya agua sale a chorros desde fuera de cmara para orquestar una obra de elementos primarios. La bella textura del humo, unida al aislamiento del origen del incendio, borra el impacto destructivo del acontecimiento. La cmara, perdida entre las inmensas nubes negras, produce imgenes para la reflexin extradas de las causas o consecuencias de la escena. Los diminutos bomberos, vistos como figuras lejanas, observan el fuego sobrecogidos, impotentes ante el poder de la naturaleza. Millennium Film Journal Boston Fire finds grandeur in smoke rising eloquently from a city blaze. Billowing puffs of darkness blend with fountains of water streaming in from offscreen to orchestrate a play of primal elements. The beautiful texture of the smoke coupled with the isolation from the source of the fire erases the destructive impact of the event. The camera, lost in the immense dark clouds, produces images for meditation removed from the causes or consequences of the scene. The tiny firemen, seen as distant silhouettes, gaze in awe, helpless before natures power. Millennium Film Journal
Continuacin de las observaciones diarias del ambiente de Manhattan recopiladas entre 1980 y 1981. Es la segunda parte de un retrato ms extenso de la vida de Nueva York. A continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended lifes portrait of New York.
Budapest Portrait puede que sea su ensayo ms potente hasta la fecha sobre la naturalizacin del paisaje urbano. Para Hutton la ciudad no es tanto una matriz social como una frondosa jungla de asfalto. Vemos retratados en primer plano a dos viejos traperos y una sucesin de ancianas campesinas a un lado; el resto de personas se muestran prcticamente dominadas por el entorno. La presencia humana a menudo se insina a travs de meros indicadores: fotografas, sombras o agujeros de bala. Esta ausencia relativa de la figura, junto al fuerte claroscuro de la luz invernal, provoca una sensacin de soledad y aislamiento. Voluptuosamente gris, desgastada y habitada, la ciudad es como el escenario de un drama invisible. J. Hoberman, Artforum Budapest Portrait may be his strongest essay yet on the naturalization of the urban landscape. For Hutton, the city is less a social matrix than a verdant asphalt jungle. Close-up portraits of two ancient rag-pickers and a succession of elderly peasant women aside, virtually every other person shown is dominated by the surroundings. Human presence is often suggested merely by indexical signs photographs, shadows or bullet holes. This relative absence of the figure, together with the harsh chiaroscuro of the winter light, induces a poignant sense of loneliness and isolation. Voluptuously gray, worn and lived in, the city is like a stage set for an invisible drama. J. Hoberman, Artforum
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DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 20:00 h / Wednesday 12th, 8:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 18:00 h, y domingo 16, 11:00 h / Wednesday 12th, 6:00 pm, and Sunday 16th, 11:00 am
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 20:00 h / Wednesday 12th, 8:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Jueves 13, 18:00 h / Thursday 13th, 6:00 pm
IN TITANS GOBLET
EN LA COPA DEL TITN PETER HUTTON 16 mm / 10 / 1991 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
LODZ SYMPHONY
SINFONA DE LODZ PETER HUTTON 16 mm / 20 / 1991-1993 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
Primera parte de un estudio ms extenso sobre el tiempo y el paisaje del valle del ro Hudson. First section of an extended study of the weather and landscape in the Hudson River Valley.
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New York Portrait III adopta un tono nico en relacin con la exploracin continua del paisaje rural de Hutton. El hecho de que el cineasta utilice imgenes anteriores, archivos de memoria ms que inmediatez, le otorga una textura distinta a la de sus anteriores pelculas de Nueva York, a pesar de que exista continuidad con respecto a estas. Hutton siempre encuentra la presencia de la naturaleza en la ciudad, no solo en sus numerosas tomas del cielo y la vegetacin, sino en la geometra y textura de la ciudad en s, que parece proyectar una independencia de lo humano. Esta pelcula parece sumergirse en la nostalgia de las cosas humanas, como si Hutton mirara a una raza que se extingue. Tom Gunning New York Portrait III takes on a unique tone in relation to Huttons ongoing exploration of rural landscape. The very fact that Hutton is dealing with older footage, with archives of memory more than immediacy, gives it a different texture than his earlier New York films, in spite of many continuities with them. Hutton always found the presence of nature in the city, not only in his many shots of sky and vegetation, but also in the geometry and texture of the city itself, which seemed to project an independence from the human. This film seems to bathe itself in a nostalgia for things human, as if Hutton were looking at a vanishing race. Tom Gunning
Inspirado en un cuadro paisajista de Thomas Cole, que data aproximadamente de 1833, est concebido como un homenaje a este pintor, considerado el padre de la escuela pictrica del ro Hudson. In Titans Goblet refers to a landscape painting by Thomas Cole circa 1833. The film is intended as a homage to Cole, who is regarded as the father of the Hudson River School of painting.
Retrato de la ciudad polaca de Lodz, que subsiste en un salto temporal repleto de recuerdos tristes. Hutton crea un mundo vaco que evoca el ambiente industrial del siglo xix, habitado por los fantasmas del pasado trgico de Polonia. A portrait of Lodz, Poland that exists in a time warp of sad memory. Hutton creates an empty world evoking the 19th century industrial atmosphere that is populated with the ghosts of Polands tragic past.
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DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton PASES MUSEO REINA SOFA. AUDITORIO SABATINI Jueves 13, 20:00 h, y domingo 16, 13:00 h / Thursday 13th, 8:00 pm, and Sunday 16th, 1:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Mircoles 12, 20:00 h / Wednesday 12th, 8:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Jueves 13, 20:00 h, y domingo 16, 13:00 h / Thursday 13th, 8:00 pm, and Sunday 16th, 1:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Jueves 13, 18:00 h / Thursday 13th, 6:00 pm
STUDY OF A RIVER
ESTUDIO DE UN RO PETER HUTTON 16 mm / 16 / 1996-1997 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
TWO RIVERS
DOS ROS PETER HUTTON 16 mm / 45 / 2001-2002 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
Primera parte de un retrato estacional del ro Hudson. Un segmento que contiene observaciones del invierno a lo largo de dos aos. The first part of a seasonal portrait of the Hudson River. This section portrays observations of winter over a period of two years.
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Dividida en dos partes, la primera es una reedicin de un rollo filmado por Billy Bitzer para Biograph en 1903, titulado Down the Hudson. Mediante la filmacin en intervalos, o time lapse, de fotograma nico retrata un tramo del ro entre Newburgh, Nueva York, y Yonkers. La segunda parte fue rodada por Hutton y consta de fragmentos de distintos trayectos por el ro Hudson entre Bayonne, Nueva Jersey, y Albany, Nueva York. El director viajaba en el remolcador Gotham mientras este empujaba (ro arriba) y arrastraba (ro abajo) el Noel Cutler, una barcaza cargada con 35.000 barriles de gasolina sin plomo. The first section of the film is a reprint of a reel shot by Billy Bitzer in 1903 titled Down the Hudson for Biograph. It chronicles in single frame time lapse a section of the river between Newburgh, NY, and Yonkers. The second section was shot by Hutton and records fragments of several trips up and down the Hudson River between Bayonne, New Jersey, and Albany, New York. The filmmaker was traveling on the tugboat Gotham as it pushed (up river) and pulled (down river) the Noel Cutler, a barge filled with 35,000 barrels of unleaded gasoline.
Un cuaderno de imgenes increblemente bellas de la extremadamente desolada costa oeste de Irlanda. rboles de contornos planos se alzan con la serenidad clsica de un dibujo de Claude Lorraine, mientras el sol se convierte en una combinacin barroca de naranjas, rojos y negros azulados sobre la centelleante superficie del agua. Las agitadas olas chocan contra los enormes salientes rocosos, y el nocturno cielo plateado se condensa en charcas de marea. Joshua Siegel A sketchbook of impossibly beautiful images of Irelands wildly desolate west coast. Flat-edged trees are rendered with the classical serenity of a Claude Lorraine drawing, while the sun becomes a baroque medley of oranges, reds, and midnight blues on the waters glittering surface. Churning waves crash against massive rock outcroppings, and the silvery nighttime sky is abstracted in tidal pools. Joshua Siegel
Este encargo de la organizacin artstica Minetta Brook est inspirado en la fallida bsqueda de una ruta comercial entre Norteamrica y China realizada por Henry Hudson en 1609. Hutton observa la activa industria del Hudson desde la cubierta de un barco y a travs de los ojos de buey y los escobenes, antes de que su panorama se abra a la quietud de los boscosos acantilados del norte. Explora despus la zona de las Tres Gargantas del ro Yangts, en su despliegue a modo de rollo pictrico chino, dando testimonio del paisaje espectral y sulfuroso de los pueblos industriales, que desde entonces ha sido invadido por el proyecto de la monumental presa hidroelctrica. Commissioned by the arts organization Minetta Brook, Two Rivers was inspired by Henry Hudsons failed 1609 quest to discover a trade route between North America and China. Hutton observes the bustling industry of the Hudson from atop a ships deck and through monocular portholes and hawsepipes before his panorama opens onto the quietude of the wooded palisades farther north. He then explores the Three Gorges area of the Yangtze River as it unfolds like a Chinese scroll painting, bearing witness to a spectral, sulfurous landscape of factory villages that has since been flooded by Chinas monumental hydroelectric dam project.
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DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Jueves 13, 20:00 h, y domingo 16, 13:00 h / Thursday 13th, 8:00 pm, and Sunday 16th, 1:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Jueves 13, 20:00 h, y domingo 16, 13:00 h / Thursday 13th, 8:00 pm, and Sunday 16th, 1:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Viernes 14, 18:00 h, y domingo 16, 18:00 h / Friday 14th, 6:00 pm, and Sunday 16th, 6:00 pm
DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Viernes 14, 18:00 h, y domingo 16, 18:00 h / Friday 14th, 6:00 pm, and Sunday 16th, 6:00 pm
SKAGAFJORDUR
PETER HUTTON 16 mm / 33 / 2004 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
AT SEA
EN EL MAR PETER HUTTON 16 mm / 60 / 2004-2007 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
Inspiradas en las tradiciones del paisajismo y la fotografa del siglo xix, las pelculas contemplativas y de composicin meticulosa de Hutton se desarrollan como una serie de retablos separados por segundos de negro. En este caso recoge los paisajes del norte de Islandia y un trabajo reciente sobre el ro Hudson. Drawing on the traditions of 19th-century landscape painting and still photography, Huttons contemplative, meticulously composed films unfold as a series of tableaux seperated by black leader. In this case, he brings together the landscapes of Northern Iceland and recent work on the Hudson River.
Una crnica fascinante y reveladora del nacimiento, vida y muerte de un colosal buque portacontenedores. Una evocadora e inquietante reflexin sobre el progreso humano, tanto fsico como metafrico. Joshua Siegel A riveting and revelatory chronicle of the birth, life, and death of a colossal container ship. A haunting meditation on human progress, both physical and metaphorical. Joshua Siegel
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DIRECCIN, PRODUCCIN, FOTOGRAFA, MONTAJE / DIRECTION, PRODUCTION, CINEMATOGRAPHY, EDITING Peter Hutton MUSEO REINA SOFA. AUDITORIO SABATINI Viernes 14, 18:00 h, y domingo 16, 18:00 h / Friday 14th, 6:00 pm, and Sunday 16th, 6:00 pm
DIRECCIN, FOTOGRAFA, MONTAJE / DIRECTION, CINEMATOGRAPHY, EDITINGPeter Hutton PRODUCCIN / PRODUCTION Carolina Gonzlez-Hutton, Joan Kim (ZKM Film Institute, Karlsruhe Germany) MUSEO REINA SOFA. AUDITORIO SABATINI Viernes 14, 20:00 h, y domingo 16, 20:00 h / Friday 14th, 8:00 pm, and Sunday 16th, 8:00 pm
Son la magia del encuentro y la paciencia de la escucha las que lo hacen todo. The magic of the encounter and patience when listening make all the difference. Marc Weymuller
JOSEPH STRICK
Seccin Informativa
Informative Section
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El director, productor y guionista norteamericano Joseph Strick naci el 6 de julio de 1923 en Braddock, Pensilvania. Aprendi a hacer pelculas sirviendo como operador de cmara en las Fuerzas Areas estadounidenses durante la Segunda Guerra Mundial. En 1948 rod Muscle Beach (cuyo montaje realiz Irving Lerner) mientras trabajaba de recadero en Los Angeles Times. Durante varios aos de la dcada de los 50 trabaj a tiempo parcial, junto a Ben Maddow y Sidney Meyers, en el documental experimental The Savage Eye (1959). La formacin cientfica que recibi antes de la guerra le permiti fundar una serie de empresas de tecnologa: Electrosolids (1956), Computron (1958), Physical Sciences (1958) y Holosonics (1960), que vendi para financiar sus pelculas. En 1977 ide el uso simuladores de movimiento de seis ejes como sistemas de entretenimiento, y lo aplic a nuevas mquinas utilizadas hoy en parques temticos de Disney, como Star Tours. The Savage Eye fue galardonado con el Premio Flaherty al Mejor Documental en los BAFTA, el Premio de la Crtica en el Festival de Venecia y un Mannheim Golduktar. Ha recibido cinco nominaciones a los Premios de la Academia y un Oscar al Mejor Documental por su pelcula Interviews with My Lai Veterans. Sus trabajos incluyen adaptaciones de Ulises y Retrato del artista adolescente, de James Joyce; Los lobos no lloran, de Farley Mowat; Trpico de Cncer, de Henry Miller; Una modesta proposicin, de Jonathan Swift, y El crculo resplandeciente, de Gavin Maxwell. Muscle Beach, The Savage Eye, Road Movie, The Darwin Adventure, Criminals y The Hecklers estn basadas en guiones originales. Entre sus colaboradores se encuentran Igor Stravinsky, Oscar Niemeyer, Fred Haines, Ben Maddow, Sidney Meyers, Helen Levitt, Lewis Allen, Irving Lerner, Betsy Strick, Haskell Wexler, Judith Rascoe, Larry Kramer, Robert Montgomery Jr., Sylvia Sarner, Richard Pierce, Jack Couffer, David Chasman y Barney Rosset. Ha impartido clases en la Universidad de Harvard, la Universidad de California, en Irvine, la Universidad de Nueva York, la Escuela Nacional Australiana de Cine, la Universidad Estatal de Nueva York, Purchase, y la Universidad de Salford. En Gran Bretaa ha dirigido obras de teatro en la Royal Shakespeare Company, Thesmophoriazusae (1966), y el National Theatre, Renaissance Farces (2003). Su proyecto actual consiste en hacer largometrajes con cmaras digitales de bolsillo y ningn presupuesto. Contemporary films Joseph Strick (b. July 6, 1923 in Braddock, Pennsylvania) is an American director, producer and screenwriter. He learned film making when serving as a cameraman in the US Air Force in World War II. In 1948, he shot Muscle Beach (edited by Irving Lerner) while working as a copy boy at the Los Angeles Times. For several years in the 1950s, he, Ben Maddow, and Sidney Meyers worked part-time on the experimental documentary The Savage Eye (1959). A science student before the war, he founded a group of technology companies including Electrosolids Corp (1956), Computron Corp
(1958), Physical Sciences Corp (1958), Holosonics Corp (1960) and sold these companies to fund his films. In 1977 he invented the usage of six-axis motion simulators as entertainment systems and applied this to new machines used now in Disney theme parks as Star Tours. The Savage Eye won the BAFTA Flaherty Documentary Award, the Venice Festival Critics Prize and the Mannheim Golduktar. His films have had five Academy award nominations and an Academy award for best documentary for his movie Interviews with My Lai Veterans. His films include the adaptations of the James Joyces Ulysses and A Portrait of the Artist as a Young Man, Farley Mowats Never Cry Wolf, Henry Millers Tropic of Cancer, Jonathan Swifts A Modest Proposal and Gavin Maxwells Ring of Bright Water. Original scripts have been the sources of Muscle Beach, The Savage Eye, Road Movie, The Darwin Adventure, Criminals and The Hecklers. His volunteer collaborators include Igor Stravinsky, Oscar Niemeyer, Fred Haines, Ben Maddow, Sidney Meyers, Helen Levitt, Lewis Allen, Irving Lerner, Betsy Strick, Haskell Wexler, Judith Rascoe, Larry Kramer, Robert Montgomery Jr, Sylvia Sarner, Richard Pierce, Jack Couffer, David Chasman, and Barney Rosset. He has taught most recently at Harvard University, University of California at Irvine, New York University, the Australian National Film School, the State University of New York at Purchase and the University of Salford. In Britain he has directed plays at the Royal Shakespeare Company Thesmophoriazusae (1966) and the National Theatre Renaissance Farces (2003). His current project is the making of feature films with palm-size digital cameras and no money. Contemporary films
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MUSCLE BEACH
PLAYA DEL MSCULO IRVING LERNER , JOSEPH STRICK Betacam / 9 / 1948 / Estados Unidos / USA V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
CRIMINALS
DELINCUENTES JOSEPH STRICK Betacam / 73 / 1996 / Estados Unidos / USA V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
En una playa del sur de California, acrbatas y culturistas exhiben sus habilidades y sus poses. Una narracin cantada resume sus obsesiones. Apologa potica de la sonriente y despreocupada juventud de la posguerra. On a beach in Southern California, acrobats and muscle-builders flaunt their skills and poses. A singing narration takes note of their obsessions. A poetic eulogy to the smiling and carefree postWar youth of the era.
Una mujer viaja a Los ngeles mientras espera la resolucin de su divorcio, e interpreta la locura de la ciudad como el teln de fondo de su profundo sentimiento de haber fracasado como mujer. Los delirantes aspectos de una ciudad delirante solo dejan de obsesionarla cuando sufre un accidente que acepta como un castigo que ahora puede superar. A woman comes to Los Angeles to wait out her divorce and interprets the madness of the city as a background for her deep feeling that she has failed as a woman. The crazy aspects of a crazy city stop haunting her only when she suffers an accident that she can accept as a punishment that she can now overcome.
Cinco exsoldados, veteranos de la atrocidad de My Lai, Vietnam, cuentan lo que hicieron y por qu. Dos de ellos lo volveran a hacer. Otros dos se negaron a matar y abandonaron ilesos la escena del genocidio. Five ex-soldiers, veterans of the atrocity in My Lai, Vietnam, tell what they did and why they did it. Two of them would do it again. Two refused to kill and left the scene of the genocide unharmed.
Feroz relato sobre la delincuencia en Estados Unidos que muestra la actividad de agentes encubiertos, vdeos policiales de delitos, confesiones inimaginables y momentos de resistencia heroica. A fierce story about crime in America featuring the action of decoy squads, police videotapes of crimes in progress, unimaginable confessions and some heroic resistance.
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Premio Flaherty de Documental / Flaherty Documentary Award, Premios BAFTA / BAFTA Awards (Reino Unido / UK, 1960) Premio Ducado / Ducat Award, Mannheim-Heidelberg International Filmfestival (Alemania / Germany, 1960) DIRECCIN, PRODUCCIN, GUIN, MONTAJE / DIRECTION, PRODUCTION, SCRIPT, EDITING Ben Maddow, Sidney Meyers, Joseph Strick FOTOGRAFA / CINEMATOGRAPHY Jack Couffer, Helen Levitt, Haskell Wexler SONIDO / SOUND Larry Hubbins MSICA / MUSIC Leonard Rosenman CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 14, 18:00 h / Friday 14th, 6:00 pm CINES PRINCESA Sala 7 / Theater 7 Domingo 16, 18:15 h / Sunday 16th, 6:15 pm
Oscar al Mejor Cortometraje Documental / Best Documentary Short Film, Academy Awards (Estados Unidos / USA, 1971) DIRECCIN, PRODUCCIN, GUIN / DIRECTION, PRODUCTION, SCRIPTJoseph Strick FOTOGRAFA / CINEMATOGRAPHY Richard Pearce, Haskell Wexler MONTAJE / EDITING Sylvia Sarner SONIDO / SOUND Howard Milkin CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 14, 16:00 h / Friday 14th, 4:00 pm CINES PRINCESA Sala 7 / Theater 7 Sbado 15, 18:15 h / Saturday 15th, 6:15 pm
ZDIRECCIN / DIRECTION Irving Lerner, Joseph Strick MONTAJE / EDITING Irving Lerner MSICA / MUSIC Earl Robinson CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 14, 18:00 h / Friday 14th, 6:00 pm CINES PRINCESA Sala 7 / Theater 7 Domingo 16, 18:15 h / Sunday 16th, 6:15 pm
DIRECCIN / DIRECTION Joseph Strick PRODUCCIN / PRODUCTION Joseph Strick, Elinor Bunin GUIN / SCRIPT C. K. Williams FOTOGRAFA / CINEMATOGRAPHY Michael Off MONTAJE / EDITING Ruth Cullen SONIDO / SOUND Barbara Gordon, Jay Patterson CINE ESTUDIO CRCULO DE BELLAS ARTES Viernes 14, 16:00 h / Friday 14th , 4:00 pm CINES PRINCESA Sala 7 / Theater 7 Sbado 15, 18:15 h / Saturday 15th , 6:15 pm
BEN RUSSELL
Seccin Informativa
Informative Section
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Ben Russell define su propia obra como una prctica que opera en los territorios, aparentemente divergentes, de la psicodelia, la fenomenologa, la etnografa y la performance. Algo que evidencia, ante todo, la independencia creativa en la que se enmarca la produccin cinematogrfica del realizador de Chicago. El ciclo que propone Documenta Madrid en su VII edicin consta de dos sesiones que dan buena cuenta de las continuidades y divergencias existentes en el interior de una filmografa tan fascinante como heterodoxa. El grupo de filmes Trypps 1-6 est compuesto por una serie de alucinaciones que nos adentran en la experiencia de la visin cinematogrfica para explorar las concomitancias entre la realidad y la abstraccin y el potencial que albergan las prcticas extremas vinculadas al cine de vanguardia, desde las formas imposibles propias del op-art hasta los juegos con luz estroboscpica que recorren la historia del cine experimental. Una serie de propuestas en las que la proyeccin cinematogrfica funciona como instrumento privilegiado para la construccin de una particular fenomenologa espectatorial desde la que se invita al observador a entrar en trance, con homenaje a Jean Rouch incluido. Con las pelculas que componen Recent Anthropologies, a medio camino entre la etnografa experimental y la parodia documental, Russell explora el poder del dispositivo cinematogrfico, entendido como instrumento de conocimiento, y las contradicciones que encierra su uso divulgativo cuando se somete a las disciplinas cientficas, acadmicas e incluso artsticas. Al igual que Trypps #6 (Malobi), incluida en Trypps 1-6, los cortometrajes Daum y Tjba Tn / The Wet Season, que se proyectarn dentro de esta sesin, entroncan ya directamente con Let Each One Go Where He May, primer largometraje del realizador, merecedor de un amplio reconocimiento internacional. Se trata, en todos los casos, de pelculas realizadas en el corazn de Surinam (antigua Guayana holandesa), en los territorios poblados por los negros cimarrones descendientes de esclavos que huyeron del poder colonial migrando al interior del pas. La mirada que construye Ben Russell en los mencionados cortometrajes es la de quien se aproxima a una cultura ajena con las herramientas del antroplogo, pero solo para poner en evidencia los mecanismos de dominacin que subyacen en cierta tradicin de la etnografa flmica. Adoptando irnicamente el papel del antroplogo, Russell suele escenificar los dispositivos de control y puesta en escena haciendo que lo que usualmente precede y sucede a la pelcula (las instrucciones dadas a los actores sociales para que escenifiquen las tradiciones, los usos y las costumbres que deben ser preservados) se convierta en el ncleo de la representacin. Rodada en 13 planos secuencia de unos diez minutos cada uno, Let Each One Go Where He May constituye una de las ms inteligentes e interesantes aportaciones al documental etnogrfico realizadas en los ltimos tiempos. En esta pelcula, la cuestin de la libertad, que hemos apuntado al principio solo para referirnos al talento creativo del cineasta, se convierte, desde el ttulo (Que cada cual vaya donde quiera), en tema central, con unas implicaciones histricas, polticas y estticas de primer orden.
La cuestin de la libertad se perfila, por tanto, como un buen punto de partida para adentrarse en las pelculas que componen esta retrospectiva (y, por extensin, en la obra de Ben Russell), pues alcanza en ellas mltiples dimensiones: desde la menos obvia, que atae al control del realizador sobre el sujeto o el tema filmado, hasta la que nos zambulle en la historia de una comunidad indisolublemente ligada a un pasado de esclavitud y al acto de rebelin sobre el que se funda la sociedad cimarrona. Y, atravesndolas a todas, la radical apuesta por una prctica flmica, a la vez narrativa y experimental, que rompe los moldes de cualquier tipologa genrica. Sonia Garca Lpez Ben Russell defines his own film work as a practice that operates within the seemingly divergent spaces of psychedelia, phenomenology, ethnography, and performance. Something demonstrating first and foremost the creative independence that goes into this Chicago film directors productions. The series offered at the 7th Documenta Madrid is made up of two sessions providing a good account of the continuities and divergences existing within his film work, which is as fascinating as it is unorthodox. Trypps 1-6 consists of a series of hallucinations immersing us in the film viewing experience, to explore everything associated with reality and abstraction and the potential of the extreme practices in avant-garde filmmaking, from impossible forms typical of op-art through to strobe lighting effects prevalent throughout experimental cinema. A series of offerings in which the screening serves as a privileged instrument for constructing a unique visual phenomenology, inviting the observer to go into a trance, with an homage to Jean Rouch included. In the films making up Recent Anthropologies, halfway between experimental ethnography and mockumentary, Russell explores the power of the camera as a tool for knowledge, and the contradictions inherent in using it when tackling scientific, academic and even artistic issues. Just like Trypps #6 (Malobi), included in Trypps 1-6, two of the short films to be screened in this session Daum and Tjba Tn / The Wet Season are directly related to Let Each One Go Where He May, the directors first full-length film, which has gained wide recognition internationally. All these films were made in the heart of Suriname in the territory populated by black Cimarrons, the descendants of slaves who fled colonial power by migrating to the inner part of the country. Ben Russells vision in these short films is one of someone approaching a foreign culture with the tools of an anthropologist, but just to make evident the mechanisms of domination that underlie a certain tradition of ethnographic cinema. In ironically adopting the role of the anthropologist, Russell often stages the control mechanisms and directing, so that what usually precedes and follows the film (the instructions given to social actors so they can stage the traditions, uses and customs that are meant to be preserved) become the focus of the representation.
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Filmed in 13 long takes of 10 minutes each, Let Each One Go Where He May is one of the most intelligent and interesting contributions to ethnographic documentary film made in recent times. In this film, the issue of freedom, which we have pointed out early in reference just to the filmmakers creative talent, becomes the central issue with key historical, political and aesthetic implications. The issue of freedom is therefore a good starting point for approaching the films in this retrospective (and by extension, in the film work of Ben Russell), since it touches on multiple dimensions: from the less obvious dealing with the control the director has over the subject or issue being filmed, through to one delving into the story of a community inextricably tied to a past of slavery and the act of rebellion that Cimarron society is founded upon. And throughout all of them, the radical commitment to a simultaneously narrative and experimental film practice that breaks the moulds of any generic typology. Sonia Garca Lpez
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La relacin comienza cuando nuestro personaje se olvida de la cmara y nos cuenta cara a cara. The relationship starts when our character forgets he or she is on camera and speaks to us face to face. Horacio Alcal
DAUM
BEN RUSSELL 16 mm / 7 / 2000 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
TERRA INCOGNITA
BEN RUSSELL 16 mm / 10 / 2002 / Estados Unidos / USA V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
Construida a partir de una seleccin de rollos de Super 8 filmados cuando el director trabajaba como promotor de desarrollo en un pueblecito sudamericano, es en esencia una reflexin sobre el ritual, el poder y el juego. Es a la vez etnografa y crtica, y una indagacin sobre cmo representar un lugar que no puede ser representado. Culled from four rolls of Super-8 film shot while the maker was a development worker in a small South American village, Daum is at its center a reflection about ritual, power, and play. It is both ethnography and critique; it is an interrogation into how to represent a place that cant be represented.
Una pelcula estenopeica, una voz robtica barata, una historia improvisada. El relato de un explorador sobre un lugar desconocido del mundo. Turbias imgenes, obtenidas sin lentes, que crean una memoria de la historia. Textos antiguos y modernos de exploradores de la isla de Pascua distorsionados por un narrador computerizado, que resultan en una narrativa repetitiva del descubrimiento, el colonialismo, la prdida y la partida. A pinhole film, a cheap robot voice, a makeshift history. An explorers tale of the unknown part of the world. Cloudy pinhole images made without lenses create a memory of history. Ancient and modern explorer texts of Easter Island are garbled together by a computer narrator, resulting in a forever repeating narrative of discovery, colonialism, loss and departure.
Composicin psicodlica de op-art que alude a las tradiciones del cine de vanguardia pintado a mano sustituyndolo por algo totalmente distinto. La hipnosis es inminente. A psychedelic op-art composition that references the traditions of hand-painted Avant-Garde cinema by replacing it with something entirely different. Hypnosis is imminent.
Un buen ejemplo de espacios que existen como objetos en s mismos. Una ofrenda de formas en homenaje a los ttems naturales. Intervienen dos tipos de opuestos: el blanco y negro, y los reflejos y superposiciones. Estos sencillos elementos crean una frentica maraa de ramas retorcidas en forma de asta, ramitas y pedazos diseccionados de puro espacio. A fine example of spaces between existing as objects themselves. A patternistic and memorializing offering to natural totems. Two kinds of reversal at play involving black and white as well as reflection and overlap. These simple elements create a hurried maze of twisting antler branches, twigs, and dissected slices of pure space.
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DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th, 8:00 pm
DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th , 8:00 pm
DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th, 8:00 pm
DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th, 8:00 pm
BLACK AND WHITE TRYPPS NUMBER THREE BLACK AND WHITE TRYPPS NUMBER FOUR
ALUCINACIN EN BLANCO Y NEGRO NMERO TRES BEN RUSSELL 16 mm / 11 / 2007 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES ALUCINACIN EN BLANCO Y NEGRO NMERO CUATRO BEN RUSSELL 16 mm / 10 / 2008 / Estados Unidos / USA V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH
Tercera parte de una serie sobre la psicodelia obtenida de forma natural. Rodada durante un concierto del grupo de noise Lightning Bolt, de Rhode Island, documenta la transformacin del pblico que pasa del delirio colectivo a un trance ritual de la ms alta espiritualidad. The third part in a series of films dealing with naturally-derived psychedelia. Shot during a performance by Rhode Island noise band Lightning Bolt, this film documents the transformation of a rock audiences collective freak-out into a trance ritual of the highest spiritual order.
Con una tira de pelcula de 35 mm protagonizada por el cmico americano Richard Pryor, fallecido en 2005, este intenso asalto Rorschach a la vista pasa de un caos parpadeante creado por formatos de cine incompatibles a un desenlace con estereotipos raciales histricamente incompatibles. Using a 35mm strip of motion picture slug featuring the American comedian Richard Pryor, deceased in 2005, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.
115 aos despus, otro remake de la pelcula de pseudoactualidad de los hermanos Lumire La salida de la fbrica Lumire. Esta vez, alrededor de la fbrica hay una obra poblada por miles de obreros del sudeste asitico, una obra de produccin arquitectnica neofordista que fabrica rascacielos como si fueran coches. 115 years later, an(other) remake of the Lumiere Brothers pseudoactuality film La Sortie des usines Lumire. This time around our factory is a job site, a construction site peopled by thousands of Southeast Asian laborers, a neo-Fordist architectural production site that manufactures skyscrapers like so many cars.
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Etnografa experimental filmada en el poblado selvtico de Bendekondre, Surinam, a principios de 2007. Compuesta por representaciones, grabaciones extratemporales y actuaciones de la comunidad, tiene una doble funcin: como anlisis de la cultura material rpidamente cambiante del presente y como documento histrico para el futuro. La cuestin sobre si el resultado est dirigido a sus protagonistas, a sus residentes temporales (cineastas) o a sus espectadores occidentales se formula a travs de la combinacin de tomas largas, enfoques materialistas, subtitulacin selectiva y la focalizacin sobre varios tipos de actividades culturales. Experimental ethnography recorded in the jungle village of Bendekondre, Suriname at the start of 2007. Composed of community-generated performances, re-enactments and extemporaneous recordings, this film functions doubly as an examination of a rapidly changing material culture in the present and as a historical document for the future. Whether the resultant record is directed towards its subjects, its temporary residents (filmmakers), or its Western viewers is a question proposed via the combination of long takes, materialist approaches, selective subtitling, and a focus on various forms of cultural labor.
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DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th, 8:00 pm
DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th, 8:00 pm
DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th, 8:00 pm
DIRECCIN / DIRECTION Ben Russell, Brigid McCaffrey FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th , 8:00 pm
TRYPPS #5 (DUBAI)
ALUCINACIN #5 (DUBAI) BEN RUSSELL 16 mm / 3 / 2008 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
TRYPPS #6 (MALOBI)
ALUCINACIN #6 (MALOBI) BEN RUSSELL 16 mm / 12 / 2009 / Estados Unidos / USA SIN DILOGOS / WITHOUT DIALOGUES
APP APPAP APP APAPPAP APP APP APP APAPPAPAPPAP APPAPAPP Un breve tratado sobre la semitica de capital, felicidad y fenomenologa bajo el parpadeante nen del capitalismo. APP APPAP APP APAPPAP APP APP APP APAPPAPAPPAP APPAPAPP A short treatise on the semiotics of capital, happiness, and phenomenology under the flickering neon of global capitalism.
Desde el pueblo cimarrn de Malobi, en Surinam, Sudamrica, una sola toma sirve para ofrecer una visin sorprendentemente contempornea de un clsico de Jean Rouch. Es Halloween en el Ecuador, Andrei Tarkovsky en el escenario de la jungla. From the Maroon village of Malobi in Suriname, South America, this single-take film offers a strikingly contemporary take on a Jean Rouch classic. Its Halloween at the Equator, Andrei Tarkovsky for the jungle set.
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Russell explora en su debut como largometrajista el prolongado viaje de dos hermanos annimos desde las afueras de Paramaribo, Surinam, tierra adentro, siguiendo los pasos de sus antepasados, que 300 aos atrs escaparon de la esclavitud a manos de los holandeses. Rodada casi por completo con una cmara de 16 mm en trece planos secuencia, este retrato cartogrfico de la cultura saramaka actual es un trabajo riguroso y exquisito que desmantela la etnografa tradicional al tiempo que participa de ella, invitando a que el anacronismo y la creacin de mitos tomen parte en una audaz refundicin de la historia. The feature debut of Ben Russell traces the extensive journey of two unidentified brothers who venture from the outskirts of Paramaribo, Suriname, overland, tracing the voyage undertaken by their ancestors, who escaped from slavery at the hands of the Dutch 300 years prior. Shot almost entirely with a 16mm Steadicam rig in thirteen extended tracking shots, this cartographic portrayal of contemporary Saramaccan culture is a rigorous and exquisite work that partakes in and dismantles traditional ethnography, inviting anachronism and myth-making to participate in the films daring conflation of history.
Basada en un breve fragmento de Daum, una de las primeras pelculas etnogrficas de Russell, esta performance de doble proyeccin se sirve de una variedad de pelcula en bucle de 16 mm, sistemas electrnicos hechos a mano, lentes prismticas y componentes anlogos para crear un bucle de retroalimentacin audiovisual que avanza lentamente hacia la fenomenologa. Con ecos de The Flicker, de Tony Conrad, y Disintegration Loops, de William Basinski, The Black and the White Gods investiga la posibilidad de la representacin a travs del mbito abstrado de la experiencia corprea. Using a short segment of Russells early ethnographic film Daum as its foundation, this double-projection performance employs a variety of 16mm film loops, hand-built electronics, prismatic lenses, and analog components to create an audiovisual feedback loop that edges steadily towards the phenomenological. With echoes of Tony Conrads The Flicker and William Basinskis Disintegration Loops, The Black and the White Gods seeks to interrogate the possibility of representation via the abstracted field of bodily experience.
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Gran Premio / First Prize, Festival Internacional de Cine Documental de Navarra Punto de Vista (Espaa / Spain, 2010) DIRECCIN, MONTAJE / DIRECTION, EDITING Ben Russell FOTOGRAFA / CINEMATOGRAPHY Chris Fawcett SONIDO / SOUND Brigid McCaffrey FILMOTECA ESPAOLA Sala 1 / Theater 1 Mircoles 12, 22:00 h / Wednesday 12th, 10:00 pm MATADERO MADRID. CENTRAL DE DISEO Sbado 15, 21:00 h / Saturday 15th, 9:00 pm
DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th , 8:00 pm
DIRECCIN / DIRECTION Ben Russell FILMOTECA ESPAOLA Sala 2 / Theater 2 Jueves 13, 20:00 h / Thursday 13th, 8:00 pm
Seccin Informativa
Informative Section
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Estamos acostumbrados a que el documental refleje todo tipo de realidades de nuestro planeta. Este ciclo de excepcin, programado en Documenta Madrid, va mucho ms lejos. De hecho, ms all de los lmites respirables de la atmsfera en que todas las razas que componen la humanidad han desarrollado sus actividades desde el comienzo de la historia de nuestras respectivas civilizaciones. Es la hora de dar el salto a las estrellas, de viajar por el firmamento sin ms lmites que los que sean capaces de marcar nuestra imaginacin y tecnologa. Para todos los interesados en la astronutica, iniciados o no, este es un ciclo muy altamente recomendable, que comienza en los albores de la carrera espacial, reconstruidos con una impresionante cantidad de material de archivo y a base de gran pericia de realizacin, en Ascention, y se extiende hasta el reflejo de los (utpicos?) sueos del ser humano por alcanzar la meta de instalarse en Marte, al que asistimos en el trabajo del gran documentalista Richard Dindo Les rveurs de Mars. Space Tourists nos invita a acompaar en su viaje al cosmos a la multimillonaria norteamericana de origen iran Anousha Ansari, la primera mujer que viaj al espacio pagando. La seguimos en todas las fases de su entrenamiento, en el despegue y vuelo de la Soyuz TMA-9 (acompaada del astronauta, nacido en Madrid, Miguel Lpez-Alegra), en su estancia espacial e incluso asistimos a la apertura de la cpsula tras su aterrizaje de retorno a nuestro planeta. Este filme es una inmejorable ocasin para seguir paso a paso el trayecto completo de un viaje cosmonutico. Pero, como podemos ver en Space Sailors, tiempo antes de los actuales viajes para ricos excntricos, el programa espacial ruso haba llevado al firmamento, paradjicamente, a representantes de la clase trabajadora desde las diferentes repblicas soviticas, Cuba o incluso desde las yurtas de las estepas de Mongolia. Lamentablemente, el ser humano sigue portando en su interior un primate temeroso y agresivo y, como nos ensea con total lujo de detalles Pax Americana and the Weaponization of Space, no todo son avances cientficos en pro de la paz y la expansin de las fronteras de la humanidad cuando se habla de la carrera espacial. Esta pelcula es un pormenorizado anlisis de la actual guerra de las galaxias (nada que ver con la de George Lucas) que comenz con la IDE (Iniciativa de Defensa Estratgica) de la era Reagan y que est empezando a alcanzar cotas de demencia realmente preocupantes. Desde Documenta estamos convencidos de que estas cinco pelculas son verdaderas joyas en su gnero y estamos realmente satisfechos de poder programarlas esta primavera dentro de nuestro festival. En pocas ocasiones hemos conseguido un ciclo tan redondo. Si quieren saber cmo es la vida en la Estacin Espacial Internacional; si desean averiguar cmo trabajan los grupos organizados de chatarreros espaciales que recogen en el desierto de Kazajistn las fases desprendidas de los cohetes rusos para revendrselas a los chinos, que fabrican con sus materiales componentes para circuitos; si tienen curiosidad por conocer cmo un expiloto sovitico consigui llevarse al comedor de su casa la cpsula con la que viaj a las estrellas; si estn preocupados por informarse acerca de qu peligros nucleares nos amenazan a nosotros y nuestros satlites desde el cielo tienen una oportunidad nica de descubrir todo ello, y mucho ms, en Documenta la conquista espacial.
We are used to documentaries showing all kinds of different realities on our planet. This extraordinary series in Documenta Madrids program goes much further. In fact, it goes beyond the breathable limits of our atmosphere, the one the entire human race has been operating in since the beginning of our respective civilizations. Now is the time to head for the stars, to travel the heavens no limits other than those set by our imagination and technology. For all those interested in astronautics, initiated or not, this is a strongly recommended series, beginning with the dawn of the space race, reconstructed with an amazing amount of file footage and great craftsmanship, in Ascention, and continuing on through to the portrayal of (utopian) dreams of human beings of reaching its goal of landing on Mars, which we will see in the film by the great documentary maker Richard Dindo Les rveurs de Mars. Space Tourists invites us to join the millionaire American of Irani descent, Anousha Ansari on her journey to the cosmos as the first woman to go into space as a tourist. We follow her through all the stages of training, the take-off and flight of the Soyuz TMA-9 to space, accompanied by the Madrid-born astronaut Miguel LpezAlegra. We will even witness the opening of the capsule after their return landing on our planet. This film is an excellent occasion to follow the entire process of a space flight, step by step. But as we can see in Space Sailors, long before the trips made nowadays by the eccentrically wealthy, the Russian space program paradoxically had taken representatives from the working classes from different members of the Soviet Republic, from Cuba and even from the yurts on the steppes of Mongolia. Unfortunately, human beings continue carrying inside them a fearful and aggressive primate, and as we are shown in all its glorious detail, Pax Americana and the Weaponization of Space, not all of them are scientific advancements for peace and the broadening of human frontiers as far as the space race is concerned. This film is a detailed analysis of the present day star wars (not the George Lucas one) that started with the Reagan-era SDI (Strategic Defence Initiative), one that is starting to reach truly worrying levels of dementia. At Documenta, we are certain that these five films are veritable gems in this genre, and we are very content to be able to screen them this spring as part of our festival. On few occasions have we managed to bring together such a well-rounded series. If you want to know what life is like on the International Space Station, if you want to find out how organized groups of scrap metal collectors in the desert of Kazakhstan gather up the detached stages of Russian rockets to re-sell them to the Chinese for manufacturing circuit components, if you are curious to know how a Soviet ex-pilot managed to take the capsule in which he traveled to the stars back home to his dining room, if you are worried and want to learn more about the nuclear dangers threatening us and our satellites from the sky you have a unique opportuntity to learn it all, and much more, in Documenta Space Conquest.
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ASCENTION
ASCENSO / VOSCHOZHDENIE PAVEL MEDVEDEV Betacam / 49 / 2008 / Rusia / Russia V. O. INGLS, RUSO / ENGLISH, RUSSIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
PAX AMERICANA AND THE WEAPONIZATION SPACE SAILORS OF SPACE NAVEGANTES DEL ESPACIO / FLIEGERKOSMONAUTEN
PAX AMERICANA O LA CONQUISTA MILITAR DEL ESPACIO DENIS DELESTRAC Betacam / 85 / 2009 / Canad, Francia / Canada, France V. O. INGLS / ENGLISH. SUBT. ESPAOL / SPANISH MARIAN KISS Betacam / 87 / 2009 / Alemania / Germany V. O. MONGOL, VIETNAMITA, ESPAOL, HNGARO, CHECO, POLACO,ALEMN, BLGARO, RUMANO, RUSO, PASHTO / MONGOLIAN, VIETNAMESE,SPANISH, HUNGARIAN, CZECH, POLISH, GERMAN, BULGARIAN, RUMANIAN, RUSSIAN, PASHTO. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
Estados Unidos, Rusia y la Repblica Popular China son los pases que desempearon un papel ms importante en los albores de la exploracin espacial. Una investigacin exhaustiva que concluye en la recuperacin de material flmico indito permite componer esta emotiva visin global de aquel momento, que es a su vez un rquiem por las vctimas de ese proceso, deudor de la eterna aspiracin del ser humano de desbordar sus propios lmites.
Un grupo de norteamericanos, cientficos, arquitectos y estudiantes que viven diseminados en doce estados distintos del pas, piensan que la humanidad debera aterrizar pronto en Marte para buscar los secretos del origen de la vida e instaurar una nueva civilizacin, una nueva raza de hombres. A group of Americans scientists, architects, students, who live scattered in a dozen states of the USA think that humanity should rapidly land on Mars to seek the secrets of the origins of life and install a new civilization, a new race of men.
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The United States, Russia and the Peoples Republic of China are the countries that played the most important roles the first steps in space exploration. This exhaustive investigation using previously unseen and recovered film footage provides an emotional overview of that time and serves as a requiem for the victims of the space exploration process, the casualties of humankinds eternal aspiration to go beyond its own limits.
Mientras muchas naciones buscan un tratado de paz para el espacio, Estados Unidos trabaja en un programa que tiene por objeto el control de todos los escenarios de guerra posibles: tierra, mar, aire y espacio. Esta poltica, la mejor receta para una catstrofe, podra suponer el auge de una nueva carrera nuclear que pusiera en peligro, por ejemplo, los satlites que cada uno de nosotros utiliza cada da. El espacio, nuevo campo de batalla o ltimo santuario de paz? While many nations seek a peace treaty for space, the United States is working on a program, the object of which is to control all possible war scenarios: land, sea, air and space. This policy, a clear recipe for disaster, might bring about a new nuclear arms race and it might put in danger, for example, the satellites that every one of us uses every day. Space: the new battle ground or the last sanctuary of peace?
Eran hroes de una clase especial. Venan de las estepas, hijos de granjeros, de empleadas de fbrica. La sal de la tierra, jvenes robustos, maridos ejemplares que crean en el comunismo desde el fondo de su corazn. Les esperaba un futuro brillante. Estaban a punto de conquistar el espacio en nombre del Programa Intercosmos. Desde el instante en que aterrizaron, les trataron como a estrellas del rock y les veneraron como a hroes. Y hoy? Qu hacen los hroes del socialismo sin el socialismo? They were heroes of a special kind. They came from the steppes, the sons of farmers, of factory floor women. Salt-of-theearth, strapping young men, model husbands, who believed in communism with all their hearts. Bright futures lay ahead of them. In the name of the Intercosmos Programme they were about to conquer space. The second they touched down, they were treated like pop stars and worshipped as heroes. And today? What do the heroes of socialism do without socialism?
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DIRECCIN, GUIN / DIRECTION, SCRIPT Pavel Medvedev PRODUCCIN / PRODUCTION Julia Sosnovskaya FOTOGRAFA / CINEMATOGRAPHY Dmitrij Zavilgelsky, Alexandr Gusev, Dmitrij Alekseev MONTAJE / EDITING Igor Nurgaliev SONIDO / SOUND Sergey Moshkov MSICA / MUSIC Igor Vorotnokov, Valerij Alahov CINE ESTUDIO CRCULO DE BELLAS ARTES Domingo 16, 20:00 h / Sunday 16th, 8:00 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Richard Dindo PRODUCCIN / PRODUCTION Serge Lalou (Les Films dIci) SONIDO / SOUND Martin Witz MONTAJE / EDITING Eulalie Korenfeld, Ren Zumbuhl FOTOGRAFA / CINEMATOGRAPHY Pio Corradi, Richard Dindo CINE ESTUDIO CRCULO DE BELLAS ARTES Jueves 13, 19:30 h / Thursday 13th, 7:30 pm
DIRECCIN / DIRECTION Denis Delestrac PRODUCCIN / PRODUCTION Denis Delestrac (Intrepido Films) GUIN / SCRIPT Denis Delestrac, Harold Crooks SONIDO / SOUND Philippe Scultety MONTAJE / EDITING David Leguerrier FOTOGRAFA / CINEMATOGRAPHY JP Saint Louis MSICA / MUSIC Amon Tobin LOCUCIN / VOICE Mikela Jay CINES PRINCESA Sala 9 / Theater 9 Viernes 14, 19:30 h / Friday 14th, 7:30 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Marian Kiss PRODUCCIN / PRODUCTION Jrg Rothe (NML) SONIDO / SOUND Ed Cantu, Martin Steyer, Dirk Jacob MONTAJE / EDITING Katalin Pzmndy, Marian Kiss FOTOGRAFA / CINEMATOGRAPHY Lars Barthel MSICA / MUSICThomas Wydler, Hans Jrn Brandenburg CINES PRINCESA Sala 9 / Theater 9 Jueves 13, 22:00 h / Thursday 13th, 10:00 pm
SPACE TOURISTS
TURISTAS DEL ESPACIO CHRISTIAN FREI Betacam / 98 / 2009 / Suiza / Switzerland V. O. INGLS, RUSO, RUMANO / ENGLISH, RUSSIAN, ROMANIAN. SUBT. ESPAOL, INGLS / SPANISH, ENGLISH
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En los ltimos aos, para un minoritario nmero de multimillonarios, existe la posibilidad de despegar del planeta Tierra para viajar, por placer, al espacio exterior. Con una extraordinaria penetracin y haciendo uso de imgenes inditas, se investigan las oscilaciones emocionales que acompaan a una empresa caracterizada por su elevadsimo coste. Anlisis que abre un debate sobre el significado y las fronteras del espritu humano y nuestra sed de aventura y descubrimiento, y que sorprende al espectador con imgenes y situaciones que poco tienen que ver con la fantasa futurista del turismo espacial. In recent years, the possibility of taking off from planet Earth and travel into outer space for fun has existed for a small number of multi-millionaires. With extra-ordinary access and never before seen images, the film investigates the emotional oscillations of carrying out an expensive endeavor. An analysis that opens debate on the meaning and boundaries of the human spirit and our hunger for adventure and discovery, surprising its audience with images and situations that have very little to do with the futuristic fantasy of space-tourism.
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DIRECCIN, PRODUCCIN, GUIN / DIRECTION, PRODUCTION, SCRIPTChristian Frei SONIDO / SOUND Florian Eidenbenz MONTAJE / EDITING Christian Frei, Andreas Winterstein FOTOGRAFA / CINEMATOGRAPHY Peter Indergand SCS MSICA / MUSIC Jan Garbarek, Edward Artemyev, Steve Reich CINES PRINCESA Sala 7 / Theater 7 Sbado 15, 22:45 h / Saturday 15th, 10:45 pm
Horas y horas al lado de nuestros personajes en un cuarto oscuro. Pero ellos no lo saben. Nunca sabrn cuntas horas pasamos mirndolos, pensando en ellos. Hours and hours alongside our characters in a dark room. But they do not know that. They will never know how many hours we spend watching them, thinking about them. Oliver Merchant
Seccin Informativa
Informative Section
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Lo ms interesante de la produccin espaola del ao se concentra en esta seccin no competitiva de Documenta Madrid. Desde que el ao pasado el festival incorporase a sus bases el requisito de estreno nacional para todas las pelculas que componen las secciones a concurso, es indudable que muchas pelculas se nos escapan. En esta ocasin no va a ser as. Los ttulos que se agrupan en este programa, por unos u otros motivos, no han podido formar parte de nuestra seleccin oficial. En su mayora porque ya han sido estrenados previamente en un festival, o bien por todo lo contrario, porque son tan recientes que han sido finalizados con posterioridad al plazo que marcamos para la recepcin de pelculas. En cualquiera de los casos, los 16 documentales que constituyen el Panorama nacional 2010, pertenecen a ese grupo selecto de trabajos que est engalanando la produccin espaola en el gnero de la no ficcin en los ltimos tiempos. Todos ellos podran haber sido elegidos por Documenta para concurrir a un premio, pero al quedar fuera de esa posibilidad, nos pareca lo ms indicado ofrecer a nuestros espectadores la proyeccin de todos ellos, mxime teniendo en cuenta que alguno an no se ha visto nunca en pantalla grande y todos ellos son riguroso estreno en nuestra ciudad. Debido a su gran calidad, los festivales de Pamplona, Mlaga, Gijn o Berln han acogido a alguno de ellos con anterioridad, ya que, sin duda, estamos hablando de trabajos que no han hecho ms que comenzar su andadura y a los que les espera un brillante camino por delante. Por unas u otras razones todos son encomiables, pero permtaseme destacar el delicado y bellsimo trabajo realizado por Marcos Salso en el marco de Documenta Madrid 2009 y producido por este festival. En estreno mundial, todo aquel que lo desee, tendr, de primera mano, la ocasin de disfrutar esta pelcula sobre la esencia primordial de la experiencia flmica que, una vez en la sala, ocurre en el cuerpo del espectador, en el hueco solitario entre el proyector y la pantalla / altavoz, donde adems se nos muestra una ciudad, Madrid, que revela lo extraordinario en la visin de los detalles de lo cotidiano. Creemos que dar mucho que hablar el esforzado intento de Salso por capturar la magia de ver cine. Nuestro deseo es que disfruten tanto de esta como del resto de las pelculas que componen el ciclo. Ya nos contarn. Antonio Delgado Liz Director de Documenta Madrid The most interesting film production in Spain this year is brought together in this outof-competition section of Documenta Madrid. Since last year, the festival has made it a requirement for all films in the competitive sections to be making their premiere in Spain, so it is inevitable for many films to slip by us. This time, that is not going to happen.
For some reason or another, the films featured in this program could not be included in our official selection. Most of the time because either they have already premiered elsewhere or the opposite, they are so recent that they were completed after the deadline we set for film submissions. In either case, the 16 documentary films included in the National Scene 2010 are a select group of films that have graced Spanish non-fiction film production in recent years. All of them could have been selected to compete for a Documenta award, but because that was not possible, it seemed appropriate for us to offer our audiences screenings of them all, especially since some of them had never been seen on the big screen and all of them are premiering in Madrid. Because of their high quality, some of them have already been featured at the festivals of Pamplona, Mlaga, Gijn and Berlin, which just goes to show that we are clearly talking about films that have only just set off on the brilliant path lying before them. For any number of reasons, they are all praiseworthy, though let me point out the delicate and beautiful work done by Marcos Salso as part of Documenta Madrid 2009 and produced by the festival itself. At the world premiere, everyone who wishes will get the chance to enjoy first hand this film, which deals with the essence of the film experience, of what happens in the body of spectators once they enter the cinema, what happens in the solitary space between the projector and the screen / loudspeaker, where we are also shown a city, Madrid, which reveals the most extraordinary details of its everyday life. We believe Salsos attempt at capturing the magic of cinema will be quite the conversation piece. We hope you enjoy this one as much as you do the rest of the films featured in this series. Let us know what you think. Antonio Delgado Liz Director of Documenta Madrid
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AMANAR TAMASHEQ
LLUIS ESCARTN Betacam / 15 / 2010 / Espaa, Mali / Spain, Mali V. O. TUAREG. SUBT. ESPAOL / SPANISH
CUCHILLO DE PALO
CUCHILLO DE PALO / 108 RENATE COSTA Betacam / 91 / 2010 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
Un hombre se adentra solo en el desierto. Un hombre vive con los tuareg. Un hombre escucha a otro hombre. Y este le ordena filmar todo lo que encuentre. Filmarlo y contarlo ms all de las dunas. Filmarlo todo, aunque no lo entienda. Filmarlo, aunque lo ms importante permanezca invisible. A man enters a desert alone. A man lives with the Tuareg. A man listens to another man. And the second orders him to film everything he finds. To film it and tell about it beyond the dunes. To film everything, even if he does not understand. To film it, even if the most important part remains invisible.
La tragedia de las vctimas del terrorismo de Estado en Argelia a travs de la vida de Nassera Dutour, madre argelina que, despus de la desaparicin de su hijo Amine en 1997, ha dedicado su vida a luchar por la verdad y la justicia. The tragedy of the victims of State terrorism in Algeria through the life of Nassera Dutour, an Algerian mother who, after the disappearance of her son Amine in 1997, has devoted her life to fighting for truth and justice.
La esencia primordial de la experiencia flmica ocurre en el cuerpo del espectador de la sala de cine, en el hueco solitario entre el proyector y la pantalla / altavoz, donde se nos muestra una ciudad, Madrid, que revela lo extraordinario en la visin de los detalles de lo cotidiano. The primordial essence of the film experience occurs in the cinema spectators body, in the solitary hollowness between the projector and the screen / speaker, where we are shown a city, Madrid, revealing the extraordinary in everyday life through the vision of its details.
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Rodolfo fue el nico hermano de mi padre que no quiso ser herrero como mi abuelo. En el Paraguay de los ochenta, bajo la dictadura de Stroessner, quera ser bailarn. Esta es la bsqueda de las huellas de su vida y el descubrimiento de que fue incluido en una de las listas de homosexuales o 108, arrestado y torturado por ello. La historia de Rodolfo desvela una parte de la historia escondida y silenciada de mi pas. Una bsqueda personal hecha de pocas certidumbres y de muchas preguntas, a menudo sin respuesta. Preguntas que nos permiten entender la relacin que construimos con el pasado y cmo esta relacin define nuestro presente. Una pelcula que habla de cada uno de nosotros. Renate Costa. Rodolfo was the only one of my fathers brothers that did not was to be a blacksmith like my grandfather. In Paraguay in the eighties, under the Stroessner dictatorship, he wanted to be a dancer. This is the search for traces of his life and the discovery that he was included on one of the homosexual lists or 108, arrested and tortured for that reason. Rodolfos story reveals a part of my countrys hidden and silenced history. A personal search in which little is known for certain and many questions arise, often left unanswered. Questions that allow us to understand the relationship we build with the past and how that relationship defines our present. A film that is about every one of us. Renate Costa.
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DIRECCIN, GUIN, FOTOGRAFA, MONTAJE / DIRECTION, SCRIPT, CINEMATOGRAPHY, EDITING Lluis Escartn ACADEMIA DE CINE Viernes 14, 18:00 h / Friday 14th, 6:00 pm
DIRECCIN, GUIN, MONTAJE / DIRECTION, SCRIPT, EDITING Alberto Bougleux PRODUCCIN / PRODUCTION Pepe Nieto (Sodepau) SONIDO / SOUND Alberto Bougleux, Sophie Lorant, Sebastiano dAyala Valva FOTOGRAFA / CINEMATOGRAPHY Alberto Bougleux, Sophie Lorant, Sebastiano dAyala Valva MSICA / MUSIC Felipe Canales ACADEMIA DE CINE Viernes 14, 18:00 h / Friday 14th, 6:00 pm
Mejor Documental / Best Documentary, Festival de Cine Espaol de Mlaga (Espaa / Spain, 2010) DIRECCIN, GUIN / DIRECTION, SCRIPT Renate Costa PRODUCCIN / PRODUCTION Marta Andreu, Susana Benito (Estudi Playtime, TVC) FOTOGRAFA / CINEMATOGRAPHY Carlos Vsquez SONIDO / SOUND Amanda Villavieja MONTAJE / EDITING Nria Esquerra, Carlos Garca ACADEMIA DE CINE Jueves 13, 16:30 h / Thursday 13th, 4:30 pm
EL CONSERJE
THE JANITOR PABLO BAUR Betacam / 20 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH
EL GRECO EN MXICO
EL GRECO IN MEXICO OSCAR MARIN Betacam / 56 / 2010 / Espaa / Spain V. O. ESPAOL / SPANISH
HOLIDAYS
VACACIONES VCTOR MORENO Betacam / 84 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
Antonio, el conserje, es una persona meticulosa y ordenada que cumple su tarea en soledad. Da tras da limpia, friega y atiende el correo con una cadencia y un mtodo sin parangn. A medida que la historia avanza, el director rompe la estructura mostrada y explica por qu decidi filmar al conserje, con lo que el relato deriva hacia un registro autobiogrfico. El director escribe una carta a su padre, en la que le manifiesta sus diferencias, sus conflictos y su afecto. Una pelcula que cierra crculos sobre un tema universal, la relacin entre padre e hijo.
Un recorrido contemplativo en torno al montaje de una exposicin en torno a la figura de Domenikos Theotokopoulos, El Greco en el Museo del Palacio de Bellas Artes de Mxico D. F., desde la descarga custodiada de las obras hasta la inauguracin, en lo que supone la primera vez que su obra puede admirarse de manera conjunta fuera de Espaa. A contemplative trip through the installation process of an Domenikos Theotokopoulos, El Greco exhibition at the Museum of Fine Arts in Mexico City, from the closely supervised unloading of the paintings through to the inauguration of the exhibit, in what is the first time his combined work can be seen on display outside of Spain.
Gambia es uno de los pases del oeste africano donde la industria turstica est creciendo con mayor rapidez. Este trabajo refleja las transformaciones que el turismo provoca en un pas que est entre los ms pobres del mundo. The Gambia is one of the countries in Western Africa where tourism is growing more and more quickly. This work reflects the transformations tourism has brought about in one of the worlds poorest countries.
Muchos han sido los aos de lucha para que la isla de Lanzarote aprendiese a salvar las peculiaridades que la distinguen del resto de las tierras del mundo. Ahora me causa una profunda tristeza ver cmo el trabajo de tantos aos se desmorona en pos del mal llamado progreso. Csar Manrique (1919-1992) Many years have been spent fighting to teach the island of Lanzarote how to save the uniqueness distin guishing its land from the rest of the world. It causes me deep sorrow to see how so many years of work have been thrown away in the pursuit of so-called progress. Csar Manrique (1919-1992)
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Antonio the doorman is a meticulous and tidy person, who does his duties in solitude. Day after day he cleans mops and sorts the mail with incomparable method and rhythm. As the story advances, the director breaks the structure shown and explains why he decided to film the doorman, thus shifting the account to an autobiographical register. The director writes a letter to his father, where he discusses their differences, their conflicts and his affection. A film that closes circles about a universal theme, the relationship between father and son.
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Mencin Especial del Jurado / Jury Special Mention, Festival de Cine de Las Palmas de Gran Canaria (Espaa / Spain, 2010) DIRECCIN, GUIN / DIRECTION, SCRIPTVctor Moreno PRODUCCIN / PRODUCTION Jos Antonio Quirs, Aurelio Carnero, Vctor Moreno (El Nacedon Films, Luna Llena Producciones) FOTOGRAFA / CINEMATOGRAPHY Carlos Vsquez MONTAJE / EDITINGVctor Moreno, Martin Eller SONIDO / SOUND Antonio de Benito CINE ESTUDIO CRCULO DE BELLAS ARTES Sbado 15, 12:00 h / Saturday 15th, 12:00 pm
KONTINUASOM
SCAR MARTNEZ Betacam / 78 / 2009 / Espaa, Cabo Verde / Spain, Cape Verde V. O. CRIOLLO CABOVERDIANO / CAPE VERDIAN CREOLE. SUBT. ESPAOL / SPANISH
LA PRESA
THE DAM JORGE RIVERO Betacam / 16 / 2009 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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Beti vive en su tierra, Cabo Verde. Es bailarina del grupo Raiz di Polon. Desde Lisboa le llegar una proposicin para viajar e integrarse en un espectculo de msica caboverdiana y empezar una carrera all. Este ofrecimiento desencadena en ella el sentir profundo y el conflicto caboverdiano: la identidad construida por la dispora desde siglos atrs. Las dudas, la saudade, el desarraigo planean sobre ella y la acompaan en su toma de decisin. El mismo dilema de todo caboverdiano: el deseo de partir, el deseo de volver expresado y reunido en torno a la msica, sea de identidad de su pueblo. Beti lives in her homeland, Cape Verde. She is a dancer in the group Raiz di Polon. She receives a offer from Lisbon to travel and join a Cape Verdean music show and start a career there. This offer stirs deep feelings within her and a typically Cape Verdean conflict: identity built up by the diaspora centuries ago. Her doubts, the saudade, being uprooting, weigh on her and accompany her in her decision-making. The same dilemma for everyone from Cape Verde: the desire to leave, the desire to return... expressed and brought together in music, the heart of a peoples identity.
Jos Mara Nunes, fallecido en marzo de este ao, es un director de cine vinculado a la Escuela de Barcelona que, a sus 79 aos, emprende un proyecto para realizar una pelcula, Res pblica, donde el protagonista y lter ego del cineasta se despide de sus amigos cuando decide poner fin a su vida. Jos Mara Nunes, who passed away in March of this year, was a film director with ties to the School of Barcelona who, at the age of 79, decided to put into motion a project for making a film, Res pblica, where the protagonist and filmmakers alter ego says goodbye to his friends when he decides to end his own life.
En 1946 se comenz uno de los proyectos ms colosales llevados a cabo en Europa: la construccin del embalse del Salto de Salime, en una remota y escarpada comarca de Asturias. Joaqun Vaquero Turcios lleg all con 22 aos para pintar el mural de la sala de turbinas, una experiencia que le cambi para siempre y marc su trayectoria personal y artstica. In 1946 one of the most colossal projects carried out in Europe was begun: the construction of the dam at Salto de Salime in a remote and rugged region of Asturias. Joaqun Vaquero Turcios went there at the age of 22 to paint the mural on the engine room, an experience that changed him forever and marked the rest of his personal and artistic career.
Tras haber sido uno de los cineastas de mayor xito en Europa en los aos sesenta, Vojtech Jasny (Repblica Checa, 1925) vive actualmente en un pequeo apartamento de Nueva York. En el caso de Jasny, la vida y el cine son dos conceptos inseparables. Mediante la visita a sus amigos que an viven, contar en primera persona su propia historia y algunos episodios determinantes: la invasin nazi de Checoslovaquia y la invasin sovitica, el posterior exilio y su llegada a Nueva York aos ms tarde. After having been one of the most successful filmmakers in Europe in the 1970s, Vojtech Jasny (Czech Republic, 1925) is currently living in a small apartment in New York. In Jasnys case, life and film are two inseparable concepts. Through a visit with his still living friends, he gives a first person account of his life story and some of the most important episodes: the Nazi invasion of Czechoslovakia and the Soviet invasion, the later exile and his arrival to New York years later.
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Primer Premio / First Prize, Festival de Documentales de Jan (Espaa / Spain, 2009) DIRECCIN / DIRECTION scar Martnez PRODUCCIN / PRODUCTION Ignacio Tamayo GUIN / SCRIPT Francisco Pascual FOTOGRAFA / CINEMATOGRAPHY David Domnguez MONTAJE / EDITING Noem Garca, Irene Cardona, Raquel Conde SONIDO / SOUND lvaro Silva, Manu Robles CINE ESTUDIO CRCULO DE BELLAS ARTES Sbado 8, 12:00 h / Saturday 13th, 12:00 pm DIRECCIN, GUIN / DIRECTION, SCRIPT Jorge Rivero PRODUCCIN / PRODUCTION Aprieta Fuerte PC, Jorge Rivero PC, User T38 FOTOGRAFA / CINEMATOGRAPHY Juan Luis Ruiz MONTAJE / EDITING Nacho Martn SONIDO / SOUND Eladio Reguero MSICA / MUSIC Nacho Martn, Pepe LAyern CINE ESTUDIO CRCULO DE BELLAS ARTES Sbado 15, 12:00 h / Saturday 15th, 12:00 pm DIRECCIN, GUIN, FOTOGRAFA / DIRECTION, SCRIPT, CINEMATOGRAPHY Arkaitz Basterra Zalbide PRODUCCIN / PRODUCTION Pako Ruiz Lpez (Sonora Estudios) SONIDO / SOUND Iaki Alonso MONTAJE / EDITING Javi Prieto MSICA / MUSIC Arturo Blasco y Bingen Mendizabal LOCUCIN / VOICE Arkaitz Basterra, Vojtech Jasny CINE ESTUDIO CRCULO DE BELLAS ARTES Domingo 9, 12:00 h / Sunday 9th, 12:00 pm
DIRECCIN, GUIN, MONTAJE / DIRECTION, SCRIPT, EDITING Slvia Subirs Mercader PRODUCCIN / PRODUCTION Walter Temporelli (ECIB-Escuela de Cine de Barcelona) SONIDO / SOUNDThiago Rego, Pedro Gmez FOTOGRAFA / CINEMATOGRAPHY Marc Prxedes CINE ESTUDIO CRCULO DE BELLAS ARTES Domingo 9, 12:00 h / Sunday 9th, 12:00 pm
MALAGASY GOSPEL
VIRGINIA CAMINO, CARLOS ESBERT, LVARO LAGOS, GRACIELA DE PABLOS Betacam / 90 / 2010 / Espaa / Spain V. O. ESPAOL, FRANCS, MALGACHE / SPANISH, FRENCH, MALAGASY. SUBT. ESPAOL / SPANISH
REDISCOVERING PAPE
REDESCUBRIENDO A PAPE MARA ROYO BARRERA Betacam / 26 / 2009 / Espaa, Polonia / Spain, Poland V. O. ESPAOL, INGLS, ALEMN, POLACO / SPANISH, ENGLISH, GERMAN, POLISH. SUBT. ESPAOL / SPANISH
Quince nias y nios ciegos abandonados y quince nias provenientes de la explotacin infantil, todos ellos del sur de Madagascar, viven una experiencia nica: salen por primera vez de su pas para realizar una gira de ms de veinte conciertos por Espaa en reivindicacin de los derechos fundamentales de la infancia. Malagasy Gospel es tambin un encuentro en Madagascar con la vida diaria de unos nios para los que la msica es la mejor manera de cuidarse los unos a los otros.
l sufre porque ve que no es como los dems. Nunca ha trabajado, nunca ha tenido novia, su vida se va empobreciendo y se siente desgraciado. Preferira verle muerto antes que viviendo as. Paquita habla sobre su hijo Cristian, que tiene 32 aos y hace 14 le diagnosticaron esquizofrenia. Madre e hijo nos abren las puertas de su particular mundo y nos lo muestran a travs de un prisma sorprendente. He suffers because he sees that he is not like the others. He has never worked, never had a girlfriend... his life is getting worse and he feels unhappy. I would rather see him dead than living like this. Paquita is talking about her son Cristian, a 32 year old diagnosed with schizophrenia fourteen years ago. Mother and son open up the doors to their unique world and show it to us from a surprising point of view.
Mara Royo intenta conciliar los recuerdos de su estrecha relacin de infancia con su bisabuelo, con el descubrimiento de su pasado como oficial nazi. Recorriendo Europa tras las huellas de su abuelo, trata de romper el silencio de su familia y descubrir la naturaleza de la ms complicada de las decisiones. Mara Royo tries to reconcile the memories she has of a very close relationship with her great grandfather with the discovery of his past as a Nazi official. By traveling across Europe in search of clues about her grandfather, she seeks to break her familys silence and discover the nature of the most complicated of decisions.
Bubisher, adems de ser un pjaro que trae la suerte, es un camin cargado de literatura en espaol en los campamentos de refugiados saharauis de Tindouf. Puede parecer paradjico ver cmo dialogan dos culturas a travs de pequeas historias y cuentos, pero tambin el contraste entre el esfuerzo de superacin de una joven generacin de mujeres y la realidad del desierto. Bubisher, in addition to meaning a bird bringing good luck, is also the name of a truck loaded with books in Spanish in the Sahrawi refugee camps of Tindouf (Algeria). It might seem paradoxical to see how two cultures come into dialogue through short stories and tales, but so does the contrast between the efforts a young generation of women make for improving life and the reality of the desert.
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Fifteen blind, abandoned girls and boys and fifteen girls coming out of child exploitation, all in southern Madagasgar, live a unique experience: leave their country for the first time to do a tour of more than twenty concerts throughout Spain in support of basic rights for children. Malagasy Gospel is also an look at daily life for children in Madagascar for whom music is the best way of taking care of each other.
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Premio Especial del Jurado / Jury Special Prize, Festival de Cine Espaol de Mlaga (Espaa / Spain, 2010) DIRECCIN / DIRECTIONVirginia Camino, Carlos Esbert, lvaro Lagos, Graciela de Pablos PRODUCCIN / PRODUCTION Javier Lara, Carlos Esbert (Artika Films, TVE) SONIDO / SOUND Alicia Aln MONTAJE / EDITING Cristbal Fernndez CINE ESTUDIO CRCULO DE BELLAS ARTES Domingo 16, 22:00 h / Sunday 16th, 10:00 pm DIRECCIN, GUIN, SONIDO / DIRECTION, SCRIPT, SOUND David Moncasi PRODUCCIN / PRODUCTION Gabriela Gutirrez Dewar (Estacion Central de Contenidos) MONTAJE / EDITING Ana Rubio FOTOGRAFA / CINEMATOGRAPHY Jos Lago, Paquita Yangela, Cristian Lago MSICA / MUSIC Hyperpotamus ACADEMIA DE CINE Viernes 14, 16:00 h / Friday 14th, 4:00 pm
Mejor Documental, Mejor Montaje / Best Documentary, Best Editing, New York Citivisions (Estados Unidos / USA, 2009) DIRECCIN, PRODUCCIN, FOTOGRAFA / DIRECTION, PRODUCTION, CINEMATOGRAPHY Mara Royo Barrera GUIN / SCRIPT Mara Royo, Antn Caldern SONIDO, MSICA / SOUND, MUSIC Antn Caldern MONTAJE / EDITING Z. A. Martohardjono, Mara Royo LOCUCIN / VOICE Armin Hierstetter ACADEMIA DE CINE Viernes 14, 16:00 h / Friday 14th, 4:00 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Jess Hermida Jimnez Hache, Jos Manuel Salvatierra PRODUCCIN / PRODUCTION Jess Hermida Jimnez Hache SONIDO / SOUND Ins Almirn MONTAJE / EDITING Jos Manuel Salvatierra, Jess Hermida Jimnez Hache, David Heredia FOTOGRAFA / CINEMATOGRAPHY lvaro Carrero MSICA / MUSIC Javier Monteagudo LOCUCIN / VOICE Liman Boicha ACADEMIA DE CINE Viernes 14, 18:00 h / Friday 14th, 6:00 pm
Panorama Asitico
Asian Scene
Seccin Informativa
Informative Section
Casa de Amrica, en estrecha colaboracin con el Festival Internacional de Documentales de Madrid, y con el apoyo de la Embajada de Colombia en Espaa, presenta la muestra:
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llenas de humanidad. Con nuevas utopas mantienen ese legado de obras llenas de contacto con hombres y mujeres sencillos, pero a la vez luminosos, de nuestro pas. Msicos marginales; compositores embrujados o geniales cantautores con profundos arraigos en las labores del campo; madres de familia en apuros con la justicia por vender DVD; modernos David con pantaloneta5 de futbolistas que osaron enfrentarse a un mundial; reinas de belleza en la desesperanza de la prisin; el exterminio de tres mil miembros de un partido poltico; vallenateros6 en el asfalto de Madrid; metros de celuloide en blanco y negro que desparrama las ilusiones de una familia feliz; seres que reviven en la pantalla interpelando a los asistentes en una comunin de intereses y emociones. Hasta dnde podemos convertir al oidor de historias heroicas en un hurfano explorador de realidades? No es gratuito el smil que la mayora de personas hacen del cine con los sueos. Hasta qu punto esa ilusin de realidad puede conjugarse con un dilogo con la complejidad del todo? Ningn dispositivo cerebral permite distinguir la alucinacin de la percepcin, el sueo de la vigilia, lo imaginario de lo real, la subjetivo de lo objetivo. [] Lo que permite la distincin es la actividad racional de la mente, que apela al control del entorno (resistencia fsica del medio al deseo y al imaginario), de la prctica (accin sobre las cosas), de la cultura (referencia al saber comn), del otro (ve usted lo mismo que yo?), al control cerebral (memoria, lgica) (Edgar Morin, El Mtodo V. La humanidad de la humanidad, Madrid, Ediciones Ctedra, 2003). La analoga puede ser un campo importante para un cine potico que relega, asocia, conecta, acopla y desarrolla el campo de las evocaciones, las sugerencias, las aproximaciones, las relaciones. En este mundo saturado de imgenes es difcil acceder a una que transfiera emocin, un sentimiento de belleza, de verdad. Para ello necesitamos recuperar la ingenuidad, la capacidad de admiracin ante las pequeas cosas, ante el espectculo de la naturaleza, ante el ocano, la montaa, la salida del sol, la belleza del otro, de la otra. La bsqueda de un estado de gracia que se llama estado potico. Este estado puede sobrevenir en la relacin con el otro y lo otro, en la relacin comunitaria, en la relacin imaginaria. Estas imgenes pueden verse en la muestra Voces diferentes en el documental colombiano, que se presentar del 10 al 15 de mayo en la Sala Iberia de Casa de Amrica, donde se exhibirn trabajos de dos generaciones de documentalistas. Carlos Bernal Santa Marta, Colombia
Notas del editor 1 Tirndose de 2 Manzana, en el sentido de espacio urbano delimitado por calles. 3 Recolectora de conchas. 4 Solares. 5 Pantaln corto para hacer deporte. 6 A quienes son oriundos de Valledupan, Colombia, se les llama vallenatos y por extensin a la msica y ritmo propios de esa regin, y vallenateros a quienes la ejecutan.
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The Casa de Amrica, in close collaboration with the International Documentary Festival of Madrid and with support from the Colombian Embassy in Spain, presents the series:
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teaching the fascinating world of expression through motion pictures. Influenced by Wiseman, Vertov, Moore, by hundreds of marvelous directors of fiction films, video art and music videos, they travel throughout our dusty towns and dense cities in search of stories and people full of humanity. With new utopias, they conserve that legacy of films reaching out to simple and yet enlightening men and women of our country. Marginalized musicians, cursed composers and great singer-songwriters with deep root in the field work; mothers in trouble with the law for selling DVDs; modernday Davids in football shorts, who dared to tackle a World Cup game; beauty queens in the hopelessness of prison life; the extermination of three thousand members of a political party; the celebration of music from Valledupar, Colombia in the streets of Madrid; yards and yards of celluloid in black and white, spilling over with the dreams of a happy family; people coming alive on screen, provoking thought in audiences as they bring together interests and emotions. How far can we convert someone listening to heroic stories into an orphan exploring reality? It is not for nothing that most people associate cinema with dreams. To what extent might that illusion of reality blur together with a dialogue with the complexity of the whole? No cerebral system gives us the power to distinguish hallucination from perception, dream from waking, the imaginary from the real, the subjective from the objective. [] The rational activity of the mind is what allows us to distinguish things, which draws on various means of control: the environment (physical resistance from the surroundings), practice (verifying activity), culture (reference to common knowledge), other people (do you see the same thing as me?), the cortex (memory, logical operations) (Morin, Edgar. The Method 5: The Humanity of the Humanity. Ediciones Ctedra, Madrid, 2003). The analogy might be an important field for a poetic cinema that relegates, associates, connects, joins and develops the field of evoking, suggesting, approaching, relating. In this world bombarded by images, it is difficult to find one that transmits emotion, a sentiment of beauty, of truth. For this reason we need to recover our ingenuousness, our capacity for admiration for the little things, for the spectacle of nature, for the ocean, the mountain, the sunrise, the beauty of the other. The search for a state of grace that is called the poetic state. That state that might occur in ones relationship with others and otherness, in the communal relationship, in the imaginary relationship. These images can be seen in the series Different Voices in the Colombian Documentary Film, which will take place from May 10 through 15 in the Sala Iberia of the Casa de Amrica, where two generations of documentary filmmakers will be shown. Carlos Bernal Santa Marta, Colombia
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En una de las laderas de Medelln, en el barrio de Beln, treinta y un obreros asumieron el control de la empresa ladrillera Buenavista y reanudaron la produccin despus de diecinueve meses de huelga. Hoy producen el mejor ladrillo de Medelln. On one of the hillsides of Medelln, in the neighborhood of Beln, thirty one workers took control of the brick-manufacturing company Buenavista and started production back up after nineteen months of strike. Today, they produce the best bricks in Medelln.
En el Pacfico colombiano, hasta hace unos aos, existan viejos que aseguraban que en el cielo se tocaba la marimba. Hoy en Tumaco, un toque de marimba, el percutir de dos conunos, dos bombos y dos guass indican la celebracin de un currulao. En la pelcula, en medio de currulaos se entrelazan danzas, cuentos, poesa, coreografa de colores y relatos que dibujan la vida diaria de sus pobladores, descendientes de esclavos africanos. In the Colombian Pacific, there were until a few years ago old men that were sure the marimba was played in heaven. Today in Tumaco, a band playing a marimba, two conunos drums, two bass drums and two guass shakers makes up part of the celebration of a currulao. In this film, made during these performances, dancing, story-telling, poetry, color choreography and tales blend together to depict the everyday life of the inhabitants, descendants of African slaves.
Amanece. El canto de los pjaros saluda al alba en medio de la lluvia en el valle del Aburr. Los autobuses trasladan a los obreros y a los estudiantes a sus respectivas labores. En la finca agroecolgica ubicada en las laderas que circundan la ciudad, Mario ordea la vaca para alimentar a su familia. El programa de radio Cmo amaneci Medelln? acompaa el despertar del valle, tanto en el centro como en la ladera, anticipando el concierto urbano que crecer con el da. Dawn. The singing birds greet the sunrise in the middle of the rain in the Aburr Valley. The buses taking the workers and students to their respective places. In the agroecological farmhouse on the hillsides surrounding the city, Mario milks the cow to feed his family. The radio program Cmo amaneci Medelln? accompanies the waking of the Valley, in its center and on its hillsides, in anticipation of the urban concert that will grow throughout the day.
Al igual que otras comunidades indgenas del Amazonas colombiano, los yucuna de Puerto Crdoba, Amer, preparan un ritual ancestral que les permitir afianzar los lazos dentro de su comunidad y mantener antiguas tradiciones vivas en su memoria como parte de un renovado esfuerzo de autodeterminacin cultural. Pero esta vez el evento tiene un ingrediente adicional; el equipo documentalista toma parte activa y se integra en otro ritual. El encuentro de dos culturas se convierte en hilo narrativo desencadenando sorpresivos intercambios. Just like other indigenous communities in the Colombian Amazon, the Yucuna of Puerto Crdoba, Amer are preparing an ancestral ritual to strengthen the ties within their communities and maintain the ancient traditions living in their memory as part of a renewed effort at cultural self-determination. But this time, the event has an additional ingredient: the documentary team takes an active part and joins another ritual. The encounter of two cultures becomes the plot line and leads to surprising exchanges.
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Mencin de Honor / Honorable Mention, Festival Hispanoamericano de Vdeo Documental Independiente Voces contra el Silencio (Mxico / Mexico, 2004) Mencin Especial del Jurado / Jury Special Mention, Festival de Cine y Vdeo Latinoamericano de Buenos Aires (Argentina, 2005) Mejor Vdeo / Best Video, Festival de Cine de Bogot (Colombia, 1990) DIRECCIN, GUIN / DIRECTION, SCRIPT Beatriz Bermdez, Carlos Bernal PRODUCCIN, FOTOGRAFA, MONTAJE / PRODUCTION, CINEMATOGRAPHY, EDITING Carlos Bernal SONIDO / SOUND Giovana Hernndez CASA DE AMRICA. SALA IBERIA Jueves 13, 20:30 h / Thursday 13th, 8:30 pm DIRECCIN / DIRECTION Beatriz Bermdez, Carlos Bernal PRODUCCIN, GUIN, FOTOGRAFA, MONTAJE / PRODUCTION, SCRIPT, CINEMATOGRAPHY, EDITING Carlos Bernal SONIDO / SOUND Diego Balanta CASA DE AMRICA. SALA IBERIA Jueves 13, 20:30 h / Thursday 13th, 8:30 pm Mencin Especial del Jurado / Jury Special Mention, Artronica Muestra Internacional de Artes Electrnicas (Colombia, 2005) DIRECCIN, PRODUCCIN, GUIN, FOTOGRAFA, MONTAJE, SONIDO / DIRECTION, PRODUCTION, SCRIPT, CINEMATOGRAPHY, EDITING, SOUND Carlos Bernal MSICA / MUSIC Carlos Hernndez CASA DE AMRICA. SALA IBERIA Jueves 13, 20:30 h / Thursday 13th, 8:30 pm DIRECCIN / DIRECTION Pablo Mora PRODUCCIN / PRODUCTION Clara Lpez Gmez, Pa Quiroga, Neyla Santamara GUIN / SCRIPT Pablo Mora, Lavinia Fiori Reggio FOTOGRAFA / CINEMATOGRAPHY Mauricio Vidal MONTAJE / EDITING Pablo Mora, Juan Pablo Mndez SONIDO / SOUND Elver Crdenas CASA DE AMRICA. SALA IBERIA Viernes 14, 18:30 h / Friday 14th, 6:30 pm
ROLANDO
JULIO AZAR BLANCO Mini DV / 16 / 2006 / Colombia V. O. ESPAOL / SPANISH
16MEMORIAS
16MEMORIES CAMILO BOTERO JARAMILLO DV Cam / 53 / 2008 / Colombia V. O. ESPAOL / SPANISH
BAGATELA
JORGE CABALLERO Betacam / 74 / 2008 / Colombia, Espaa / Colombia, Spain V. O. ESPAOL / SPANISH
LA CORONA
THE CROWN AMANDA MICHELI , ISABEL VEGA 35 mm / 40 / 2008 / Colombia, Estados Unidos / Colombia, USA V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
A pesar de su prometedora carrera musical, Rolando Snchez recorre actualmente la baha del corregimiento de Taganga buscando turistas que le compren un CD. A Rolando las drogas lo confinaron a una choza al lado de su hijo y esposa, lejos de la civilizacin, pero, lcido y filsofo, su sueo es preparar un concierto para ayudar a Taganga y al mismo tiempo recuperarse y retomar su vida.
Filmada entre 1945 y 1971, es la historia de los Posada Saldarriaga, una familia de Medelln que creci entre la euforia de la industrializacin, los molinos de azcar, los viajes a Miami y los globos. Veinticinco aos de cotidianeidad casi ininterrumpida que estuvieron a punto de perderse en una vieja casona. Filmed between 1945 and 1971, this is the story of Posada Saldarriaga, a family from Medelln that grew up in euphoria of industrialization, the sugar mills, the trips to Miami and the balloons. Twenty five years of almost uninterrupted daily life that they were on the verge of losing in an old house.
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Despite his promising musical career, Rolando Snchez today walks along the bay in the town of Taganga, looking for tourists who might buy his CD. Drugs have trapped Roland in a shack far from civilization, alongside his wife and son, but, clear-headed and philosophical, his dream is to prepare a concert to help Taganga and at the same time to recover and start his live over again.
La mayora de los procesos presentados ante las instancias judiciales en Bogot se catalogan como delitos menores. Aunque en muchos casos la raz de esta problemtica es netamente social, la solucin en Colombia se ha centrado en la judicializacin de estas conductas. Vender CD piratas, robar un mvil o incluso dormir en la calle puede implicar condenas de varios aos de prisin. Este es un retrato de la cotidianidad de la justicia, el da a da de los pequeos delitos en Bogot, una ciudad acostumbrada a la violencia y la desigualdad. Most of the proceedings filed in courts in Bogota are classified as misdemeanors. Even though in many cases the root of this problem is clearly social, the solution in Colombia has focused on taking this behavior to court. Selling counterfeited CDs, stealing cell phones, or even sleeping in the street can mean several years of prison. This is a portrait of everyday justice, the day to day of small crimes in Bogota, a city accustomed to violence an inequality.
Cada ao, en la crcel de mujeres El Buen Pastor, de Bogot, se celebra un concurso de belleza poco comn: las participantes son asesinas a sueldo, guerrilleras y ladronas. La primera finalista llorar al perder la corona y secar sus lgrimas con su mano tatuada. La radiante ganadora, resplandeciente en su traje de noche y sus relucientes joyas, ser coronada por la reina del ao anterior. Pero la nueva reina no ser llamada a realizar ruedas de prensa como ejemplo a seguir para la juventud colombiana; al contrario, ser escoltada de vuelta a su celda. Every year in the womens prison El Buen Pastor, of Bogot, an unusual beauty contest is held: its participants are hired assassins, guerrilla fighters and thieves. The runner-up will cry upon losing the crown, and will dry her tears with her tattooed hand. The radiant winner, stunning in her evening gown and glittering jewels, will be crowned by the queen from the previous year. But the new queen will not be called to hold press conferences as a role model for young Colombian girls; on the contrary, she will be escorted back to her cell.
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Premio del Pblico, Mejor Fotografa, Mencin Especial del Jurado / Audience Award, Best Cinematography, Jury Special Mention, Miami International Film Festival (Estados Unidos / USA, 2009) Mejor Pelcula, Mejor Montaje, Mejor Msica / Best Film, Best Editing, Best Music, Concurso Iberoamericano de peras Primas Festival de Cine Independiente de Mompox (Colombia, 2009) Mejor Documental / Best Documentary, Festival de Cine de Bogot (Colombia, 2009) Mejor Pelcula Extranjera / Best Foreign Film, Festival Internacional de Cine y Vdeo Documental (Panam / Panama, 2009) Mejor Vdeo Documental / Best Documentary Video, Festival Internacional de Cine de Cartagena de Indias (Colombia, 2007) DIRECCIN / DIRECTION Julio Azar Blanco PRODUCCIN, FOTOGRAFA / PRODUCTION, CINEMATOGRAPHY Mauricio Arrieta GUIN / SCRIPT Julio Azar Blanco, Mauricio Arrieta MONTAJE / EDITING Julia vila SONIDO / SOUND Adriana Uribe MSICA / MUSIC Rolando Snchez CASA DE AMRICA. SALA IBERIA Martes 11, 18:30 h / Tuesday 11th, 6:30 pm DIRECCIN, MONTAJE / DIRECTION, EDITING Camilo Botero Jaramillo PRODUCCIN / PRODUCTION Camilo Botero Jaramillo, Carol Ann Figueroa Rueda GUIN / SCRIPT Carol Ann Figueroa Rueda FOTOGRAFA / CINEMATOGRAPHY Mario Posada Ochoa SONIDO / SOUND Isabel Torres MSICA / MUSIC Mauricio Lpez Surez, Alejandro Pelez CASA DE AMRICA. SALA IBERIA Sbado 15, 20:30 h / Saturday 15th, 8:30 pm Con la presencia de Carol Ann Figueroa / With the presence of Carol Ann Figueroa
Mejor Pelcula Jurado de Derechos Humanos / Best Film Human Rights Jury, BAFICI Buenos Aires Festival Internacional de Cine Independiente (Argentina, 2009) Mejor Pelcula de No-ficcin / Best Non-Fiction Film, CortoMieres, Asturias (Espaa / Spain, 2008) Mejor Documental / Best Documentary, Festival Ciudad Luna (Colombia, 2010) Premio Nacional de Documental / Documentary National Award (Colombia, 2010) DIRECCIN / DIRECTION Jorge Caballero PRODUCCIN / PRODUCTION Gusano Film, Cinefilms Productions GUIN, SONIDO / SCRIPT, SOUND Jorge Caballero, Miguel Len Durn FOTOGRAFA / CINEMATOGRAPHY Christian Bitar MONTAJE / EDITING Carlos Muoz, Jorge Caballero MSICA / MUSIC Golpe Directo, Santacruz CASA DE AMRICA. SALA IBERIA Viernes 14, 20:30 h / Friday 14th, 8:30 pm Con la presencia de Jorge Caballero / With the presence of Jorge Caballero
Nominado al Oscar al Mejor Cortometraje Documental / Nominated for the Oscar Award for Best Documentary Short Film (Estados Unidos / USA, 2008) Mencin de Honor / Honorable Mention, Sundance Film Festival (Estados Unidos / USA, 2008) Mejor Cortometraje / Best Short Film, IDFA International Documentary Film Festival Amsterdam (Pases Bajos / The Netherlands, 2008) Mejor Cortometraje, Premio del Pblico / Best Short Film, Audience Award, Outfest. Los ngeles (Estados Unidos / USA, 2008) DIRECCIN, GUIN, FOTOGRAFA / DIRECTION, SCRIPT, CINEMATOGRAPHY Amanda Micheli, Isabel Vega PRODUCCIN / PRODUCTION Runaway Films, Vega Films, HBO Documentary Films MONTAJE / EDITING Carla Gutirrez, Luis Colina SONIDO / SOUNDTami Stepanek MSICA / MUSIC Camara Kambon CASA DE AMRICA. SALA IBERIA Viernes 14, 18:30 h / Friday 14th, 6:30 pm
TIEMPOS DE ARENA
TIMES OF SAND GUSTAVO FERNNDEZ Betacam / 73 / 2008 / Colombia V. O. ESPAOL / SPANISH
EL CHOLO VALDERRAMA
CHOLO VALDERRAMA, EL JOROPO IS IN THAT LAND ANIARA RODADO, GABRIEL ROMN Betacam / 33 / 2009 / Colombia V. O. ESPAOL / SPANISH
LA BRUJITA
THE WITCH YEINER VARGAS BARLIZ Mini DV / 23 / 2009 / Colombia V. O. ESPAOL / SPANISH
Veinte aos despus de la muerte de su padre, la periodista Erika Antequera y el documentalista Ayoze OShanahan deciden investigar los motivos que se ocultan tras la impunidad de los asesinatos de Jos Antequera y los ms de 3.000 compaeros y militantes de partido. La investigacin nos conducir a uno de los episodios ms oscuros y silenciados de la democracia colombiana: el exterminio de la Unin Patritica, el Caso 11227.
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Twenty years after the death of her father, journalist Erika Antequera and documentary maker Ayoze OShanahan decide to investigate the hidden motives behind the impunity of the killers of Jos Antequera and more than 3,000 of his fellow party members. The investigation will lead us to one of the darkest and hushed-up episodes in Colombian democracy: the extermination of the Unin Patritica political party, Case Number 11227.
Si observamos el umbral de los edificios pblicos y privados de Bogot y otras ciudades colombianas, tanto al entrar como al salir, encontramos individuos dedicados a la vigilancia, quienes parecen haber quedado suspendidos en el tiempo. Cada uno de ellos emplea su particular estrategia para darle sentido a la espera: hacer pompas con el chicle, escribir poemas, recorrer una exposicin fotogrfica, imitar sonidos de animales y bebs, desconectar a una pareja de jvenes, as como otras formas sui gneris de vivir la soledad y, en algunos casos, el encierro. In the doorways of public and private buildings in Bogot and other Colombian cities, we find individuals dedicated to surveillance, for whom time seems to have come to a halt. Each one has their own mechanisms for lending hopeful meaning to the passing of time: blowing bubbles with chewing gum, writing poetry, walk through a photography exhibit, imitate animal sounds and baby talk, disconnect a young couple, in addition to other ways of living out their unique kind of solitude and, in some cases, isolation.
Etnobiografa de Armando Cholo Valderrama, cantante y compositor de la msica tradicional de los llanos colombovenezolanos, quien da cuenta de una cultura viva, que evoluciona lejos de los estereotipos y los museos y cuyas tradiciones, ligadas al trabajo del llano, al canto, al parrando, a los juegos del lenguaje y a la diversin (como el cacho, reunin para contar mentiras), continan marcando el ritmo actual de los llaneros. Con un peculiar estilo musical criollo, tras veintitrs aos de carrera musical y diecisis discos, es el compositor e intrprete ms reconocido del folclore llanero. Ethno-biography of Armando Cholo Valderrama, singer and songwriter of traditional music from the Colombian-Venezuelan plains, who gives us insight into a living culture that evolves outside stereotypes and museums; whose traditions are tied to the work done on the plains, the singing, the parrando parties, the word games and all the fun (like the cacho get-together for telling lies), which continue to set the pace for life on the plains today. With his unique Latin American style, a twenty-three-year musical career and sixteen albums, he is the most famous composer and performer of llanero folklore.
Un compositor de ochenta y seis aos vive del recuerdo de sus aos de gloria cuando escribi una cancin que fue un xito en el Caribe colombiano y lo llev a la fama. A raz de esto, l y su esposa han tenido que sufrir misteriosos sucesos en sus vidas. La Brujita compone canciones en el patio de su casa todos los das y suea con que una de ellas sea interpretada por el cantante espaol Julio Iglesias. An eight-six year old composer relives the memories of his glory years when he composed a hit song in the Colombian Caribbean and became famous. As a result of this, he and his wife have had to undergo mysterious ordeals in their lives. La Brujita (The Little Witch) composes songs every day in his back yard and dreams that one of them will be performed by the Spanish singer Julio Iglesias.
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Mencin de Honor / Honorable Mention, Festival Internacional de Cine de Bogot (Colombia, 2009) Premio Malvinas / Malvinas Award, Festival de Cine Latinoamericano de Trieste (Italia / Italy, 2009) DIRECCIN / DIRECTION Ayoze OShanahan PRODUCCIN / PRODUCTION Ayoze OShanahan, Tatiana Juregui, Erika Antequera (Siroco Factory Producciones) GUIN, MONTAJE / SCRIPT, EDITING Ayoze OShanahan, Erika Antequera FOTOGRAFA / CINEMATOGRAPHY Camilo Rojas, Mara Jos Salcedo SONIDO / SOUND Octavio Villa MSICA / MUSIC Sindicato Sonoro, Ganyarikies, The Secret Society CASA DE AMRICA. SALA IBERIA Martes 11, 20:30 h / Tuesday 11th, 8:30 pm Con la presencia de Erika Antequera / With the presence of Erika Antequera DIRECCIN / DIRECTION Aniara Rodado, Gabriel Romn PRODUCCIN / PRODUCTION Juan Manuel Silva, Gabriel Romn (De la Tarde Producciones) GUIN / SCRIPT Aniara Rodado FOTOGRAFA / CINEMATOGRAPHY Gabriel Romn, Juan Manuel Silva MONTAJE / EDITING Aniara Rodado, Gabriel Romn SONIDO / SOUND Jos Florez, Laurent Walgraffe MSICA / MUSIC Cholo Valderrama CASA DE AMRICA. SALA IBERIA Martes 11, 18:30 h / Tuesday 11th, 6:30 pm Con la presencia de Aniara Rodado
Mejor Documental / Best Documentary, Festival Internacional de Cine de Cartagena de Indias (Colombia, 2010) Mejor Guin / Best Script, Premios Csares Manizales / Csares Manizales Awards (Colombia, 2010) DIRECCIN / DIRECTIONYeiner Vargas Barliz PRODUCCIN / PRODUCTION Julieth Vilaro Rojas GUIN, MONTAJE / SCRIPT, EDITING Kelly Johanna Reyes Romero, Yeiner Vargas Barliz FOTOGRAFA / CINEMATOGRAPHY Kelly Johanna Reyes Romero SONIDO / SOUND Darwin Navarro Ayola, Jess Ferreira Abuchaibe MSICA / MUSIC Moiss Antonio Coronado Castro CASA DE AMRICA. SALA IBERIA Martes 11, 18:30 h / Tuesday 11th, 6:30 pm
DIRECCIN, PRODUCCIN, GUIN, FOTOGRAFA / DIRECTION, PRODUCTION, SCRIPT, CINEMATOGRAPHY Gustavo Fernndez MONTAJE / EDITING Juan Camilo Ramrez SONIDO / SOUND Natalia Gualy, Yesid Vsquez CASA DE AMRICA. SALA IBERIA Lunes 10, 20:00 h / Monday 10th, 8:00 pm Con la presencia de Gustavo Fernndez / With the presence of Gustavo Fernndez
Partiendo de un recorrido por calles con nombre de poblaciones colombianas en la zona madrilea de Hortaleza, nos vemos dentro de un tejido de historias personales de la inmigracin llenas de vida, de fe y esperanza. Adems, Klever nos lleva a conocer historias propias de la cultura costea del Caribe, que, en su expresin musical, es la bandera colombiana en todos los rincones del pas y en el resto del mundo.
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On a trip through the Hortaleza area of Madrid, down streets named after Colombian towns, we find ourselves enmeshed in a fabric of personal immigration stories full of life, faith and hope. In addition, Klever takes us to hear about stories typical of culture on the Caribbean coastal area, the musical expression of which is emblematic of Colombia throughout the country and the rest of the world.
A principios de los ochenta, El Salvador se encontraba en los comienzos de una guerra civil que dividi al pas durante doce aos. Surgi un grupo de futbolistas que lograron darle a su gente la esperanza, la felicidad y el orgullo que la guerra les haba arrebatado. En medio de las balas, la seleccin salvadorea logr una inolvidable clasificacin en el Mundial de Espaa 82. El Salvador perdi ante Hungra por 10-1, pero fue all donde marc el que, hasta la fecha, sigue siendo el nico gol salvadoreo en un Mundial. In the early eighties, El Salvador found itself in early stages of a civil war that divided the country for twelve years. A group of football players managed to give people the hope, happiness and pride that the war had crushed. In the midst of gunfire, the Salvadorian team managed an unforgettable classification for the 82 World Cup in Spain. El Salvador lost against Hungary 10-1, but it was there that El Salvador scored its only goal so far in a World Cup.
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DIRECCIN / DIRECTION Javier Klever PRODUCCIN / PRODUCTION Hamaca Films, Dzan Imagine GUIN / SCRIPT Javier Klever, Davide Vanni FOTOGRAFA, MONTAJE, SONIDO / CINEMATOGRAPHY, EDITING, SOUND Davide Vanni MSICA / MUSIC Alez Flrez, Los Prncipes del Vallenato CASA DE AMRICA. SALA IBERIA Sbado 15, 18:30 h / Saturday 15th, 6:30 pm Con la presencia de Javier Klever / With the presence of Javier Klever
Mencin de Honor / Honorable Mention, Festival Internacional de Cine de Cartagena de Indias (Colombia, 2010) DIRECCIN, GUIN / DIRECTION, SCRIPT Carlos Moreno, Gerardo Muyshondt PRODUCCIN / PRODUCTION Gerardo Muyshondt, Diego F. Ramrez (Antorcha Films, 205-N El Salvador) FOTOGRAFA / CINEMATOGRAPHY Juan Carlos Gil MONTAJE / EDITING Andrs Porras SONIDO / SOUNDYesid Vsquez CASA DE AMRICA. SALA IBERIA Jueves 13, 18:30 h / Thursday 13th, 6:30 pm
La relacin que se establece es como una historia de amor. Llegas a conocer a un extrao. A estar ms cerca de l. Conocerse mejor el uno al otro para luego volver a darse espacio y mantener la distancia sin perder el respeto. The relationship is like a love story. You get to know a stranger. Get closer. Get to know each other better and then have to give space and distance again without loosing respect. Thomas Kutschker
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entre ellos y estos escenarios. Es curioso que despus de visionar la pelcula Zahra se llegue a confundir y a olvidar el nombre del pueblo, Al Baena, creyendo que este se llama Zahra, como la ta a quien hemos visto y escuchado a lo largo de sesenta minutos. En una lnea prxima a la de Bakry trabaja el director, y tambin actor, palestino / jordano Mahmoud al-Massad en su pelcula Reciclaje (2007). Mahmoud alMassad se centra en un espacio determinado, al-Zarka, una pequea ciudad jordana que originariamente fue un campo de refugiados y que tras la guerra de Iraq de 2003 se hizo mundialmente conocida por ser el lugar de origen del desaparecido lder de Al-Qaeda en Iraq Abu Mosab al-Zarkawy. Sin embargo, el tema principal que alMassad trata, con un ritmo muy particular y pausado, es el da a da de otras personas (y especficamente el de un familiar suyo) tambin oriundas de esta ciudad y que conocieron a al-Zarkawy. En esta pelcula su director reflexiona sobre el efecto que tiene el espacio / lugar en el pasado, presente y futuro de un personaje en concreto, y cmo este espacio, con todo el significado que acarrea, marca a sus personajes y sus destinos. Al-Zarka es el espacio elegido por el personaje Ali al-Azzam para volver y reconstruir su vida. Pero esta vida est vinculada a un pasado transcurrido en otro lugar, en el Afganistn de la etapa anterior a los talibanes. Mahmoud al-Massad hace un retrato, a lo largo de un extenso periodo de tiempo y con mucha paciencia, de la vida de este personaje que se ir convirtiendo, poco a poco, en un infierno. Es entonces cuando surge la posibilidad de marcharse a otro lugar / espacio, en este caso Estados Unidos, y la pelcula se cierra ante una puerta que parece estar abrindose. El director de este documental ha podido trabajar de manera muy sensata sobre la relacin entre el espacio y el personaje, de la misma manera que hizo en su pelcula anterior Hassan el astuto (2002), presentada en la primera edicin del Panorama de cine documental rabe contemporneo, celebrado en 2007. Hassan, aquel inmigrante marroqu, se convierte ahora en Ali al-Azzam y Holanda pasa a ser alZarka, ciudad natal del director de Reciclaje. El espacio y su memoria como nicos protagonistas En la pelcula Vecinos (2009), de Tahani Rached, no hay individuos que se conviertan en protagonistas del documental. La directora egipcia, a quien el pblico espaol conoce por la participacin de su pelcula Estas chicas (2006) en diferentes festivales y certmenes celebrados en Espaa, transforma un barrio cntrico de la ciudad de El Cairo en un personaje nico y protagonista. Se trata de Garden City, el barrio de la antigua aristocracia egipcia y de las embajadas, un territorio pequeo que ha desempeado un papel importante en la esfera poltica y econmica de la historia del Egipto moderno. Tahani Rached escribe un cuento basado en la historia de este barrio a travs de los testimonios de muchos de sus vecinos y sirvindose de material de archivo as
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como de secuencias grabadas en las calles y dentro de la embajada norteamericana. Nos muestra cmo ha cambiado y cmo es el presente del barrio tras la ubicacin de dos embajadas tan importantes como la estadounidense y la britnica, cuya presencia ha alterado sin duda la vida de la zona en los ltimos aos (debido al cierre de calles y negocios por motivos de seguridad). Esta podra ser una primera lectura de la pelcula, pero si retrocedemos trece aos hasta dar con otra pelcula de Tahani Rached, Cuatro mujeres de Egipto (1997), encontraremos mucho ms en el trabajo de esta directora, pues contemplados ambos trabajos de manera conjunta, revelan un afn de investigacin e interpretacin personal de la historia contempornea de Egipto desde la revolucin de Nasser en 1952. En Cuatro mujeres el espacio tambin desempeaba un papel importante, aunque no tan evidente como en Vecinos. En aquella ocasin el espacio lo constitua la zona que rodeaba la crcel de mujeres, as como los hogares y los lugares de encuentro de estas cuatro amigas. Sin embargo, en Vecinos el espacio es el protagonista absoluto. En la secuencia final se ve claramente el efecto que producen en la vida de las personas los cambios llevados a cabo en este espacio. El escritor e intelectual Mahmud Amin al-Alem nos muestra el barrio desde su ventana mientras advierte a la cmara: No asomes demasiado la cabeza porque all est la embajada norteamericana y te pueden disparar. La historia poltica toma un camino distinto en la pelcula de Mohamed Soueid Mi corazn solo lati por ella (2008). Se trata de una pelcula impregnada de un gran sentido del humor, pero de un tipo de humor que puede causar dolor y provocar un sentimiento de prdida si se ha estado vinculado, al igual que sus personajes, a alguno de los espacios que el director transforma prcticamente en uno: Beirut, Hani (Vietnam), el sur del Lbano y Dubi. Esta vinculacin tan sentimental con el espacio otorga significado a la frase con la que comienza su pelcula: Donde est tu tesoro, all estar tu corazn. Hatem Hatem, el personaje sobre el que se habla constantemente en la pelcula y al que nunca vemos, puede ser imaginario o bien un personaje creado a partir de piezas de otros personajes, entre ellos del propio director, cuyas pelculas anteriores son, en cierto modo, autobiogrficas. Hatem Hatem cambia de nombre cuando participa en la lucha palestina en los aos 70, hacindose llamar Abu Hassan Hanoi. l no visit nunca Vietnam, pero en este caso el espacio desempea un papel importante en su imaginacin y en su destino debido a motivos poltico-ideolgicos. Este espacio imaginario cambia con las generaciones posteriores, pasa de Beirut a Dubi, y en este cambio influyen factores de diversa ndole: motivaciones econmicas, comerciales o incluso artsticas, como en el caso de la joven que nos lleva a imaginar el Tehern de Jomeini a travs de un breve testimonio. Mohamed Soueid contina en esta pelcula con la idea que desarroll hace ms de diez aos: investigar cmo la imagen que se tiene de determinados lugares se transforma debido al cambio que sufren sus habitantes. Fueron los casos, por ejemplo, de Guerra civil (2002) o El tango de la esperanza (1998). En estas pelculas tambin est presente este estilo suyo de elaboracin de personajes partiendo de fracciones de otros, mtodo que aplica tambin a los espacios. Todo ello sin perder en ningn momento ese sentido del humor tan
especial, cido a veces, y una mirada muy crtica que le permite crear unos collages a partir de imgenes y sonidos que puede que hayamos escuchado y visto antes pero que nunca pensamos que pudieran darse simultneamente. Los mil rostros de Ateyyat el-Abnoudy Que el Panorama de cine documental rabe contemporneo intente presentar las producciones cinematogrficas ms destacadas y actuales dentro del mbito del documental rabe, no significa que se quiera restar importancia a lo clsico. En esta ocasin se ha incluido una seccin dedicada a una de las directoras ms veteranas de la cinematografa egipcia y rabe, Ateyyat el-Abnoudy. Esta directora pertenece a una generacin que comenz a presentar sus primeras pelculas como parte de los cambios surgidos en las sociedades rabes tras la derrota de la guerra de los Seis Das en 1967. Podra decirse que, a partir de esa fecha, esta generacin cambi la imagen que se haba establecido del documental en el mundo rabe. Lo alejaron del formato turstico, informativo o propagandstico que control gran parte de la produccin de documentales en los pases rabes. Ateyyat el-Abnoudy en el caso egipcio, fue una de las pioneras y est entre los escasos cineastas que no abandonaron el campo del documental para trasladarse al de la ficcin. Ha trabajado junto a otros directores, como Fouad y Salah al-Tuhami, Nabeeha Lutfi y Saed Nadim, para que el documental social se convierta en un formato reconocido y respetado en la industria cinematogrfica rabe. En esta seccin se presentan tres de sus pelculas, dos de sus primeros aos y otra de la dcada de los 80. Sus ttulos son Un caballo de barro (1971), El bocadillo (1975) y Los sueos posibles (1982). En las tres se observa lo que caracteriza el cine de Ateyyat el-Abnoudy desde sus comienzos hasta la actualidad, su cercana con los campesinos y con los marginados de las ciudades. Deja que sus rostros ocupen toda la pantalla haciendo que los sintamos y casi los toquemos, dndoles el protagonismo absoluto, tanto a ellos como a sus pequeos pueblos. Ya puede ser un pueblo del sur, como en El bocadillo, o una aldea en el norte con su fbrica de barro, en Un caballo de barro, o un lugar al este, cerca del canal de Suez, en Los sueos posibles. Incluso cambiando los perfiles de sus protagonistas, los nios del primer pueblo, una trabajadora de la fbrica de barro en el segundo y una campesina en el tercero. En estas tres pelculas Ateyyat el-Abnoudy rompe con lo establecido y con lo utilizado en etapas anteriores: la voz del narrador, Dios el que todo lo sabe, y cuenta la historia / la verdad al espectador. Ateyyat el-Abnoudy sabe que no necesita esta herramienta y emplea otros recursos cinematogrficos y narrativos al servicio de sus historias, sabiendo tambin que los rostros, las miradas y las breves palabras de sus personajes saben contar mucho. Basel Ramsis Director de cine documental y comisario del IV Panorama de Cine Documental rabe Contemporneo, organizado por Casa rabe
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The Palestinian / Jordanian director and actor Mahmoud al-Massad works in the same vein as Bakri in his film Recycle (2007). Mahmoud al-Massad focuses on one specific place, al-Zarqa, a small Jordanian town that was originally a refugee camp, and that after the 2003 Iraq war became known worldwide as the hometown of the disappeared leader of Al-Qaeda in Iraq, Abu Musab alZarqawi. However, the main subject matter al-Massad tackles, using his unique and deliberate pacing, is the day to day life of other people (specifically, one of his relatives) who are also from this town and who knew al-Zarqawi. In this film, the director reflects on the effect the space / place has on the past, present and future of one specific character, and how that place, with all the meaning it brings with it, marks its characters and fates. Al-Zarqa is the place that the character Ali al-Azzam chooses to return to and rebuild his life. But that life is tied to a past that took place elsewhere, pre-Taliban Afghanistan. Over a long period of time and with great patience, Mahmoud al-Massad makes a portrait of this characters life, which will little by little become a living hell. That is when the possibility of going elsewhere comes about, in this case to the United States, bringing the film to an end at this door, which seems to be opening. The director of this documentary has managed to work in a very sensible way on the relationship between place and character, in the same way he did with his previous film Shatter Hassan, presented at the first Contemporary Arabic Documentary Film Series held in 2007. Hassan, that Moroccan immigrant, this time is Ali al-Azzam and the Netherlands is al-Zarqa, the director of Recycles hometown. Place and its memory as sole protagonists In Tahani Racheds film Neighbors (2009), there are no individuals featured in the documentary. The Egyptian director, known to the Spanish public for her work in the film These Girls (2006) at different festivals and competitions held in Spain, transforms a centrally-located neighborhood in Cairo into the sole character and protagonist. It is Garden City, the district of the old Egyptian aristocracy and the embassies, a small area that has played an important role in the public and economic sphere of modern Egyptian history. Tahani Rached tells a story based on the history of this neighborhood through accounts provided by many residents and file footage and scenes filmed in the streets and inside the US embassy. She shows us how it has changed and what the present is like for the neighborhood ever since two important embassies, the US and British, have located there, the presence of which has changed life in the area in recent years (because the streets and businesses are closed for security reasons). This might be one first reading of the film, but if one goes back a thirteen years to another Tahani Rached film, Four Women from Egypt (1997), one will find much more in this directors work, since if the two are viewed together, they reveal a zeal for
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researching and a personal interpretation of contemporary Egyptian history since the Nasser revolution of 1952. In Four Women from Egypt, place also plays an important role, though not such an obvious one as in Neighbors. On that occasion, the place consisted of the area surrounding the womens jail, as well as the homes and meeting places for those four friends. However, in Neighbors, the place is the absolute protagonist. In the final scene, one clearly sees the effect produced in the lives of the people by the changes brought about in this place. The writer and intellectual Mahmud Amin al-Alem shows us the neighborhood from his window while warning on camera: Do not lean your head out too far, because the US embassy is there and they might shoot you. Political history takes a different path in Mohammed Soueids film My Heart Beats Only for Her (2008). A great sense of humor pervades throughout this film work, though it might cause pain and a sense of loss for someone involved, as are the characters in the film, with one of the places the director practically transforms into one: Beirut, Hanoi (Vietnam), Southern Lebanon and Dubai. Such sentimental bonds with the place lends meaning to the sentence that opens the film: Where your treasure lies, is where your heart will be. Hatem Hatem, the character constantly spoken about in the film and whom we never see, might be an imaginary character or perhaps a character created out of bits and pieces of other characters, including the director himself, whose previous films are, in some way, autobiographical. Hatem Hatem changes his name to Abu Hassan Hanoi when he takes part in the Palestinian struggle in the 70s. He never visited Vietnam, but in this case the place plays an important role in his imagination and in his fate, for political-ideological reasons. This imaginary place changes with later generations, from Beirut through to Dubai; this change is influence by different factors: economic, commercial and even artistic reasons, such as in the case of the young girl who has us imagine Khomeinis Tehran in one brief account. In this film, Mohamed Soueid continues with the idea that he developed over ten years ago: to research how the image that is held in certain places is transformed because of the change experienced by its inhabitants. This was the case, for example, in the films Civil War (2002) and Tango of Yearning (1998). In these films, one also sees style of his, of building up characters from out of fragments of others, as he also does with places. All this without ever losing that unique, at times biting, sense of humor, and a very critical vision that allows him to create collages from out of images and sounds that we might have seen and heard before, but that we never thought could be put together. The Thousand Faces of Ateyyat el-Abnoudy While the Contemporary Arabic Documentary Film Series tries to present the finest and most relevant film productions in Arabic documentary film, that does not mean it wants to take anything away from classic film. This time, a section is being included to highlight one of the most veteran directors in Egyptian and Arabic film, Ateyyat el-Abnoudy.
This director is part of a generation that started presenting its early films as part of the changes coming about in Arab societies after the defeat in the Six Day War of 1967. It might be said that from that time on, that generation changed the image that had been established by documentary film in the Arab world. They drifted away from the tourist-minded, news and propagandist format that dominated a great part of documentary production in Arab countries. In the case of Egypt, Ateyyat el-Abnoudy was one of the pioneers and one of the few directors that did not move out of the documentary format into fiction filmmaking. She has worked alongside other directors, such as Fouad and Salah al-Tuhami, Nabeeha Lutfi and Saed Nadim, in making social documentary film into a recognized and respected format in the Arab film industry. In this section, three of her films are to be presented, two from her early years and another from the 1980s. Their titles are Horse of Mud (1971), The Sandwich (1975) and Permissible Dreams (1982). In all three, what is so characteristic about Ateyyat el-Aboudys film can been seen, from its beginnings through to the present day: her close ties to the peasants and those living on the margins of the city. She lets their faces take over the entire screen to let us feel them, almost touch them, giving total predominance both to them and to their towns. Whether it be a small town in the south, as in The Sandwich or a village in the north with its mud factory in Horse of Mud, or somewhere in the east, near the Suez Canal, in Permissible Dreams. Even changing the profiles of the main characters, the children in the first town, a working woman in the mud factory in the second, and a peasant woman in the third. In these three films Ateyyat el-Abnoudy breaks with what has been established and used in earlier periods: the voice of the narrator, the all-knowing God, and tells the story / the truth to the audience. Ateyyat el-Abnoudy knows she does not need that tool and uses other film resources and narratives to tell the stories, also knowing that the faces, the eyes and the few words of the characters already tell a lot. Basel Ramsis Documentary film director and organizer of the 4th Contemporary Arabic Documentary Film Series for the Casa rabe
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EADET KHALEK
RECICLAJE / RECYCLE MAHMOUD AL-MASSAD Betacam / 80 / 2007 / Jordania, Alemania, Pases Bajos, Estados Unidos / Jordan, Germany, The Netherlands, USA V. O. RABE / ARABIC. SUBT. ESPAOL / SPANISH
GIRAN
VECINOS / NEIGHBORS TAHANI RACHED Betacam / 105 / 2009 / Egipto / Egypt V. O. RABE, FRANCS, INGLS / ARABIC, FRENCH, ENGLISH. SUBT. ESPAOL / SPANISH
ZAHRA
MUHAMMAD BAKRY Betacam / 63 / 2009 / Palestina / Palestine V. O. RABE / ARABIC. SUBT. ESPAOL / SPANISH
A travs del retrato del protagonista, primo del conocido al-Zarkawi, se nos ofrece una visin de la vida en la localidad jordana de Al Zarka y de las preocupaciones y rutinas cotidianas del personaje central y su entorno ms inmediato, en el contexto del mundo posterior al 11-S. Through a portrait of the protagonist, a cousin of the famous al-Zarkawi, we get a look at life in the Jordanian town of Al Zarka, the main characters concerns and daily routines, and his most immediate surroundings in the context of the post-9/11 world.
En los aos 70, libaneses y palestinos miraban hacia Vietnam tras haberse convertido en militantes del movimiento Fatah. Las nuevas generaciones tienen la vista puesta en Dubi, o se quedan en Beirut y el sur del Lbano. Algunos, sin embargo, siguen soando con Hani. Estos cuatro lugares pasan a ser uno solo a travs de la historia de Hatem Hatem, Abu Hassan Hanoi. In the 1970s, Lebanese and Palestinians looked to Vietnam after being converted into militants of the Fatah movement. The new generations focus their gaze on Dubai, or they stay in Beirut and southern Lebanon. Some, however, continue dreaming of Hanoi. These four places come together into one through the story of Hatem Hatem, Abu Hassan Hanoi.
Garden City es un barrio pequeo pero emblemtico y rico de El Cairo que, desde finales del siglo xix, se convirti en el centro del poder poltico en Egipto. Un recorrido a travs de la mirada de los vecinos que nos pasea entre palacios abandonados, sedes de embajadas, edificios y calles de la zona donde tambin encontramos viviendas de personas con muy pocos recursos. Garden City is a small but emblematic and wealthy neighborhood in Cairo, which since the late 19th century has become the center of political power in Egypt. A journey taken through the eyes of the neighbors, who walk among the abandoned palaces, embassy headquarters, and the areas buildings and streets, where we also see the residences of people with very few resources.
Zahra, ta del director y originaria del pueblo de Albaena, en Galilea, se ve obligada tras la guerra de 1948 a ejercer de madre de toda la familia. Sus memorias y los recuerdos de su pueblo y su familia se mezclan con la historia misma de esta localidad de Galilea y la de otros muchos pueblos de la zona. Zahra, the directors aunt and a native of the town of Albaena in Galilee, was forced, after the war of 1948, to be the mother of the entire family. Her memories and the keepsakes from her hometown and her family blend together with the history of this town in Galilee, as well as with that of many other towns in the area.
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Premio Cine en Movimiento / Cinema in Motion Award, Festival Internacional de San Sebastin (Espaa / Spain, 2007) Premio de Fotografa / Cinematography Award, Sundance Film Festival (EE UU / USA, 2008) Mencin Especial / Special Mention, Warsaw Documentary Film Festival (Polonia / Poland, 2008) DIRECCIN, GUIN, FOTOGRAFA / DIRECTION, SCRIPT, CINEMATOGRAPHYMahmoud al-Massad PRODUCCIN / PRODUCTION Mahmoud al-Massad (See Film, Jo Image, MEC Films) MONTAJE / EDITING Anwar Haddad, Sammy Chekhes SONIDO / SOUND Ali Ammar MSICA / MUSIC Dhafer Youseef CASA RABE Martes 11, 19:30 h, y mircoles 12, 17:30 h / Tuesday 11th, 7:30 pm, and Wednesday 12th, 5:30 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Mohamed Soueid PRODUCCIN / PRODUCTION O3 Productions FOTOGRAFA, MONTAJE / CINEMATOGRAPHY, EDITING Pamela Ghanimeh SONIDO, MSICA / SOUND, MUSIC Nadim Mishlawi CASA RABE Lunes 10, 19:30 h, y jueves 13, 17:30 h / Monday 10th, 7:30 pm, and Thursday 13th, 5:30 pm
DIRECCIN / DIRECTIONTahani Rached PRODUCCIN / PRODUCTION Karim Gamal el-Din (Studio Misr) GUIN / SCRIPTTahani Rached, Mona Assaad FOTOGRAFA / CINEMATOGRAPHY Nancy Abdel-Fattah MONTAJE / EDITING Mohamed Samir SONIDO / SOUND Sameh Gamal MSICA / MUSICTamer Karawan CASA RABE Martes 11, 17:30 h, y jueves 13, 19:30 h / Tuesday 11th, 5:30 pm, and Thursday 13th, 7:30 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Muhammad Bakry PRODUCCIN / PRODUCTION F. Connection, Muhammad Bakry FOTOGRAFA / CINEMATOGRAPHY Ziad Bakry MONTAJE / EDITING Nail Mahamid SONIDO / SOUND Rabia Gamal MSICA / MUSIC Amir Shahsar CASA RABE Mircoles 12, 19:30 h, y viernes 14, 17:30 h / Wednesday 12th, 7:30 pm, and Friday 14th, 5:30 pm
HUSAN ALTEEN
UN CABALLO DE BARRO / A MUD HORSE ATEYYAT EL-ABNOUDY Betacam / 12 / 1971 / Egipto / Egypt V. O. RABE / ARABIC. SUBT. ESPAOL / SPANISH
ALSANDAWICH
EL BOCADILLO / THE SANDWICH ATEYYAT EL-ABNOUDY Betacam / 13 / 1975 / Egipto / Egypt V. O. RABE / ARABIC. SUBT. ESPAOL / SPANISH
ALAHLAM ALMOMKENA
LOS SUEOS POSIBLES / POSSIBLE DREAMS ATEYYAT EL-ABNOUDY Betacam / 30 / 1982 / Egipto, Alemania / Egypt, Germany V. O. RABE / ARABIC. SUBT. ESPAOL / SPANISH
Junto al Nilo hay centenares de pequeas fbricas que usan todava mtodos antiguos para elaborar ladrillo a partir del barro. All, los viejos caballos, junto a hombres, mujeres y nios, trabajan duro compartiendo su sufrimiento. Along the Nile River, there are hundreds of small factories still using antiquated methods for making bricks out of mud. There, the old horses, along with the men, women and children, work hard and share their suffering.
Abnoud es un pueblo egipcio situado a 600 kilmetros al sur de El Cairo por donde pasan los trenes que llevan a los turistas al sur del pas, aunque no efectan parada. Abnoud is an Egyptian village 600 km south of Cairo, through which trains taking tourists to the southern part of the country pass but never stop.
La historia y los sueos de una campesina de un pueblo cercano a la ciudad de Suez, en Egipto. Esta se casa a la edad de 14 aos, abandona el pueblo durante la guerra del 67 y finalmente regresa tras la guerra de 1973. The story and dreams of a peasant woman from a village near the city of Suez, Egypt. She was married at the age of 14, left the village during the war of 67 and finally returned after the war in 1973.
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Gran Premio, Premio FIPRESCI / Grand Prize, FIPRESCI Prize, Festival de Grenoble (Francia / France, 1973) Gran Premio / Grand Prize, International Filmfestival Mannheim-Heidelberg (Alemania / Germany, 1973) Gran Premio / Grand Prize, Damascus Film Festival (Siria / Syria, 1972) DIRECCIN, GUIN / DIRECTION, SCRIPT Ateyyat el-Abnoudy PRODUCCIN / PRODUCTION Ateyyat el-Abnoudy (Cairo Film Association) FOTOGRAFA / CINEMATOGRAPHY Ahmed el-Hadary, Mahmoud Abdelsamie MONTAJE / EDITING Muhammad Alsayed, Ateyyat el-Abnoudy SONIDO / SOUND Magdy el-Etriby CASA RABE Lunes 10, 17:30 h y viernes 14, 19:30 h / Monday 10th, 5:30 pm and Friday 14th, 7:30 pm DIRECCIN, GUIN, MONTAJE / DIRECTION, SCRIPT, EDITING Ateyyat el -Abnoudy PRODUCCIN / PRODUCTION Abnoud Film FOTOGRAFA / CINEMATOGRAPHY Maher Rady SONIDO / SOUND Magdy Kamel CASA RABE Lunes 10, 17:30 h y viernes 14, 19:30 h / Monday 10th, 5:30 pm and Friday 14th, 7:30 pm
Mejor Pelcula Educacional / Best Educational Film, International Filmfestival Mannheim-Heidelberg (Alemania / Germany, 1984) DIRECCIN, GUIN, MONTAJE / DIRECTION, SCRIPT, EDITING Ateyyat el -Abnoudy PRODUCCIN / PRODUCTION Fauest Film, Abnoud Film FOTOGRAFA / CINEMATOGRAPHY Emad Farid SONIDO / SOUND Ibrahim Abdellatif MSICA / MUSICTaha Mohamed Ghazaly CASA RABE Lunes 10, 17:30 h y viernes 14, 19:30 h / Monday 10th, 5:30 pm and Friday 14th, 7:30 pm
PANORAMA ASITICO
Casa Asia participa por primera vez este ao en el Festival Documenta Madrid, que celebra su sptima edicin. Esta colaboracin es de especial importancia porque marca el inicio de un programa con vocacin de continuidad en las prximas ediciones, adems de inaugurar una nueva seccin del festival, dedicada a las producciones que tocan temas relacionados con el rea de Asia y el Pacfico, bajo el nombre de Panorama Asitico. El ciclo cuenta en su primera edicin con cinco ttulos de obras producidas tanto en Europa como en Asia, cada una dedicada a un tema especfico en un pas asitico. La pelcula Une vie normale, de la directora francesa Jill Coulon, abre el panorama con una mirada ntima y constante sobre la vida de un luchador de sumo que se enfrenta a las dificultades y cambios radicales derivados de un exigente entrenamiento. Siguen las obras de Justin Peace (Alemania) sobre las impactantes condiciones de vida de los nios que viven en las calles de Katmand, y de Olga Prudhomme Farges (Francia), que nos presenta el excepcional caso de una prisin filipina en la que una inusual libertad y espritu de colaboracin aumentan la calidad de vida de la prisin, mejorando as la condicin y esperanzas para el futuro de la poblacin reclusa. El rompedor documental Neros Guests, de Deepa Bhatia (India), sigue al periodista P. Sainath en su desafiante y agudo anlisis sobre los, cada vez ms frecuentes, suicidios que tienen lugar en la India rural, y la obra de Huang Weikai (China), ganadora de una mencin especial en el Festival Cinma du Rel de 2009, cierra el programa con una visin casi onrica de sorprendentes ancdotas urbanas. Todos los documentales han sido seleccionados por su calidad y por los diferentes estilos y lenguajes que utilizan, adems de por los temas tratados, para ofrecer al espectador un amplio abanico en el marco de la produccin cinematogrfica documental de y sobre Asia en la actualidad. Casa Asia
Farges (France) film portraying the exceptional case of a Philippine prison in which uncommon freedom and a helpful spirit improves the quality of prison life, and therefore the situation and hopes for the future of incarcerated people. The groundbreaking documentary Neros Guests by Deepa Bhatia (India) follows the journalist P. Sainath in his bold and sharp analysis of the increasingly frequent suicides occurring in rural India and Huang Weikais (China) film, which won a special mention at the 2009 Cinma du Rel Festival, closes the program with an almost dreamy vision of some surprising urban stories. All these documentaries have been selected for their high quality and the different styles and languages they use, in addition to the issues they tackle. They offer audiences a wide range to choose from with regard to documentary film that is from and about present-day Asia. Casa Asia
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ASIAN SCENE
For the first time, Casa Asia is participating in this years Documenta Madrid. This partnership is of special importance because it marks the beginning of a program meant to continue into future, and it inaugurates a new section of the festival dedicated to productions dealing with issues related to Asia and the Pacific entitled Asian Scene. The series features five films produced both in Europe and in Asia, each one dealing with a specific issue in an Asian country. The film Une vie normale, by the French director Jill Coulon, opens the series with an intimate and steady look at the life of a sumo wrestler coping with the difficulties and radical changes resulting from a demanding training schedule. Then come the films by Justin Peace (Germany) about the shocking living conditions of children living in the streets of Katmandu, and Olga Prudhomme
DISORDER
DESORDEN / XIANSHI SHI GUOQU DE WEILAI HUANG WEIKAI Betacam / 58 / 2009 / China V. O. CHINO / CHINESE. SUBT. ESPAOL / SPANISH
KLEINE WLFE
PEQUEOS LOBOS / LONELY PACK JUSTIN PEACH Betacam / 48 / 2009 / Alemania / Germany V. O. NEPAL / NEPALI. SUBT. ESPAOL / SPANISH
NEROS GUESTS
LOS INVITADOS DE NERN DEEPA BHATIA Betacam / 55 / 2009 / India V. O. INGLS, HINDI, MARAT / ENGLISH, HINDI, MARATHI. SUBT. ESPAOL / SPANISH
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Huang Weikai combina en un collage ms de 20 escenas de la calle, revelando facetas absurdas de la vida en la ciudad: un hombre que amenaza con suicidarse por no haber recibido una indemnizacin, un luntico bailando alegremente en medio del trfico, cerdos corriendo sueltos por una autopista, peatones que arriesgan su vida para cruzar una carretera transitada, una disputa por dinero falso, el hallazgo de una reliquia cultural en una obra en construccin, un ro contaminado en el que se baan representantes oficiales, un obrero empeado en pescar, un caimn que se oculta despus de escaparse, y ms Huang Weikai combines more than twenty street scenes into a collage, revealing absurd facets of a citys life, such as a man who hasnt received indemnity and is threatening suicide, a lunatic joyfully dancing in the middle of traffic, pigs running wildly on a highway, pedestrians risking their lives to cross a busy street, a conflict over counterfeit money, the discovery of a cultural relic on a construction site, a polluted river where official representatives swim, a determined laborer fishing, an escaped alligator hiding and more.
El pequeo Sonu, de once aos, vive en las calles de Katmand junto a otros ocho nios. Su rutina diaria es la lucha por sobrevivir en la catica capital de Nepal: siempre al acecho de comida, drogas, turistas caritativos y, lo que ms buscan, como todos los nios: diversin y aventura. La vida de Sonu y su grupo est marcada por el hambre y la violencia, pero tambin est repleta de momentos de ingenua libertad en las calles! Siguiendo las directrices del cine directo, no hay narrador, ni msica, ni puesta en escena. Son los propios nios los que cuentan la historia. Together with eight other children, the eleven year old Sonu lives on the streets of Katmandu. Their daily routine is a fight to survive in the chaotic capital of Nepal: always on the prowl for food, drugs, charitable tourists, and what they seek most as small boys do anywhere is fun and adventure. The life of Sonu and his pack is shaped by hunger and violence but is also filled with childlike moments of freedom on the streets! Following the ideas of Direct Cinema: no narrator, no music, no staging. The story is told by the kids themselves.
Casi 200.000 agricultores se han suicidado en India en los diez ltimos aos. Sin embargo, los medios de comunicacin apenas se hacen eco de ello. Es la historia de la crisis agrcola india y la creciente desigualdad, vista desde la perspectiva del trabajo del periodista P. Sainath. Una cobertura sostenida de la crisis agrcola permite a Sainath y sus colegas hacer que el problema se convierta en prioridad nacional, obligando a que un Gobierno que lo negaba lo afrontara y actuara en consecuencia. A travs de sus escritos y charlas, Sainath intenta mostrarnos la India real y nos hace cuestionarnos quines son los invitados de Nern del mundo actual. Nearly 200,000 farmers have committed suicide in India over the last 10 years. But the mainstream media hardly reflects this. This is a story about Indias agrarian crisis and the growing inequality seen through the work of journalist P. Sainath. Through sustained coverage of the farm crisis, Sainath and his colleagues created the national agenda, compelling a government in denial to take notice and act. Through his writings and lectures, Sainath tries to make us see the real India, and provokes us to think who are Neros Guests in todays world.
Takuya tiene 18 aos, el pelo alborotado y un aspecto atltico. Empujado por su padre y por los patrocinadores, abandona su pueblo natal en Hokkaido para ingresar en una escuela de sumo de Tokio. All compartir todo con otros 10 luchadores: la vida comunitaria, el entrenamiento, la vida social y los campeonatos. Coproducida por el canal japons de televisin NHK como parte de su Tokyo Modern Series, y con una penetracin excepcional, narra los sueos y desencantos de un adolescente que descubre la realidad del mundo tradicional del sumo. Takuya is 18, with tousled hair and an athletic look. Driven by his father and sponsors, he leaves his hometown in Hokkaido to go to Tokyo and join a sumo stable. There, he will share everything with the 10 other wrestlers: communal life, training, social life and tournaments. Coproduced by Japanese TV station NHK as part of its Tokyo Modern Series, and with exceptional access, the film tells of the dreams and disenchantments of a teenager discovering the reality of the traditional world of sumo.
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Mencin Especial del Jurado Joven / Young Jury Special Mention, Cinma du Rel (Francia / France, 2009) DIRECCIN, GUIN, SONIDO, MONTAJE / DIRECTION, SCRIPT, SOUND, EDITING Huang Weikai PRODUCCIN / PRODUCTION Huang Weikai (Weikai Huang Digital Filmmaking Studio) FOTOGRAFA / CINEMATOGRAPHY Huang Shuqiu, Weikai Huang CASA ASIA Viernes 14, 19:15 h / Friday 14th, 7:15 pm
Premio del Pblico / Audience Award, DokuSlam Mainz (Alemania / Germany, 2009) DIRECCIN, PRODUCCIN, FOTOGRAFA / DIRECTION, PRODUCTION, CINEMATOGRAPHY Justin Peach GUIN, MONTAJE / SCRIPT, EDITING Lisa Engelbach SONIDO / SOUND Andreas Fitza CASA ASIA Jueves 13, 19:15 h / Thursday 13th, 7:15 pm
DIRECCIN,PRODUCCIN,GUIN/DIRECTION,PRODUCTION,SCRIPT DeepaBhatia SONIDO / SOUND P. M. Satheesh MONTAJE / EDITING Abhro Banerjee, Erez Laufer FOTOGRAFA / CINEMATOGRAPHY Amol Gole MSICA / MUSIC Shailendra Barve LOCUCIN / VOICE Amole Gupte CASA ASIA Viernes 14, 18:15 h / Friday 14th, 6:15 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Jill Coulon PRODUCCIN / PRODUCTION Patrick Winocour (Quark Productions) SONIDO / SOUND Eric Rey, Mari Ikeda MONTAJE / EDITING Alex Cardon FOTOGRAFA / CINEMATOGRAPHY Jill Coulon, Byamba Sahya MSICA / MUSIC Jean Baptiste Hanak, Damage CASA ASIA Mircoles 12, 19:15 h / Wednesday 12th, 7:15 pm
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A pesar de que todos los indicadores invitan a pensar que xito social y crcel son conceptos antagnicos, estamos ante la confirmacin de la paradoja. A priori, pensamos que en los pases pobres la situacin de los reclusos es mucho peor que en la de los llamados pases desarrollados. En Puerto Princesa City Jail, la rabia generada por la privacin de libertad se transforma en una energa positiva y creativa. Asistimos aqu a un alegato contra la conmiseracin que los pases occidentales sienten con demasiada frecuencia hacia los denominados pases en vas de desarrollo, que suscita, entre lneas, esta pregunta: y si esos pases tuvieran algunas lecciones que ensearnos? Even though all indicators lead us to think that social change and jail are antagonistic concepts, we have before us confirmation of the paradox. We might first think that in poor countries, the inmates would be worse off than in our so called developed countries. At Puerto Princesa City Jail, anger, generated by lack of freedom, is transmuted into positive energy and creativity. This is a statement against commiseration that Western countries too often feel towards so called developing countries. And, in between the lines, this question: what if those countries had lessons to teach us?
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DIRECCIN, GUIN, FOTOGRAFA / DIRECTION, SCRIPT, CINEMATOGRAPHY Olga Prudhomme Farges PRODUCCIN / PRODUCTION Olga Prudhomme Farges, Kolam SONIDO / SOUND Jake Manilla MONTAJE / EDITING Isabelle Ouzounian CASA ASIA Jueves 13, 20:15 h / Thursday 13th, 8:15 pm
Hacer cine consiste en compartir: compartir una parte de la vida entre nosotros y ellos, y compartir una historia humana entre ellos y la audiencia. Filmmaking is all about sharing: sharing a part of life between us and them, and sharing a human story between them and the audience. agla Zencirci
TRABAJO: (R)EVOLUCIONES?
WORK: (R)EVOLUTIONS?
Seccin Informativa
Informative Section
A lo largo del siglo xx, hemos asistido a la desaparicin de los bastiones obreros, al retroceso del trabajo agrcola, a la aparicin del sector terciario, a la feminizacin del trabajo. En los aos 70 se hizo cada vez ms presente el paro en masa, y con l aparecieron los desplazados de la industria y los jvenes en busca de un trabajo estable. En los 90 se abri un debate sobre el fin del trabajo, que conducir a ciertos autores a concluir que el trabajo ya no estara en el centro de la reproduccin social. Cmo andamos hoy con el trabajo? Con esta programacin, el Institut Franais de Madrid propone tres documentales que representan tantas miradas como problemticas siempre actuales en el mundo del trabajo: un largo conflicto obrero en los aos 70; la violencia y el sufrimiento en el trabajo, que afectan cada vez ms a los asalariados; una crtica social a travs de las experiencias de emancipacin del trabajo remunerado y de la sociedad de consumo. Les Lip, limagination au pouvoir (Los Lip: la imaginacin al poder) retrata la huelga y la ocupacin de la fbrica de relojes Lip de Besanon. Lip se convierte en una especie de laboratorio que aplica una estrategia de autogestin basada en el control de la produccin, en la unidad y la transparencia de las decisiones tomadas en asamblea general. Esta ocupacin de iniciativa obrera dejar huellas duraderas. Ils ne mouraient pas tous mais tous taient frapps (No moran todos, pero a todos les pegaban) indaga en el sufrimiento en el trabajo a travs de una obrera vctima del trabajo en cadena, un director de agencia, una celadora en las consultas de los hospitales pblicos. Poco a poco los profesionales de la salud van estableciendo relaciones entre el sufrimiento individual del paciente y las nuevas formas de organizacin del trabajo. Volem rien foutre al pas (No queremos dar ni golpe en el pas) mezcla palabras en occitano y en francs, haciendo referencia al eslogan occitano Volem viure al pas (Queremos vivir en el pueblo). Este documental va en busca de propuestas alternativas experimentadas por personas que decidieron no solo abandonar un sistema de trabajo precario, sino tambin la sociedad de consumo. Al dar la palabra a los asalariados (y exasalariados) estas pelculas abordan en diferentes perspectivas una reflexin de la que se hace partcipe a los espectadores: cmo andamos con el trabajo? En qu sociedad queremos vivir? Rosa Salesne Blanco Responsable de la Mediateca del Institut Franais de Madrid Over the course of the 20th century, we have witnessed the disappearance of workers bastions, the retreat of agricultural work, the rise of the services sector and the feminization of work. In the 1970s, massive unemployment became more and more
prominent, and along with it came people displaced by industry and young people looking for stable jobs. In the 90s a debate started up about the end of work, which would lead some authors to conclude that work would no longer be the center of social reproduction. What is the state of work for us today? With this program, the French Institute of Madrid offers three documentaries representing present-day perspectives and issues in the world of work: a long workers conflict in the 70s; on the job violence and pain affecting wage-earners more and more; a social critique through the experiences of living free of paid work and consumer society. Les Lip, limagination au pouvoir (The Men at LIP, Imagination to Power) depicts the strike and occupation of the Lip watch factory in Besanon. Lip became a kind of lab experiment in which a strategy of self-management was applied to production control, to unity and transparency of the decisions taken at the general assembly. The initiative of this workers occupation would leave long-lasting marks. Ils ne mouraient pas tous mais tous taient frapps (They Were Not All Dying, But They Were All Being Beaten) deals with a worker suffering from assembly line work, an agency director, an orderly... in the offices of public hospitals. Little by little, health care professionals are establishing relationships between the patients individual suffering and new ways of organizing work. Volem rien foutre al pas (We Dont Even Want to Lift a Finger in the Country) mixes words in Occitan and French in its reference to the Occitan slogan Volem viure al pas (We Want to Live in the Country). This documentary depicts alternative lifestyles experienced by people who decided to leave behind not only the system of unstable work, but also consumer society. By giving the wage-earners (and ex-wage earners) a chance to speak, these films give the public different perspectives on an issue for reflection: How is work coming along for us today? What kind of society do we want to live in? Rosa Salesne Blanco Head of the Media Archives of the French Institute of Madrid
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Todas las semanas, en tres hospitales pblicos de Pars, una psicloga y dos mdicos reciben a hombres y mujeres que sufren de algn mal relacionado con la actividad laboral. A lo largo de estas consultas, se aborda una cuestin fundamental en las sociedades occidentales, sometidas a fuertes presiones en el mercado de trabajo: la salud de los empleados, que bascula entre la inestabilidad crnica y los objetivos de rentabilidad, y se da testimonio de la banalizacin del dolor en el mundo laboral. Every week in three public hospitals in the Paris region, a psychologist and two doctors receive men and women suffering from work-related illness or injury. Over the course of these visits, this film deals with a crucial issue for Western societies under strong pressure in the job market: employee health, which must strike a balance between chronic instability and the goals of profitability, bearing witness to how pain has become trivialized in the working world.
Rouaud sale al encuentro de los hombres que organizaron la huelga obrera ms emblemtica despus del 68, la de la fbrica LIP en Besanon. Un increble movimiento de lucha que dur varios aos, moviliz a multitudes en Francia y Europa, multiplic las acciones ilegales sin ceder nunca a la tentacin de la violencia e impuls la imaginacin y la bsqueda de la democracia hasta lmites jams alcanzados. Retratos, historia colectiva, narraciones que se entremezclan para intentar entender por qu aquella huelga entra la esperanza y los sueos de toda una generacin. Rouaud shows the meeting of men organizing the most emblematic workers strike since 1968, the one at the LIP factory in Besanon. An incredible struggle that lasted several years, mobilized huge crowds in France and Europe, multiplied illegal actions without ever falling into the temptation of violence, it sparked the imagination and the search for democracy in unprecedented ways. Portraits, collective history, and narrations blended together to show how that strike filled an entire generations with hope and dreams.
Al tener que elegir entre los sueldos bajos del trabajo precario y las pobres subvenciones que todava ofrece el sistema, algunos han decidido desertar de la sociedad de consumo para volver a tener el control de sus propias vidas. Ni explotados, ni asistidos, estos ciudadanos marginales han elegido otro camino: el de la autonoma, de la actividad escogida y de las prcticas solidarias. When forced to choose between the low wages of an unstable job and the poor subsidies still offered by the system, some have decided to abandon consumerist society and go back to living with control over ones own life: No one getting exploited or getting aid, these outcasts have chosen a different path: one of autonomy, of choosing ones activities and of solidarity in action.
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DIRECCIN / DIRECTION Sophie Bruneau, Marc-Antoine Roudil PRODUCCIN / PRODUCTION Alter Ego Films FOTOGRAFA / CINEMATOGRAPHY Antoine-Marie Meert MONTAJE / EDITING Philippe Boucq SONIDO / SOUND Marc-Antoine Roudil, Etienne Curchod TEATRO DEL INSTITUT FRANAIS DE MADRID Martes 11, 20:30 h / Tuesday 11th, 8:30 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Christian Rouaud PRODUCCIN / PRODUCTION Richard Copans FOTOGRAFA / CINEMATOGRAPHY Jean-Michel Humeau, Alexis Kavyrchine MONTAJE / EDITING Fabrice Rouaud TEATRO DEL INSTITUT FRANAIS DE MADRID Lunes 10, 20:30 h / Monday 10th, 8:30 pm Con la presencia de Christian Rouaud / With the presence of Christian Rouaud
DIRECCIN / DIRECTION Pierre Carles, Christophe Coello, Stphane Goxe PRODUCCIN / PRODUCTION Annie Gonzalez GUIN / SCRIPT Pierre Carles FOTOGRAFA / CINEMATOGRAPHY Igor Ochronowicz MONTAJE / EDITING Roger Ikhlef TEATRO DEL INSTITUT FRANAIS DE MADRID Mircoles 12, 20:30 h / Wednesday 12th, 8:30 pm
Archivo Documenta
Documenta Archive
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This is a year of change for Documenta Madrid. One of the most significant is the new location of the festivals headquarters, in what is bound to become the final main space for the offices of the competition. Matadero Madrid has become an indisputable reference point for artistic and cultural creation ever since the City set it into motion some time ago. As a modern, multi-form space in the process of evolving and becoming entirely dedicated to contemporary creativity, it was only a matter of time before its path and the festivals would meet and become one. This convergence has led us to move one of the festivals most attractive activities, which up to now had been held in the marvelous setting of the Ocho y Medio bookshop thanks to the generosity and courtesy of Jess Robles, one of the Madrids most important bookshops and undoubtedly the best in terms of specialized texts on cinema. What until 2009 was known as Ocho y Medio Encounters this year becomes Matadero Encounters, though the only things changing are the location and name the spirit that has have become standard over the past six years of Documenta remains fully intact. The Encounters are primarily a platform for knowledge, a meeting point to speak about what we have been most deeply involved in over these ten years documentary film. If any of the festival activities becomes a forum in which followers and participants are going to meet up over the course of each day and share our interests, experiences, emotions and discoveries of each day, the Matadero Encounters are at the heart of that forum. That is to say, they are special places and moments in which everyone (and I mean, everyone) can come to meet those invited to the festival first hand, the film directors in competition or those with films in the informative sections, to chat with them and learn more about any aspect of their films or their own way of confronting non-fiction film. The public is invited to chat eye to eye with professionals in a relaxed atmosphere. Free and open dialogue is the inviolable basis for these meetings. Documenta Madrid just provides the time, place, a professional translator and a bite to eat. The rest is up to the participants. In previous years, the encounters have led to international agreements for documentary co-production, friendships have been made that still continue, or simply the opportunity to talk directly to great masters in cinema about their visit to our city. The best way to get a first hand look at what the Encounters are is by coming to see them. The festival audiences, the general public, directors, producers or film crew members, the press in short, all those interested are invited to our Encounters. Come on out. We hope to see you at Matadero Madrid. MATADERO MADRID Sbado 8 y domingo 9, y de martes 11 a jueves 13. 12:00 h / Saturday 8th and Sunday 9th, and from Tusday 11th to Thursday 13th. 12:00 pm
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Jugamos a ser Dios y rezamos para que nadie salga daado. A cambio ellos consiguen un DVD y sinceros agradecimientos. We play God and pray that noone gets hurt. In return they get a dvd and sincere thanks. Apostolos Karakasis
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to the Hudson river, which acts as a natural border between the states of New York and New Jersey. As a result, subtle film poems in which the real joins the supernatural, by way of fantasy. In his films, the bi-color luminosity of black and while film (which the filmmaker usually chooses over color) clarifies the indisputable link Huttons work has with respect to painting, and in particular with landscape painting, to relate it more closely to photography. Here the expression motion pictures, which has always been used to refer to cinema, takes on its full meaning, since we find ourselves watching sequences in which the camera is usually motionless, while the movement crosses the frame. Spectators forget themselves and give themselves over to the hypnotic light reflecting off the surface of the water in utter silence (perhaps only broken by the sound of the projector), which functions as means for meditative contemplation. As stated by P. Adams Sitney, Huttons approach to filmmaking is to measure its power for fascination and absorption, to the point of erasing the observers subjectivity, only to make it emerge in the juxtaposition of apparently isolated shots, a technique that Hutton has developed profusely over his career. As part of this years 7th Documenta Madrid, the filmmaker is offering a master class entitled The Image and its Eclipse. In it, Hutton will reflect on the single take and on the creation of centripetal force in his films by building up shots in a process that, in a way, harkens back to early filmmaking. Sonia Garca Lpez
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EN EL HOYO
IN THE PIT JUAN CARLOS RULFO 35 mm / 84 / 2006 / Mxico / Mexico V. O. ESPAOL / SPANISH
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Una leyenda mexicana cuenta que el diablo pide almas para que los puentes no se caigan al construirse. En este caso se aborda la historia de varios de los obreros que participan en la construccin del segundo piso del Perifrico, va de circunvalacin que rodea la ciudad de Mxico. En realidad esto no es ms que un puro pretexto, ya que la idea es acercarnos a la cotidianidad, a los sueos y a la extraordinaria dignidad que alimentan el humor, el romance y los pequeos momentos de cuya destilacin el diablo extrae la pocin precisa para que ese puente permanezca en pie. A Mexican legend tells that the devil asks for souls so that bridges dont fall when they get built. In this case, it is the story of several workers who took part on the construction of the second deck of Mexico Citys Periferico Highway. All this actually pure pretext though, since the idea is to get a closer look at everyday life, the dreams and the extraordinary dignity in order to experience the humor, romance, and little moments that come together in the food that the devil needs in order to keep that bridge up.
Un acercamiento ntimo a las familias de aquellos que se han ido a Estados Unidos en busca de mejores oportunidades. Un retrato de nostalgia, espera, identidad, memoria; pero, sobre todo, de los sueos y el amor. Una exploracin sobre la cotidianidad de la ausencia que genera la migracin. An intimate look at the families of those who have gone to the United States in search of better opportunities. A portrait of nostalgia, waiting, identity, memory, but, most of all, of dreams and love. An exploration on the everyday nature of absence as brought about by migration.
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Mejor Documental Mundial / Best World Documentary, Sundance Film Festival (EE UU / USA, 2006) Mejor Documental Hispanoamericano / Best Latin American Documentary, Miami Film Festival (EE UU / USA, 2006) Mejor Documental Iberoamericano, Mejor Director / Best Latin American Documentary, Best Director, Festival Internacional de Cine de Guadalajara (Mxico / Mexico, 2006) Mejor Pelcula / Best Film, BAFICI Festival Internacional de Cine Independiente de Buenos Aires (Argentina, 2006) DIRECCIN, FOTOGRAFA / DIRECTION, CINEMATOGRAPHY Juan Carlos Rulfo PRODUCCIN / PRODUCTION Juan Carlos Rulfo, Eugenia Montiel Pags MONTAJE / EDITINGValentina Leduc DISEO DE SONIDO / SOUND DESIGNValentina Leduc, Samuel Larson MSICA / MUSIC Leonardo Heiblum CASA DE AMRICA. SALA IBERIA Mircoles 12, 21:00 h / Wednesday 12th, 9:00 pm
Mejor Documental de Creacin / Best Original Documentary, Festival Internacional de Documentales Documenta Madrid (Espaa / Spain, 2009) Mejor Documental Mexicano / Best Mexican Documentary, Festival Internacional de Cine de Guadalajara (Mxico / Mexico, 2009) Mejor Documental / Best Documentary, Festival Internacional de Cine Independiente de Los ngeles (EE UU / USA, 2009) Mejor Documental Latinoamericano / Best Latin American Documentary, DocsDF (Mxico / Mexico, 2009) Premio Humanitas / Humanitas Prize, Los ngeles (EE UU / USA, 2009) DIRECCIN, GUIN / DIRECTION, SCRIPT Carlos Hagerman, Juan Carlos Rulfo PRODUCCIN / PRODUCTION Carlos Hagerman, Juan Carlos Rulfo, Nicols Vale (La Sombra del Guayabo) FOTOGRAFA / CINEMATOGRAPHY Juan Carlos Rulfo MONTAJE / EDITINGValentina Leduc DISEO DE SONIDO / SOUND DESIGN Ruy Garca, Valentina Leduc MSICA / MUSIC Santiago Ojeda CASA DE AMRICA. SALA IBERIA Mircoles 12, 17:00 h / Wednesday 12th, 5:00 pm
Qu se les pide? Confianza, honestidad y respeto. Qu se les da? Confianza, honestidad y respeto. What is asked: Trust, Honesty and Respect. What is given: Trust, Honesty and Respect. Jana Richter
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Antonio Notario Ruiz, profesor titular de Esttica y Teora de las Artes en la Facultad de Filosofa de la Universidad de Salamanca, doctor en Filosofa y profesor de Piano. Autor de La visualizacin de lo sonoro (2002), y editor de Contrapuntos estticos (2005) y Esttica: perspectivas contemporneas (2008), as como de Imgenes incompletas (2005), Octavas falsas (2006), Museos de extraeza (2007) y Aciertos de metfora (2008) en colaboracin con Domingo Hernndez Snchez y Ricardo Piero Moral. Johannes C. Gall estudi piano, musicologa, filosofa y filologa germnica en Stuttgart, Tubinga y Hamburgo. Actualmente vive y trabaja en Berln. Inici y dirigi la reconstruccin y edicin en DVD del Proyecto Msica en el Cine, de Eisler, para la fundacin Rockefeller (1940-1942), que se public en 2006 en Suhrkamp como parte de una edicin especial, dirigida por l, del libro de Adorno y Eisler Komposition fr den Film (El cine y la msica). Es coeditor de Eisler-Studios, para cuyo prximo volumen est prevista la publicacin de su tesis doctoral Hanns Eisler - Musik fr Hollywood (Hanns Eisler: Msica para Hollywood).
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Antonio Notario Ruiz, Professor of Aesthetics and Theory of the Arts in the Philosophy Department of the University of Salamanca, PhD in Philosophy and Piano Professor. Author of La visualizacin de lo sonoro (2002), and editor of Contrapuntos estticos (2005) and Esttica: perspectivas contemporneas (2008), in addition to Imgenes incompletas (2005), Octavas falsas (2006), Museos de extraeza (2007) and Aciertos de metfora (2008) in collaboration with Domingo Hernndez Snchez and Ricardo Piero Moral. Johannes C. Gall studied piano, musicology, philosophy and German philology in Stuttgart, Tbingen and Hamburg. He currently lives and works in Berlin. He started and directed the reconstruction and DVD release of Eislers Film Music Project for the Rockefeller Foundation (1940-1942), which was published in 2006 in Suhrkamp as part of a special edition, directed by him, of the book on Adorno and Eisler Komposition fr den Film (Film and Music). He is the co-editor of Eisler-Studios, the upcoming volume of which will feature the publication of his dissertation Hanns Eisler - Musik fr Hollywood (Hanns Eisler Music for Hollywood).
TEXTOS DOCUMENTA
DOCUMENTA TEXTS
LA CASA ABIERTA. EL CINE DOMSTICO Y SUS RECICLAJES CONTEMPORNEOS
El cine domstico constituye un vasto territorio inexplorado hasta hace pocas dcadas, debido a su consideracin como un derivado flmico carente de valor. El auge de los estudios de la cultura popular y de la vida cotidiana, junto con una mayor apreciacin de su relevancia histrica y social por parte de las filmotecas nacionales y regionales, ha llevado a que este modo flmico haya sido revalorizado y despierte en la actualidad un creciente inters. Al mismo tiempo, son cada vez ms los documentalistas contemporneos que vuelven a las imgenes domsticas, propias o ajenas, como fuente visual para sus trabajos, dando lugar a una variada y sugerente gama de pelculas, desde las de corte microhistrico de Pter Forgcs hasta las obras autobiogrficas de cineastas como Alan Berliner, Sandhya Suri o Alina Marazzi. En todas ellas, el metraje domstico adquiere nueva vida, amplificando su sentido al recontextualizarse en un marco contemporneo, alejado de su primera proyeccin familiar. Como banco de memoria visual, ese metraje adquiere con el paso del tiempo inevitables matices nostlgicos. En ocasiones, al ser contrastado con los recuerdos orales, se impregna de resonancias sombras, rellenando los huecos dejados por la crnica feliz de las imgenes familiares. O, en otros casos, aporta una sorprendente crnica alternativa a la Historia oficial del siglo xx, como ocurre con los trabajos de Nakamura / Ishizuka o Manskij. Si se ampla el foco, se observa tambin la conexin entre las vanguardias cinematogrficas y el cine domstico, con cineastas tan conocidos como Jonas Mekas o Stan Brakhage, que reivindican el modo domstico como el enfoque ms genuino para realizar pelculas en contraposicin con los moldes dominantes del cine industrial, de donde surge un singular parentesco entre modos aparentemente opuestos. Este libro busca explorar este modo flmico en tres etapas. Una primera en la que se aportan claves definitorias y contextos. Una segunda en la que se aborda su reciclaje en la prctica documental contempornea. Y una tercera en la que se explora su relacin con las vanguardias. Efrn Cuevas Editor de La casa abierta. El cine domstico y sus reciclajes contemporneos
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PRESENTACIN LIBRO / BOOK RELEASE EVENT CINE ESTUDIO CRCULO DE BELLAS ARTES Mircoles 12, 17:00 h / Wednesday 12th, 5:00 pm
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Una mirada profundamente personal a los efectos causados en una familia por la evacuacin y detencin de los japoneses americanos durante la Segunda Guerra Mundial. Narrada desde la perspectiva de una japonesa americana de tercera generacin que creci sin comprender apenas su etnicidad o los traumas sufridos por su familia en la dcada de los 40, gira en torno a su abuelo, Masuo Yasui, que despus de 30 aos en Estados Unidos fue arrestado por el FBI, tras el ataque japons a Pearl Harbor, por ser un enemigo extranjero potencialmente peligroso. A travs de pelculas caseras, fotografas familiares, cartas, imgenes de archivo del Gobierno, documentos del FBI y entrevistas actuales, Yasui analiza las circunstancias de la detencin de su abuelo y explora los mitos, recuerdos y silencios que rodean su historia familiar. A deeply personal look at the effects of the World War II evacuation and internment of Japanese Americans on one family. It is told from the perspective of a third-generation Japanese American who grew up with little understanding of her ethnicity or the traumas experienced by her family during the 1940s. The film focuses on her grandfather, Masuo Yasui, who, after 30 years in the US, was arrested by the FBI as a potentially dangerous enemy alien after the Japanese attack on Pearl Harbor. Through home movies, family photos, letters, government archive film, FBI documents, and present-day interviews, Yasui examines the circumstances of her grandfathers internment and explores the myths, memories, and silences surrounding her family history.
Mi madre naci en 1938 y muri en 1972, cuando yo tena 7 aos. No tengo demasiados recuerdos de ella, pero siempre he sabido que en un armario de casa de mis abuelos estaba guardada toda la memoria visual de nuestra familia. El armario contena viejas cajas de pelculas caseras en 16 mm que mi abuelo grab entre 1926 y los aos 70. Este trabajo es mi bsqueda personal del rostro de mi madre. Un intento de devolverla a la vida aunque sea en la pantalla y una forma de celebrarla recordndola. Alina Marazzi My mother was born in 1938 and died in 1972, when I was 7 years old. I dont have many memories of her, but Ive always known that the whole visual memory of my family was locked inside a closet in my grandparents home. This closet contained old film boxes, amateur 16mm films that my grandfather shot between 1926 and the 70s. This film is my personal quest for my mothers face. An attempt to give life back to her only if on the screen, a way of celebrating her, through these memories. Alina Marazzi
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Nominado al Oscar al Mejor Cortometraje Documental / Nominated for the Oscar for Best Documentary Short Film (Estados Unidos / USA, 1989) Gold Hugo, Chicago International Film Festival (Estados Unidos / USA, 1989) Golden Gate, San Francisco International Film Festival (Estados Unidos / USA, 1989) DIRECCIN / DIRECTION Lise Yasui PRODUCCIN / PRODUCTION Lise Yasui, Ann Tegnell CINE ESTUDIO CRCULO DE BELLAS ARTES Mircoles 12, 17:00 h / Wednesday 12th, 5:00 pm
Mejor Documental Italiano / Best Italian Documentary, Torino Film Festival (Italia / Italy, 2002) Mencin Especial del Jurado / Jury Special Mention, Locarno International Film Festival (Suiza / Switzerland, 2002) Premio Claiborne Pell a la Visin ms Original / Claiborne Pell Award for Original Vision, Newport International Film Festival (Estados Unidos / USA, 2003) DIRECCIN / DIRECTION Alina Marazzi PRODUCCIN / PRODUCTION Alina Marazzi, Gianfilippo Pedote, Giuseppe Piccioni, Francesco Virga MONTAJE / EDITING Ilaria Fraioli SONIDO / SOUND Remo Ugolinelli, Alessandro Feletti CINE ESTUDIO CRCULO DE BELLAS ARTES Mircoles 12, 17:00 h / Wednesday 12th, 5:00 pm
La difcil relacin entre el que quiere mirar y el que se deja ser mirado. Una relacin desigual donde hace falta mucho tacto para conseguir que el personaje se sienta cmodo, querido y respetado. The difficult relationship between the observer and the observed. An unequal relationship requiring a great deal of tact in order for the character to feel comfortable, wanted and respected. David Gutirrez Camps
MELILLENSES
LIVING IN MELILLA MOISS SALAMA DVD / 76 / 2004 / Espaa / Spain V. O. ESPAOL / SPANISH. SUBT. INGLS / ENGLISH
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El sueo americano se desvanece peligrosamente mientras muchas familias pierden sus puestos de trabajo, sus casas y los ahorros de toda su vida. Para descubrir a los verdaderos culpables de esta crisis planetaria, Michael Moore se adentra en los distintos estratos sociales de Estados Unidos, desde las viviendas ms humildes hasta los pasillos gubernamentales en Washington, preguntndose cul es el precio que paga el pas ms poderoso del mundo por su amor al capitalismo. Un anlisis de la crisis mundial desde las entraas de las grandes corporaciones norteamericanas, pero tambin un retrato de las familias que lo han perdido todo. The American dream is falling dangerously into oblivion as many families lose their jobs, their homes and their life savings. To find those really to blame for this worldwide crisis, Michael Moore examines social strata in the United States, from the most humble abodes to the halls of government in Washington as he asks himself what price that the most powerful country in the world pays for its capitalism. An analysis of the world crisis from out of the guts of the big American corporations, as well as a portrait of the families who have lost everything.
No s lo que t quieres ver, pero s lo que yo te voy a ensear. Advertida de esa forma por Culi, un viejo amigo que va a ejercer de gua indgena para su labor documental, Julia comienza a orientarse en el laberinto de Melilla siguiendo un hilo formado por retazos de las vidas de Hassan, Ali, Yonaida y el propio Culi. Historias personales que, con el contrapunto de otras voces, dibujan trayectorias que se entrecruzan en el espacio y el tiempo de esta ciudad fronteriza entre el Sur y el Norte donde tienen peculiar expresin muchos de los conflictos claves de nuestro tiempo; de la inmigracin al desarrollo econmico, del reto de la convivencia a la pretendida lucha de civilizaciones. I dont know what you want to see, but I do know what Im going to show you. With these admonitory words from Culi, an old friend who is her indigenous guide in the documentary task, Julia begins her incursion into the laberynth of Melilla following a thread made up of scraps and pieces of the lives of Hassan, Ali, Yonaida and Culi himself. These are personal stories that, together with the counterpoint of other voices, trace trajectories which interweave in the space and time of this frontier city between the North and the South, and where many of the key conflicts of our time are embodied in a unique way; migratory movements versus economic development, the challenge of getting along in peaceful coexistence versus the so called strugle of civilisations.
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FILM FORUM
The CEAR-Habitfrica Foundation is a development NGDO whose mission is to combat displacement and mitigate the causes and consequences of forced migrations for vulnerable people or those at risk of exclusion in Africa, through promoting stable, sustainable, safe and productive human settlements, along with the development dynamics brought about by migrations. It likewise seeks to contribute to the transformation of society by raising awareness on the causes of poverty and forced displacement, the values and capacities of Africa, and the positive links between migration and development. Its work is committed to justice, respect, solidarity, professionalism and efficiency as its core values. Once again this year, the CEAR-Habitfrica Foundation is participating in the parallel activities of Documenta Madrid with a series of screenings, frica Cuenta Africa Counts), which receives financing from the Spanish Agency for International Cooperation for Development (AECID). On this occasion, we are working in conjunction with Solidaridad Internacional and the IPADE Foundation.
Pequeo Len de Oro / Little Golden Lion, Mostra Internazionale di Venezia (Italia / Italy, 2009) DIRECCIN, GUIN / DIRECTION, SCRIPT Michael Moore PRODUCCIN / PRODUCTION Dog Eat Dog Films, Paramount Vantage, Overture Films FOTOGRAFA / CINEMATOGRAPHY Daniel Marracino, Jayme Ro SONIDO / SOUND Gary Rizzo MSICA / MUSIC Jeff Gibbs CENTRO HISPANO-MARROQU Jueves 13, 18:30 h / Thursday 13th, 6:30 pm
DIRECCIN / DIRECTION Moiss Salama PRODUCCIN / PRODUCTION Mari Carmen Melul, Helenio Herrera, Luca Lan GUIN / SCRIPT Moiss Salama, Miguel ngel Martn, Ignacio Mendigucha FOTOGRAFA / CINEMATOGRAPHY Francisco L. Rivera MONTAJE / EDITING Horacio Alcntara SONIDO / SOUND Harold S. Burgon MSICA / MUSIC Higinio Reus CENTRO HISPANO-MARROQU Mircoles 12, 18:30 h / Wednesday 12th, 6:30 pm
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Miles de senegaleses se encuentran ante una encrucijada: a unos se les est comiendo el desierto, otros ya no pueden predecir las lluvias como antes y su tierra se seca, y para otros muchos la prdida de los bosques arruina sus pueblos. En definitiva, su entorno se muere y no saben cmo solucionar estos problemas. Tukki significa viajar en wolof. Refleja el viaje que se ve obligado a emprender un joven senegals desde su aldea, situada al sur del pas, ante la degradacin del suelo y la deforestacin que sufre su entorno. Su destino le lleva hasta Dakar, donde espera encontrar una alternativa de desarrollo. Thousands of Senegalese are at a crossroads: some of them are being eaten by the desert, others can no longer predict the rains like they used to and their land is dry, and for many others, the loss of the forests have devastated their villages. In short, the environment is dying and they dont know how to solve these problems. Tukki means to travel in Wolof. It shows the journey a young Senegalese man is forced to undertake from his village in the southern part of the country due to the deterioration of the soil and the deforestation of his surroundings. His fate will lead him to Dakar, where he hopes to find an alternative for development.
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DIRECCIN, GUIN / DIRECTION, SCRIPT Guillermo Garca Ramos PRODUCCIN / PRODUCTION Jorge Snchez Gallo FOTOGRAFA / CINEMATOGRAPHY Gabriel Molera MONTAJE / EDITING M. A. Jimnez, Vanesa Valdemoro, Fran Belda SONIDO / SOUND Pablo Capisto, Nerio Gutirrez LOCUCIN / VOICE Mamadou Mactar CENTRO HISPANO-MARROQU Martes 11, 18:30 h / Tuesday 11th, 6:30 pm
Al tratarse de la vida real, se generan relaciones humanas y vnculos que difcilmente se pueden romper, y por esto mismo lo que se da y recibe es aprendizaje mutuo. Since it deals with real life, human relationships and bonds that are hard to break are created, and for that same reason, what is given and received is mutual learning. Luis Rincn
UN PUENTE SOBRE EL RO
A BRIDGE OVER THE RIVER RIGOBERTO JIMNEZ HERNNDEZ Betacam / 29 / 2009 / Cuba V. O. ESPAOL / SPANISH
El Shara ha sido siempre nuestro desierto, un icono de nuestra geografa sentimental. La adhesin de una gran parte de la sociedad civil espaola a la causa saharaui es inquebrantable. La ayuda humanitaria y alimentaria desde la cooperacin al desarrollo dirigida a los refugiados saharauis que estn desde 1975 en los campamentos de Tinduf, en la hamada argelina, es el punto de partida para narrar la historia reciente del pueblo saharaui.
En medio de las montaas del centro de Cuba vive Lency, un hombre que no pone lmites a su inventiva y talento. Todo tiene solucin para l: falta de transporte, electricidad, labores domsticas Es un tipo comn que vive con su familia. Sin embargo, algo lo hace diferente. In the middle of the mountains of central Cuba lives Lency, a man whose inventiveness and talent know no limits. For him, everything has a solution: a lack of transport, electricity, chores... He is an ordinary man who lives with his family. Though something he does do differently.
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La segunda edicin del Festival Internacional de Cine Invisible Filme Sozialak Bilbao 2010 tendr lugar entre el 28 de septiembre y el 5 de octubre de este ao. Este evento pretende ser un espacio necesario para todas aquellas obras que no encuentran su lugar en las salas de cine y que tratan temticas de ndole social desde cualquier gnero cinematogrfico. Se premiarn las producciones, tanto del Norte como del Sur, que mejor traten la temtica de derechos humanos, interculturalidad, equidad de gnero, desarrollo sostenible En la presentacin se proyectarn los documentales Un puente sobre el ro, de Rigoberto Jimnez, y Los hijos del Shara, de Sonia Llera. The 2nd International Festival of Invisible Film Filme Sozialak Bilbao 2010 will take place from September 28th through October 5th of this year. This event hopes to provide a much needed space for films of any genre that are not given room at cinemas and that deal with subject matters of social importance. Productions from both the North and the South will be awarded for best treatment of the issues of human rights, interculturalism, gender equality, sustainable development, and more. This presentation will feature the documentaries Un puente sobre el ro, by Rigoberto Jimnez and Los hijos del Shara, by Sonia Llera. CINE ESTUDIO CRCULO DE BELLAS ARTES Martes 11, 17:00 h / Tuesday 11th, 5:00 pm
The Sahara has always been our desert, an icon in our sentimental geography. The bond that a great deal of Spanish civil society has for the Saharan cause is unshakable. The starting point for telling about recent Saharan history is the humanitarian and food aide coming from development cooperation given to the Saharan refugees who have been in the Tinduf camps in the Algerian hamada since 1975.
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DIRECCIN, GUIN, FOTOGRAFA / DIRECTION, SCRIPT, CINEMATOGRAPHY Sonia Llera PRODUCCIN / PRODUCTION CERAI, Marnil Audiovisuales MONTAJE / EDITING Fernando Prez Herrera MSICA / MUSIC Fernando Prez Herrera, David Abad LOCUCIN / VOICE Rosa del Fresno, Juan Diego CINE ESTUDIO CRCULO DE BELLAS ARTES Martes 11, 17:00 h / Tuesday 11th, 5:00 pm
DIRECCIN, GUIN / DIRECTION, SCRIPT Rigoberto Jimnez Hernndez PRODUCCIN / PRODUCTION Jorge Luis Barber, Ninguna Producciones FOTOGRAFA / CINEMATOGRAPHY Luis Guevara MONTAJE / EDITING Kenia Rodrguez SONIDO / SOUND Pedro Espinosa MSICA / MUSIC Fabin Zanpedri CINE ESTUDIO CRCULO DE BELLAS ARTES Martes 11, 17:00 h / Tuesday 11th, 5:00 pm
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En esta edicin se presenta un trabajo colectivo realizado por los alumnos del Mster, compuesto y articulado por distintas piezas que configuran un ejercicio pedaggico de construccin de un largometraje en etapa de work in progress que remite al cine de observacin y a las clsicas sinfonas urbanas a modo de homenaje a los 100 aos de la Gran Va madrilea. Again this year, Rey Juan Carlos University is pleased to be teaming up with Documenta Madrid for its seventh festival. This time, it is joining the Observatorio del Cine Film School in a show of support for new talent in the world of documentary filmmaking, through its support not only of the festival, but also through the launch of the Masters in Original Documentary Filmmaking of Madrid. We hope to provide a place for dialogue, for combining different viewpoints and approaches. To do so and thanks to the excellent window to the world provided by Documenta Madrid, we will take a close up look at the film work made by students in the 1st Original Documentary Masters program. We will enjoy the films made through experience in what we hope will become a successful breeding ground, school and place for film production. GRAN VA 100 YEARS Work in Progress This year will feature a collective film, made by Masters students, which is comprised of different pieces created as part of a teaching exercise in the building of a feature film in progress, a study in observational film and classic urban symphonies, by rendering tribute to the 100 year anniversary of the Gran Va of Madrid. CINES PRINCESA Sala 7 / Theater 7 Domingo 16, 16:00 h / Sunday 16th, 4:00 pm
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For those already familiar with it, no explanations of what it is are necessary they have enjoyed it once already and they will in all likelihood enjoy it again if they can. For those who have yet to indulge in it with us, all we can do is recommend they fulfill this need as quickly as they can. Super 8 Night is another excuse offered by Documenta to get together with others, to do what we like most, watch movies with family, beer passing from hand to hand. At some point, we will bring along the electric blanket and house shoes, to tuck ourselves in next to the purring projector as it transports us for a while one night back to the times when the format we have relegated to the closet today was once the best of the best in our homes. The times of movie cameras, ye-ye parties with portable turntables, road trips with sandwiches in the Seiscientos and summers in Benidorm, all ritually flowing by on the big screen, now transformed into a peculiar time machine. None of the little films has ever been seen at any other film festival, none has managed to do so, nor will they ever earn an Oscar or any other international award, but all of them have soul and bear the essence of the seventh art that makes this ceremonial group viewing a reality. Consider yourselves all invited, and of course, if it makes you feel more comfortable, you may bring your slippers and terry cloth robe from home.
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Es necesario tener la habilidad de alejarse en el momento justo, como para poder cerrar el relato y no quedar ms involucrado de la cuenta con la historia. It is necessary to know just the right moment to distance oneself, in order to be able to close the story and not get involved in the story more than one should. Juan Ignacio Riggirozzi
ARCHIVO DOCUMENTA
DOCUMENTA ARCHIVE
Seccin abierta a los profesionales, estudiosos, posibles interesados en establecer acuerdos comerciales con los productores, o simples espectadores con ganas de tener una visin mucho ms amplia de la actualidad mundial en el terreno de la no ficcin. Durante el Festival, Documenta Madrid pone a disposicin de todo aquel que lo desee la posibilidad de visionar individualmente cualquiera de los trabajos enviados a competicin en la edicin de 2010. Durante el resto del ao, se podr acceder a las pelculas enviadas a cualquiera de las ediciones de Documenta Madrid (2004 a 2010).
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This section is open to professionals, experts, people interested in making business arrangements with producers, or any spectator seeking to gain a wider vision of world affairs in the realm of non-fiction. During the festival, Documenta will make it possible for all those requesting it to see individually any of the films sent to compete in the 2010 festival. During the rest of the year, the films sent to any of the Documenta Madrid festivals (2004 to 2010) will be available for viewing. MATADERO MADRID Horario durante el festival Viernes 7, y de martes 11 a viernes 14, de 16:00 a 21:00 h / Sbado 8, domingo 9 y sbado 15, de 11:00 a 14:00 h y de 16:00 a 21:00 h / Domingo 16, de 11:00 a 14:00 h Horario permanente De martes a viernes de 16:00 a 21:00 h, y sbados de 11:00 a 14:30 h Opening Hours during the festival Friday 7th, and from Tuesday 11th to Friday 14th, from 4:00 pm to 9:00 pm / Saturday 8th, Sunday 9th and Saturday 15th, from 11:00 am to 2:00 pm, and from 4:00 pm to 9:00 pm / Sunday 16th, from 11:00 am to 2:00 pm Permanent Opening Hours From Tuesday to Friday from 4:00 pm to 9:00 pm, and Saturday from 11:00 am to 2:30 pm
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La relacin siempre es respetuosa y de intercambio de informacin. Ninguna imagen sera utilizada en detrimento ni sin la autorizacin de las personas en cuestin. The relationship is always respectful and an exchange of information. No shot would ever be used to the detriment of, or without authorization from, the people in question. Richard Abella Reyes Los personajes, en cualquier viaje, dejan una fuerte impresin en el viajero incluso en sus apresuradas y caprichosas andanzas. Son sumisos y vctimas solitarias u hombres de negocios calculadores, todos en una realidad perdida. Esos son los smbolos y dificultades para descifrar la verdad que queremos representar. Characters, in any trip, leave a strong impression on the traveller even in their hurried and flighty ways. They are submissive and solitary victims or calculating businessmen, all in a lost reality. These are the symbols and difficulties to decipher truth that we want to represent. Milo Adami S que solo puedo recibir lo que doy, por lo que si quiero su honestidad y sinceridad, debo corresponderles. Mis personajes me abren su mundo, permitindome seguirles y ser como una mosca en la pared (ser con mi cmara un mero espectador de la accin que pasa desapercibido). Por ello estoy siempre agradecido. Nuestra relacin contina creciendo incluso cuando el film est terminado. Y, a pesar de que la pelcula ha acabado, la historia sigue adelante. I know that I can only get what I give. So if I want their honesty and openness then I must reciprocate. My subjects opened their world to me, allowed me to follow them and be their fly on the wall. For that I am forever grateful. Our relationship continues to grow even now as the film is completed. And though the film is completed their story isnt. Topaz Adizes
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La relacin con los personajes solo es profesional. No recibo nada a cambio. The relationship with the characters is only professional. I receive nothing in exchange. Giancarlo Bocchi Hacer un documental es para m una manera de ir al encuentro con los otros. Antes, elijo a quin voy a rodar segn el contacto que tengo con ellos; intento tener una relacin de confianza para que me hablen sin que parezca un discurso a cmara. To make a documentary is for me a way of going to meet others. Before filming, I choose who I am going to film according to the contact I have with them; I try to have a relationship of trust so they will talk to me without giving a speech on camera. Sophie Bolze Se les escucha, se escucha su testimonio, desde la tranquilidad y la calma a pesar de lo desgarrador de las situaciones. You listen to them, listen to their testimony with calm and quiet, regardless of how heartbreaking the situation. Ferran Brooks Creo que una pelcula documental es una aventura comn. En general, el realizador llega con una propuesta o un deseo, pero los personajes deben sentir que tienen algo que obtener de la pelcula, sea lo que sea, deben sentirla como algo que tambin les pertenece. De lo contrario el proyecto acaba naufragando. Y una vez terminada la pelcula, se convierte en propiedad colectiva de todos ellos. I think a documentary film is a shared adventure. In general, the director comes with a proposal or wish, but the characters must feel they are getting something out of the film, whatever that might be, they must feel like it is something that also belongs to them. Otherwise, the project ends up falling through. Once the film is completed, it becomes collective property of them all. Oriol Canals
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Que me hablen a m y se olviden de la cmara. De hecho nunca en mis pelculas hay alguien detrs de la cmara. Coloco la cmara, enfoco y encuadro, y ni siquiera miro el encuadre durante la conversacin. El entrevistado siente que lo que me interesa es la persona y lo que tiene que contarme, y no la imagen como tal. They must speak to me and forget about the camera. In fact, there is never anyone behind the camera in my films. I position the camera, focus and frame the shot, and I do not even look at the shot during the conversation. The interviewee feels that what interests me is the person and what I am being told, and not the image as such. Juan Miguel Gutirrez Mrquez Siempre es una situacin extraa. Ser filmado por lo que eres o lo que tienes que decir significa que has de mostrarte y ser t mismo, lo cual es paradjico. Todava no s por qu la gente acepta ser grabada en un documental, lo que obtienen a cambio de su pura existencia. It is always a strange situation. Being filmed for what you are or what you have to say, means that you have to show and to be yourself which is paradoxical. I still dont know why people accept being filmed in documentary films, what they have in return of... their pure being. Charles Habib-Drouot Siempre tomarlos en serio, tratarlos con respeto y, tal vez lo ms esencial, tener un inters honesto en conocer a las personas que se esconden tras de los personajes. I always take them seriously, treat them with respect and, perhaps most crucially, to have honest interest in getting to know the people behind the characters. Philipp Hartmann Una pelcula documental, y especialmente un documental experimental, es una experiencia en s misma vivida por su realizador y los personajes con quienes este interacta y a los que observa y estudia. Antes de rodar la pelcula, el personaje es
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Al principio paso mucho tiempo buscando personajes que me fascinen y me intriguen. Construyo con ellos confianza y, generalmente, tengo una relacin bastante cercana que va ms all del final del rodaje. Es importante para m que mis personajes se reconozcan en la pelcula terminada, aunque este reconocimiento pueda ser complicado e incmodo, e incluso sincero. Les pido que me permitan entrar en su vida, y de esto naturalmente, creamos una relacin ntima. Cada personaje recibe a cambio algo distinto. Prefiero no hablar por ellos: mejor preguntarles a ellos al respecto. In the beginning I spend a lot of time searching for characters who fascinate and intrigue me. I build up trust with them and we generally have a fairly close relationship that lasts beyond the end of the shooting. It is important to me that the characters I film recognise themselves in the finished piece although this recognition can be complicated and uneasy as well as truthful. I ask that they allow me into their lives and from this we naturally form an intimate relationship. Each character gets something different in return I dont want to speak for them better to ask them that question. Marc Isaacs Cualquier valor que pueda tener nuestra pelcula se debe a la implicacin del equipo en lo que hace. Las relaciones son un 90% de la realizacin de una pelcula. Pedimos la confianza de la gente para que nos permitan captar sus vidas secretas. Jugamos a ser Dios y rezamos para que nadie salga daado. A cambio ellos consiguen un DVD y sinceros agradecimientos. Any value that our film may have, it owes it to the proximity of the crew to its subjects. The making of such a film is 90% the making of relationships. We ask for peoples trust to let us capture their secret lives. We play God and pray that noone gets hurt. In return they get a dvd and sincere thanks. Apostolos Karakasis Mis preguntas son complicadas. Las respuestas son simples. Estar sentado detrs de la cmara es fcil. Estar delante de ella es duro. Hacer una pelcula documental no es
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La relacin es horizontal, pero no solo con los personajes, sino con todo el equipo; quizs por ello me alej de la ficcin y me qued con el documental. A los personajes no les pido nada, solo me siento con ellos y poco a poco las cosas van surgiendo. Es un disfrute cuando eso se da. The relationship is a horizontal one, but not only with the characters, also with the crew, which is perhaps why I left fiction film and stuck with documentaries. I ask nothing of the characters. I just sit down with them and little by little things start coming out. It is enjoyable when that happens. Isabel Madueo Medina En la preproduccin de una pelcula documental la relacin con los personajes suele ser distante en un principio. Quieres tener objetividad suficiente y, por ello, tratas de evitar involucrarte emocionalmente. Durante el rodaje comienzas a descubrirlos y profundizas en sus vidas. Finalmente, tras el proceso de edicin, terminan convirtindose en parte de tu familia. Algo as como ese primo lejano al que casi nunca ves pero recuerdas con cario. In pre-production of a documentary film, the relationship with the characters is usually distant at first. You want to have enough objectivity, and so you do not want to get emotionally involved. During filming, you start learning more about them and their lives. Finally, in the editing process, they end up becoming part of your family. Something like that distant cousin you almost never saw but you remember fondly. Ral Mancilla Antes y durante el rodaje me tomo el tiempo necesario para explicar lo que sucede en el interior de mis personajes, utilizando la cmara como medio de expresin. Les pido que compartan conmigo su visin de la realidad que propongo, y les doy la confianza suficiente para que esto se produzca de forma natural. Intento a travs de mi cmara
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1. MATADERO MADRID OFICINA DEL FESTIVAL Matadero Madrid. Paseo de la Chopera, 14 Metro: Legazpi Bus: 6, 8, 18, 22, 45, 62, 78, 79, 123, 148, 156, N12, N14 Tel.: +34 915 179 817 (solo durante el Festival / only during the Festival) www.documentamadrid.com 2. CINES PRINCESA Salas 7 y 9 C/ Princesa, 35 Metro: Plaza de Espaa, Ventura Rodrguez Bus: 1, 2, 44, 133, C1, C2 3. CINE ESTUDIO DEL CRCULO DE BELLAS ARTES C/ Marqus de Casa Riera, 2 Metro: Sevilla, Banco de Espaa Bus: 1, 2, 3, 5, 17, 44, 133 4. CINE PALAFOX Sala 2 C/ Luchana, 15 Metro: Bilbao Bus: 3, 37, 40, 147, 149 5. FILMOTECA ESPAOLA CINE DOR Salas 1 y 2 C/ Santa Isabel, 3 Metro: Antn Martn Bus: 3, 6, 10, 14, 18, 19, 34, 37, 41, 59, 65, 86, 119 6. MUSEO NACIONAL CENTRO DE ARTE REINA SOFA Auditorio Sabatini C/ Santa Isabel, 52 Metro: Atocha, Lavapis y Estacin Atocha-Renfe Bus: 27, 34, C1, 6, 59, 85, 86, 26, 32 7. ACADEMIA DE CINE C/ Zurbano, 3 Metro: Rubn Daro, Coln Bus: 1, 3, 7, 14, 16, 19, 37, 40, 51, 53, 74, 149, 150 8. CASA DE AMRICA Paseo de Recoletos, 2 Metro: Banco de Espaa Bus: 1, 2, 3, 5, 46, 146
9. CASA RABE C/ Alcal, 62 Metro: Prncipe de Vergara, Retiro Bus: 1, 2, 9, 15, 19, 20, 28, 51, 52, 74, 146, 202 10. INSTITUTO GOETHE C/ Zurbarn, 21 Metro: Rubn Daro, Coln Bus: 1, 3, 7, 14, 16, 19, 37, 40, 51, 53, 74, 149, 150 11. INSTITUTO FRANCS DE MADRID C/ Marqus de la Ensenada, 12 Metro: Coln. RENFE Recoletos Bus: 1, 3, 5, 7, 37, 146 12. CASA ASIA Carrera de San Jernimo, 15 Metro: Sol, Sevilla Bus: 3, 5, 51, 52, 53, 150 13. CENTRO HISPANO-MARROQU C/ Argumosa, 28 Metro: Lavapis Bus: 6, 59, 85, 27, 34, 36, 41, 119 14. CENTRO CULTURAL SAN JUAN BAUTISTA C/ San Nemesio, 4 Metro: Arturo Soria, Avenida de la Paz Bus: 9, 53, 72, 73, 120 15. EL SECTOR Lounge Bar C/ Quintana, 17 Metro: Argelles, Ventura Rodrguez Bus: 1, 2, 3, 21, 41, 44, 46, 74, 75, 133, 138, 148, 202, C1, C2, M2 16. LOA (PUB DEL FESTIVAL) C/ Luisa Fernanda, 17 Metro: Ventura Rodrguez Bus: 1, 2, 3, 21, 25, 33, 39, 41, 44, 46, 62, 74, 75, 133, 138, 146, 147, 148, 202, C1, C2, M2, N16, N18, N19, N20, N21, NC1, NC2
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EnTRADAS Y ABOnOS
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CINES PRINCESA (Salas 7 y 9) 4,50 entrada 3,50 entrada socios Cines Renoir 35 abono del festival de diez entradas (vlido solo para Cines Princesa) 4,50 ticket 3,50 ticket for Cines Renoir members 35 Voucher (valid only for Cines Princesa) CINE ESTUDIO DEL CRCULO DE BELLAS ARTES 4,50 entrada 3 entrada socios 35 abono del festival de diez entradas (vlido solo para Crculo de Bellas Artes) 4,50 ticket 3 ticket for members 35 Voucher (valid only for Crculo de Bellas Artes) CINE PALAFOX (Sala 2) 4,50 entrada 35 abono del festival de diez entradas (vlido solo para Cine Palafox) 4,50 ticket 35 Voucher (valid only for Cine Palafox) Venta anticipada: www.entradas.com 902 221 622 Advance tickets: www.entradas.com 902 221 622 FILMOTECA ESPAOLA (Salas 1 y 2) 2,50 entrada, 2 entrada para estudiantes 20 abono propio vlido para diez entradas 15 abono propio para estudiantes vlido para diez entradas 2,50 ticket, 2 ticket for students 20 particular ten ticket voucher 15 particular ten ticket voucher for students
CASA DE AMRICA 3 entrada 3 ticket CENTRO CULTURAL SAN JUAN BAUTISTA Por invitacin By invitation ACADEMIA DE CINE, CASA RABE, INSTITUTO GOETHE, INSTITUTO FRANCS DE MADRID, CASA ASIA, MUSEO NACIONAL CENTRO DE ARTE REINA SOFA, CENTRO HISPANO-MARROQU, MATADERO MADRID Entrada libre hasta completar aforo Free admision until theater full
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El Ayuntamiento de Madrid y el rea de Las Artes, organizadora de Documenta Madrid 10, no se responsabilizan ni coinciden necesariamente con las opiniones o las producciones incluidas o derivadas del Festival. Las proyecciones que componen la programacin de Documenta Madrid 10 estn recomendadas para mayores de 18 aos. Esta programacin puede estar sujeta a cambios. The Madrid Council and its Arts Department, organizer of Documenta Madrid 10, accept no responsibility and dont necessarily agree with the opinions or the works included in the festival or deriving from it. The showings included in Documenta Madrid 10 programming are recommended for rated: R. This programme may be subject to changes.
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Invitados Guests Sandra Ruesga, Myriam Garca, Virginia Calvache Publicidad y colaboraciones Advertising and Collaborations Vernica Jimnez Responsable pgina web Web Page Coordinator Penlope Coronado
Presentador gala de clausura Closing Ceremony Host Antonio Muoz de Mesa Making of Filmo Edicin vdeos Video Publishing Dani Verdn, Wences Lamas Fotografa y diseo Photography and Art Design Rafael Jaramillo Maquetacin catlogo Catalogue Layout Design Alejandro Pacheco Foto fija Still Photography Javier Gil Gutirrez Director financiero Financial Director Miguel ngel Arza Jefe de Contabilidad Head Accountant Carlos Marn Secretaria Secretary Mara Peinado Logstica Logistics Carmen Caero Subttulos Subtitles Savinen Servicio de Traducciones Valencia Imprenta Printing Egesa
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Responsable de prensa Press Officer Sonia Ura Ayudante de prensa Press Assistant Juan Ramn Lpez Archivo Documenta Documenta Archive Marta Cuevas Comisariado ciclo Peter Hutton Curator Peter Hutton series Carlos Muguiro Corrector textos Copy Editor and Proof-reader Juan Miguel de Pablos Traducciones Translations David Yium, Emma Muoz Oates Desarrollo web Web Design Animo.es Regidor gala de clausura Closing Ceremony Stage Manager Alberto Garca Guionista gala de clausura Closing Ceremony Scriptwriter Gonzalo de Pedro
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AGRADECIMIENTOS
ACKNOWLEDGEMENTS
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scar Amigo Mara Andura Andrea Ansareo Jess Araque Jun Jos Baratas Paca Barrera Cecilia Barriga Pablo Bautista Roberto Bayn Carlos Baztn Madeleine Blisle Mara Bella Miguel ngel Benzal Pablo Berstegui Carlos Bernal Concha Bernarda Toni Betrn Wang Bing Enrique Bocanegra Frank Buschman Felipe Cabrerizo Jos Antonio Campos Juan Carrete Jess Carro Eugenia de Castro Paloma Castro Samuel Castro Enrique Cerezo Isabel Cisneros Mane Cisneros Cristina Conde Marco Coscione Carlos Cuadros Lario Daz Pablo Daz Juan Jos Echeverra Mercedes Fernndez Mara Jess Galera Marta Garca Noem Garca Alejandro Garca Calvo Pilar Garca Elegido Gonzalo Garca Pino Mario Gas Catherine Gautier Ivn Giroud Laura Gmez Vaquero Enrique Gonzlez Khun Enrique Gonzlez Macho ngeles Gonzlez-Sinde Ignasi Guardans Montse Guiu Roberto Guijarro Andrea Guzmn Christian Haubner Carlos F. Heredero Mara Isabel Hernndez Vega Carlos Herranz Javier Huertas Ruth Kallinsky Berit Kramer Manuel Lagos Fernando Lara Valentina Leduc Roberto Leiceaga Gemma Lpez Chelo Lpez Carlo Magnesi Margarita Maguregui Carlos Alberto Martins Diego Mas Jon Mateo Lola Mayo Nuria Medina Pedro Medina Isabel de Miguel Lucila Moctezuma Juan Montaez Javier Monzn Menchu del Moral Concha Moreno Carlos Muguiro Antonio Muoz de Mesa Antonio Notario Ruiz Pepa Octavio Ascensin Oliva Ixone Ortz Javier Packer-Comyn Alfonso Palazn Ral Pedraz Jaime Pena Paco Pena Pedro Prez Luis Prez Fontn Pere Pinyol Jos Mara Prado Basel Ramsis Javier Rebollo Sandro Rizzoli Jess Robles Chema Rodrguez Pere Roca Fernando Rodrguez-Olivares Mara Jos Rodrguez-Olivares Andrs Ruiz Tarazona Hilario J. Rodrguez Ben Russell Rosa Salesne Ana Snchez Rafael Snchez Karina Scarone Carmen Serrano Manuel Soria Teresa Toledo Mara Antonia Torrejn Beatriz de Torres Manuel Troitio Virginia Valverde Juan Carlos Vzquez Manuela Villa Valentina Volpato Jara Yez Rubn Zamora