Professional Documents
Culture Documents
CIONAL DE CINE
29SET/7OUT2O18
SANTIAGO DE COMPOSTELA
Un son nunca debe acudir en auxilio
dunha imaxe, nin unha imaxe en auxilio do son.
A imaxe e o son non teñen que prestarse axuda,
senón que deben traballar cada un á súa vez
por unha sorte de relevo.
A sound must never come to the help
of a image, nor an image to help the sound.
Image and sound must not support
each other, but must work each in turn
through a sort of relay.
—
Robert Bresson
ÍNDICE
INDEX
Xurados / Juries
Radar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 024
Explora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 027
Planeta GZ + Penínsulas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 030
AGAG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 033
CREA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 036
Novo / Young . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 039
Camira . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 046
002
Seccións competitivas / Competitive sections
003
BENVIDA
WELCOME
004
Curtocircuíto returns for another autumn Curtocircuíto continues to grow and offer
in Santiago de Compostela. And it does new proposals, and in this edition it will
it with a very special edition because premiere three new sections: Terra, a
this year, in 2018, we are celebrating the competitive section dedicated to Galician
15th anniversary of this emblematic film authors that already have a consolidated
festival. creative universe; Supernova, a space to
facilitate the entry of younger creators
Fifteen years in which we were into professional circuits; and FamZINE, a
fortunate to see the birth, growth and section dedicated to the family audience
consolidation of a festival that was because we want to bring the world of
created to give value to the audiovisual cinema closer to young people from an
genre in a short format, but it knew how early age.
to go much further to create a space
for reflection, knowledge and creativity The presence of Galician audiovisual art
bringing it closer to the public. will not be limited to only screenings,
but it will also reach parallel activities
Curtocircuíto has already become, and through the “Intergenerational Tables of
without any doubt, a leader. One of Galician Audiovisual Art”, a set of talks
the elements that makes Santiago de and debates that will bring together film
Compostela a city of cinema. A showcase and television professionals in Galicia.
where you can see the best independent The fact that this year the Festival
short films, accompanied by values such includes a total of 40% female directors
as contemporaneity, plurality of genres, in its programming is relevant, walking
experimentation and integration. towards real equality, much needed and
long-awaited.
In this special edition, the Festival,
with an international calling, will I would like to thank all the people who
feature prominent figures such as make this vital event possible, and invite
Ulrich Seidl, master at portraying the everyone to participate in this Film
hypocrisy of Western social conventions, Festival.
Bertrand Mandico exponent of the
chromatic bizarreness to which the first
retrospective will be dedicated in Spain,
and Jessica Sarah Rinland considered
one of the promising filmmakers in short
films due to her innovative dialogue with
other disciplines such as photography Martiño Noriega Sánchez
and ethnography. Alcalde de Santiago de Compostela
005
BENVIDA
WELCOME
006
INFORMACIÓN
XERAL
GENERAL
INFORMATION
ENTRADAS
TICKETS
010
Screenings Places and Opening Hours for Sales
011
PROXECCIÓNS Competitivas / Competitive sections
SCREENINGS
Sección oficial / Official selection
Planeta GZ + Penínsulas
T. PRINCIPAL SAB / SAT 29 DOM / SUN 30 LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4
RETROSPECTIVA RETROSPECTIVA
17:00
R. Minervini 1 Ulrich Seidl 4
RETROSPECTIVA
18:30 Radar 1 Explora 1 Explora 2 Explora 3 Radar 4
Ulrich Seidl 1
RETROSPECTIVA RETROSPECTIVA RETROSPECTIVA
20:15 Radar 2 Radar 3
Ulrich Seidl 2 B. Mandico 1 Ulrich Seidl 5
RETROSPECTIVA RETROSPECTIVA
22:30 Planeta GZ 1 Planeta GZ 2
B. Mandico 2 B. Mandico 3
NUMAX SAB / SAT 29 DOM / SUN 30 LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4
TERRA PÚLSAR
20:00
Xacio Baño J.S. Rinland 1
MUSEO DAS P. SAB / SAT 29 DOM / SUN 30 LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4
RETROSPECTIVA RETROSPECTIVA
19:00 Curmaos
Ulrich Seidl 3 R. Minervini 3
Supernova
CARTA BRANCA (CGAC)
RETROSPECTIVA
20:30 Ezequiel
R. Minervini 2
Méndez Vidal
012
Non competitivas / Non-competitive sections
Seccións paralelas / Parallel programmes
Sesións especiais / Special sessions
LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4 VIE / FRI 5 SÁB / SAT 6 DOM / SUN 7
LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4 VIE / FRI 5 SÁB / SAT 6 DOM / SUN 7
TERRA PÚLSAR PÚLSAR PÚLSAR
Xacio Baño J.S. Rinland 1 J.S. Rinland 2 J.S. Rinland 3
RETROSPECTIVA
Penínsulas 1 Penínsulas 2 Explora 5
B. Mandico 4
LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4 VIE / FRI 5 SÁB / SAT 6 DOM / SUN 7
TERRA
RETROSPECTIVA RETROSPECTIVA RETROSPECTIVA
Curmaos Jaione
Ulrich Seidl 3 R. Minervini 3 R. Minervini 4
Supernova Camborda
CARTA BRANCA (CGAC)
RETROSPECTIVA
Ezequiel
R. Minervini 2
Méndez Vidal
013
ACTIVIDADES+CONCERTOS+EVENTOS
MAÑÁS
ACTIVITIES+CONCERTS+EVENTS
MORNINGS
SAB / SAT 29 DOM / SUN 30 LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4
OBRADOIRO /
WORKSHOP
Caligrafías sonoras
Amanda Villavieja
ABANCA
10:00 OBRA SOCIAL
10:00 -14:00 h
Mesas I
OBRADOIRO / do Aud
WORKSHOP SEMINARIO / A
SEMINAR OB
Narrativa e linguaxe
cinematográfica: Cara unha práctica 10:
10:30
curso de cine para do deseño sonoro
profesorado Charly Schmukler
Jorge Cantos Canteiras
ABANCA
ABANCA OBRA SOCIAL CGAC
OBRA SOCIAL 10:00 -14:00 h 10:30-12:30 h
12:30 10:00 -14:00 h
13:30
14:00
014
Seminarios / Seminars Mesas redondas /
Round tables
Obradoiros / Workshops
Outros / Others
LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4 VIE / FRI 5 SÁB / SAT 6
OBRADOIRO /
WORKSHOP
Caligrafías sonoras
Amanda Villavieja
ABANCA
OBRA SOCIAL
10:00 -14:00 h
Mesas Interxeracionais
do Audiovisual Galego
SEMINARIO / ABANCA
SEMINAR OBRA SOCIAL
Cara unha práctica 10:00 -14:00 h
do deseño sonoro
Charly Schmukler
Canteiras
ABANCA
OBRA SOCIAL CGAC
10:00 -14:00 h 10:30-12:30 h Radio 3 - RNE
El Séptimo vicio
PRAZA DE ABASTOS
12:30 h
Radio 3 - RNE
El Séptimo vicio
ABANCA PERFORMANCE
OBRA SOCIAL
12:30 h Symphony
for urbanities
Playtronica
PRAZA DE ABASTOS
13:30 h
015
ACTIVIDADES+CONCERTOS+EVENTOS
TARDES E NOITES
ACTIVITIES+CONCERTS+EVENTS
AFTERNOONS AND EVENINGS
SAB / SAT 29 DOM / SUN 30 LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / TH
CONFERENCIA /
TALK
016
Obradoiros / Workshops Concertos / Concerts
Conferencias / Talks Outros / Others
Clase maxistral / Masterclass
LUN / MON 1 MAR / TUE 2 MÉR / WED 3 JUE / THU 4 VIE / FRI 5 SÁB / SAT 6
CONFERENCIA /
TALK
OBRADOIRO
INFANTIL /
Café con PERFORMANCE WORKSHOP FOR
CREA Radio 3 - RNE CHILDREN
Melt
Filmade, El Séptimo vicio Veggie Jam -
filmade Jacob
PRAZA DE Playtronica
malditos Kirkegaard
CERVANTES ABANCA
CAFÉ RHIN RÚA NOVA 17:00 h OBRA SOCIAL
20:30 h 20:00 h
Sesión 1 - 16:30 h
Sesión 2 - 18:00 h
FESTA CONCERTO
CONCERTO / CONCERTO / 15º ANIVERSARIO /
CONCERT CONCERT 15TH ANNIVERSARY
CONCERT PARTY SESIÓN / SESSION
Sunset Nightcrawler
Rollercoaster + 16Pineapples + Baiuca live A/V La Isla del Tesoro
Narcoleptica + Dj Nigga Fox + dj set
SALA
Dj Firmeza EL CORZO
SÓNAR SALA CAPITOL
22:45 h 22:30 h MALATESTA 00:30 h
5€ 7€ 00:00 h
10€/12€
017
8
PROXECCIÓNS / SCREENINGS
1 » Teatro Principal
Rúa Nova, 21
981 542 347
2 » NUMAX
Rúa de Concepción Arenal, 9
981 560 250
ACTIVIDADES / ACTIVITIES
4 » Edificio ABANCA Cervantes
Praza de Cervantes, 19
981 558 571
3 4 5 » CGAC
Rúa de Ramón del Valle-Inclán, 2
5 981 546 619
1 CONCERTOS / CONCERTS
6 » Sala Sónar
Rúa de Mazarelos, 4-5
6 696 484 123
7
7 » Sala Capitol
Rúa de Concepción Arenal, 5
2 981 574 399
8 » Sala Malatesta
Rúa de San Lourenzo, 51/53
ACTO DE PRESENTACIÓN
PRESENTATION EVENT
ACTO DE CLAUSURA
CLOSING EVENT
020
PREMIOS
AWARDS
Premio Galiza á mellor curtametraxe galega Galiza for the Best Galician Short Film
2000 € €2,000
Premio Penínsulas á mellor curtametraxe Penínsulas Award for Best Spanish Short
nacional, patrocinado por RC Service Film sponsored by RC SERVICE
Cualificación para os Premios Goya + Rating for Goya Awards +
1000 € en aluguer de material técnico €1,000 in rental for technical material
Premio CREA á mellor dirección Galega CREA Award for Best Galician Director
500 € €500
Premio CAMIRA á Mellor Curtametraxe CAMIRA Award for Best Short Film
Sen dotación No monetary endowment
021
XURADOS
JURIES
XURADO RADAR
RADAR JURY
024
Amanda Villavieja
025
XURADO RADAR
RADAR JURY
Kikol Grau
026
XURADO EXPLORA
EXPLORA JURY
027
XURADO EXPLORA
EXPLORA JURY
028
Antonio Rodrigues
029
XURADO PLANETA GZ + PENÍNSULAS
PLANETA GZ + PENÍNSULAS JURY
Sara Coleman
030
Antonio Durán “Morris”
Antonio Durán ‘Morris’ naceu en Vigo no Antonio Durán ‘Morris’ was born in
1959. É un actor cunha larga experiencia Vigo in 1959. An actor with a wealth of
interpretativa ás súas costas, tanto experience as a performer under his
no teatro, no que empezou no 1978 belt, both in the theater, where he began
traballando para o Centro Dramático in 1978 working for the Galician Drama
Galego, coma no cinema e a televisión. Center, as well as in film and television.
Actuou e presentou diversos programas He acted in and hosted various programs
e series da Televisión de Galicia como and series on Galicia Television such as
Pratos Combinados ou Padre Casares. Pratos combinados and Padre Casares.
No ámbito cinematográfico, participou In the film industry, he participated in
en diversas películas como Los lunes various films such as Mondays in the Sun,
al sol, de Fernando León de Aranoa, by Fernando León de Aranoa, Cell 211,
Celda 211, de Daniel Monzón, A Esmorga, by Daniel Monzón, A Esmorga, by Ignacio
de Ignacio Vilar ou Dhogs, de Andrés Vilar and Dhogs by Andrés Goteira.
Goteira. Recentemente, interpretou a Recently he played Manuel Charlín in the
Manuel Charlín na serie Fariña, de Bambú Fariña series, from Bambú Producciones
Producciones para Antena 3. for the Spanish television channel Antena
3.
031
XURADO PLANETA GZ + PENÍNSULAS
PLANETA GZ + PENÍNSULAS JURY
Keina Espiñeira
032
XURADO AGAG
AGAG JURY
Óscar Cruz
033
XURADO AGAG
AGAG JURY
Vigo, 1975. Director e guionista. Traballa Vigo, 1975. Director and Scriptwriter. He
no audiovisual galego dende os anos has been working in Galician audiovisual
noventa. Foi desempeñando diferentes since the 90s. He has been playing
postos en máis de trinta longametraxes different roles in more than thirty feature
e quince series: atrecista, script, films and fifteen series: prop man, script,
axudante de dirección; e nos últimos assistant director; and in recent years he
anos traballou como director e guionista worked as a director and scriptwriter for
nas teleseries da Televisión de Galicia the television series O Faro and Fontealba
O Faro e Fontealba. Tamén escribiu e on Galicia Television. He also wrote and
dirixiu as curtametraxes Baseado en directed the short films Baseado en feitos
feitos que puideron ter acontecido e Auga, que puideron ter acontecido and Auga,
o documental Decreto Filgueira e varias the documentary Decreto Filgueiras and
pezas musicais. several musicals.
034
Samuel Lema
035
XURADO CREA
CREA JURY
Ana Diz
036
Juan Lesta
037
XURADO CREA
CREA JURY
Lugo, 1989. Graduado en Belas Artes pola Lugo, 1989. He is a graduate in Fine Arts
Facultade de Pontevedra, é un artista from the Faculty of Pontevedra, he is
enfocado maiormente na animación, an artist focused mainly on animation,
traballando de maneira tradicional e working in a traditional manner in two
que camiña por dous ámbitos, o da disciplines, that of purely narrative short
curtametraxe puramente narrativa, films making films like Letters to Superman
realizando películas como Cartas a and Homomaquia in which he is currently
Superman ou Homomaquia, na cal está working along with the production
a traballar nestes momentos xunto coa company Abano Producións, addressing,
produtora Abano Producións, tocando from a serious perspective, issues such
dende una perspectiva seria temas as lost or abused animals and he also
como a perda ou o maltrato animal, e devotes his time to contemporary art
tamén se dedica ao arte contemporáneo by participating in various exhibitions,
participando en diversas exposicións, artist-in-residence programmes, etc.
residencias, etc., realizando obras de performing works on social criticism
crítica social baixo o amparo da ironía under the umbrella of irony and
e do humor. Isto pode verse en obras humour, which can be seen in works like
como Sinceramente, yo ya no razono e Sinceramente, yo ya no razono and Siglo
Siglo XXI, enfocadas no machismo que hai XXIfocused on the machismo that is on
na televisión e o absurdo que habita nas television and the absurd that inhabits
redes sociais. social networks.
038
XURADO NOVO
YOUNG JURY
Iria Silvosa
039
XURADO NOVO
YOUNG JURY
Silvia Fuentes
040
Artur M. Puga
041
XURADO NOVO
YOUNG JURY
Sandra MG
042
Nuno Pico
043
XURADO NOVO
YOUNG JURY
Azahara Rey
044
Anaid Diz
Anaid Diz naceu en Ourense no 1991. Anaid Diz was born in Ourense in 1991.
Graduouse en Historia da Arte na She graduated in Art History from the
Universidade de Santiago de Compostela University of Santiago de Compostela
e estudou un Mestrado en Estudios and studied a Master’s in Advanced
Avanzados de Historia da Arte na Studies of Art History at the University of
Universitat de Barcelona. Traballou Barcelona. She worked as an Art History
como profesora de Historia da Arte teacher for several years, combining this
varios anos, compaxinando esta labor work with the coordination of the Guest
coa coordinación do Departamento Department at the Ourense International
de Invitados no Festival de Cine Film Festival.
Internacional de Ourense.
045
XURADO CAMIRA
CAMIRA JURY
Ana Estévez
046
Iván Villarmea
047
XURADO CAMIRA
CAMIRA JURY
Jaione Camborda
San Sebastián, 1983. Tras rematar os San Sebastián, 1983. After completing
seus estudos cinematográficos na Escola cinematographic studies at The Film and
de Cinema de Praga (FAMU) e a Escola TV School of the Academy of Performing
de Cinema de Múnic (HFF), trasládase a Arts in Prague (FAMU) and The University
Galiza onde funda a produtora Esnatu of Television and Film Munich (HFF), he
Zinema coa que forxa un recoñecido moved to Galicia where he founded the
traballo como directora de pezas film production company Esnatu Zinema
rodadas con material fílmico de corte where he forged renowned work as a
experimental tales como Proba de director of pieces shot with experimental
Axilidade, Nimbos, Lilit ou Rapa das Bestas. short film material such as Agility, Nimbos,
Nestes proxectos Jaione decántase por Lilit and Wild Mane Crop. In these projects,
un traballo en formato Super 8, dende Jaione stands out for work in Super 8
a confianza na imaxe, na materialidade format, because of his confidence in the
e no gran lírico. Dirixe a longametraxe image, materiality and the lyrical grain.
Arima ademais de colaborar como He directed the feature film Arima [Soul]
guionista e directora de arte en as well as collaborating as a scriptwriter
numerosos filmes. and art director in numerous films.
048
SECCIÓNS
COMPETITIVAS
COMPETITIVE
SECTIONS
O
bras de calquera xénero e de calquera
nacionalidade. Unha variada selección dos
títulos que marcan tendencias a escala
mundial, tanto na ficción como na animación
ou o documental. Cineastas experimentados conviven
con novas promesas: curtas que chegan avaladas
por numerosos premios concedidos en festivais
internacionais e novas obras que Curtocircuíto quere
dar a coñecer. Works of any genre and nationality. A
varied selection of titles that set trends at a global level,
whether in fiction or animation or the documentary
genre. Experienced filmmakers share this space with
up-and-coming directors: short films that arrive at
Curtocircuíto backed by multiple awards received in
international festivals, and new works that Curtocircuíto
wishes to promote.
052
RADAR 1
Teatro Principal
30.09.2018 | 18:30h | 67m 24s
bitterfilms@hotmail.com
053
RADAR 2
Teatro Principal
01.10.2018 | 20:15h | 77m 16s
054
MIRAGEM MEUS PUTOS CAROLINE
ILUSIÓN MEUS IRMÁNS
Logan George, Celine Held
Diogo Baldaia | 2018 2018 | 11:54 | EUA
24:09 | Portugal FIC | COL
FIC | COL
Cando os plans fracasan,
Unha clase dun colexio unha rapaza de 6 anos
de primaria sen mestre, a enfróntase a unha gran
firma dun contracto con responsabilidade un día
un club de fútbol xigante caloroso en Texas.
e unha festa de aninovo. When plans fall through, a
Tres historias tinguidas six-year-old is faced with a
con aspiracións e o big responsibility on a hot
desexo de escapar, que Texas day.
transmiten unha ollada a
unha xuventude absorbida elo@elofilms.com
polo poder dos soños e a
crueza da realidade.
An elementary school
class without a teacher,
a contract signing with
a giant football club and
a New Year’s Eve party.
Three tales tinged with
aspiration and the desire
to escape express a look
into a youth absorbed by
the power of dreams and
the harshness of reality.
pf@portugalfilm.org
055
RADAR 3
Teatro Principal
03.10.2018 | 20:15h | 73m 21s
056
PROCH IN BETWEEN TAKES
PO ENTRE TOMAS
057
RADAR 4
Teatro Principal
04.10.2018 | 18:30h | 65m 00s
058
RADAR 5
Teatro Principal
05.10.2018 | 20:15h | 79m 03s
programme@av-arkki.fi
059
RADAR 5
Teatro Principal
05.10.2018 | 20:15h | 79m 03s
060
RADAR 6
Teatro Principal
06.10.2018 | 20:15h | 69m 02s
michelle@escapefilms.co.uk
061
EXPLORA 1
Teatro Principal
01.10.2018 | 18:30h | 82m 08s
O
bras de calquera xénero e de calquera
nacionalidade. Sección centrada na procura de
novas caligrafías fílmicas. Pezas dificilmente
catalogables nun xénero que dilúen a idea
tradicional do cinema mediante a exploración de sendas
innovadoras, próximas á videoarte, o documental
ou o cinema de vangarda. Works of any genre and
nationality. A section that focuses on the search for
new filmmaking signatures. Pieces that can hardly
be catalogued in specific genres, and that dilute the
traditional idea of cinema by exploring innovative
avenues that are close to video art, documentary or
avant-garde cinema.
062
ULURU WORD FOR FOREST
PALABRA PARA O
Alberte Pagán | 2018 BOSQUE
06:51 | España
EXP | COL Pia Rönicke | 2018 | 22:00
Dinamarca | DOC, EXP
Non hai maneira de COL, B/N
escapar do magnetismo
de Uluru. O enorme muro A película amosa o Garden in Copenhagen. In
vermello cheo de historia traslado dunha semente Santiago Comaltepec, the
e cancións atráete cara dende México, onde foi forest is taken care of by
o seu núcleo, invítate a recollida polo botánico the community, which has
converterte nun con el, a Frederik Liebmann en long resided in this area,
afundirte nel. Terra nativa, 1842, ao Xardín Botánico but has not always had the
catedral do Anangu. de Copenhague. En right to use the land. The
There’s no way of escaping Santiago Comaltepec, o film invites one to listen
Uluru’s magnetism. That bosque é coidado pola to the rhythms of the
huge red wall full of comunidade, a cal leva language and the sounds
history and song draws moito tempo vivindo of the forest and to absorb
you into its core, invites nesta zona, pero non the variations in the many
you to become one with it, sempre tivo dereito a usar ferns.
to sink into it. Native land, a terra. A película invita
cathedral of the Anangu. a un a escoitar os ritmos
da linguaxe e os sons do
bosque, e a absorber as
variacións entre os fentos.
The film records a seed’s
displacement from
Mexico, where it was
collected by the botanist
Frederik Liebmann in
1842, to the Botanical
063
EXPLORA 1
Teatro Principal
01.10.2018 | 18:30h | 82m 08s
064
OPTIMISM
OPTIMISMO
A necesidade de liberar un
val invernal dunha sombra
permanente e de atopar
Ban’ei. Putting together fortuna en grava aluvial
a mix of motionless, forman parte dunha
contemplative shots and longa historia de desexo e
hard-edge, rhythmical, extracción no lonxe norte
gibberish-rich montages, canadense.
the slowness of these The urge to relieve a
bizarre races is twisted winter valley of permanent
to its limit. The overall shadow and find fortune
timeline, thus, mimics in alluvial gravel are part
the track’s topography of a long history of desire
poetically described by a and extraction in the far
veteran trainer as “a small Canadian north.
and a big mountain.”
delta@pythagorasfilm.com
Estrea en Galicia / Galician
premiere Estrea en Galicia / Galician
premiere
065
EXPLORA 2
Teatro Principal
02.10.2018 | 18:30h | 77m 51s
066
MOMENTUM 142308 AT THE HORIZON
NO HORIZONTE
Manuel Knapp | 2018
15:00 | Austria | EXP | B/N Takashi Makino, Manuel
Knapp | 2018 | 30:00
A serie MOMENTUM amosa Austria | EXP | COL
telepathy and mirrors. por un lado espazos
Stainless steel and broken refractados por texturas Este vídeo totalmente
glass strewn about an e por outro lado unha abstracto está formado
intergalactic discotheque. proxección destes, da súa por dúas capas visuais
Commissioned by the temporalidade e imaxes superpostas e proporcio-
Chicago Film Archives, persistentes na retina, nais sobre unha superficie
with footage and as cales poden ser vistas negra. O fondo parece
sound from the archive a unha velocidade de unha tormenta de neve
chopped, manipulated 30 fps alternando entre pola noite. A capa que hai
and arpeggiated into a dous estados do pregado por riba desta fórmase de
fertile mix of anthem and espacial. súpeto a partir dunha liña
narrative. The series MOMENTUM recta horizontal branca.
deals on one hand with Esta liña expándese para
bookings@cfmdc.org spaces refracted by formar unha cuadrícula
textures and on the other tridimensional.
Estrea en España / Spanish with a projection of them, This entirely abstract video
premiere their temporality and consists of two commensu-
afterimages which can rate, superimposed visual
be seen within a frame layers on a black surface.
of 30fps by switching The background appears
between two states of like a snowstorm at night.
spatial folding. The layer on top of this sud-
denly builds itself up out of
gerald@sixpackfilm.com a straight white horizontal
line. This line expands into
Estrea en España / Spanish a three dimensional grid.
premiere
gerald@sixpackfilm.com
067
EXPLORA 2
Teatro Principal
02.10.2018 | 18:30h | 77m 51s
gerald@sixpackfilm.com
068
EXPLORA 3
Teatro Principal
03.10.2018 | 18:30h | 77m 10s
069
EXPLORA 3
Teatro Principal
03.10.2018 | 18:30h | 77m 10s
070
TAKING AWAY MEDIUMS
MEDIOS
Eginhartz Kanter | 2018
06:42 | Austria James Kienitz Wilkins
EXP | COL 2018 | 38:00 | EUA
EXP | COL
Taking Away amosa as
tranquilas rúas de Tokio Mediums é unha película
pola noite. A paz nocturna de media duración
vese interrompida gravada exclusivamente
abruptamente por unha en planos medios dun
intervención inesperada. grupo de posibles
A manifestación dun membros dun xurado
obxecto estraño cambia a reunidos durante un
aparencia das misteriosas receso que anticipan a súa
rúas nocturnas e altera implicación no sistema
a paz dun barrio ben legal estadounidense
coidado. mentres canalizan datos e
Taking Away shows quiet consellos para pasar o día.
nightly streets in Tokyo. Mediums is a medium-
The nighttime peace is length movie filmed
interrupted abruptly by an exclusively in medium
unexpected intervention. shots about a group of
The unauthorized potential jurors gathered
manifestation of a on break who anticipate
strange object shifts their involvement in the
the appearance of the American legal system
uncanny nightly streets while channeling tips and
and disturbs the peaceful advice to pass the day.
order of the well-kept
neighbourhood. Estrea en España / Spanish
premiere
071
EXPLORA 4
Teatro Principal
05.10.2018 | 22:30h | 69m 25s
072
ELECTRO-PYTHAGORAS
(A PORTRAIT OF
MARTIN BARTLETT)
ELECTRO-PYTHAGORAS
(UN RETRATO DE
MARTIN BARTLETT)
073
EXPLORA 5
NUMAX
06.10.2018 | 22:00h | 81m 53s
074
WISHING WELL TREES DOWN HERE
075
EXPLORA 5
NUMAX
06.10.2018 | 22:00h | 81m 53s
pf@portugalfilm.org
076
PLANETA GZ 1
Teatro Principal
01.10.2018 | 22:30h | 78m 34s
E
sta competición UN OLLO DE VIDRO CARTA A LENINGRADO
aglutina as
producións galegas Noela Gutiérrez | 2018 Brandán Cerviño | 2018
que Curtocircuíto 11:26 | España | FIC | COL 14:11 | Cuba
considera máis arriscadas DOC, FIC | COL
e interesantes, ao Despois da morte de
mesmo tempo que Daniel, Alfonso intenta Tras a caída do bloque
intenta conformar un emendar o que non puido soviético, unha espía
conxunto que represente darlle en vida. rusa queda confinada
a heteroxeneidade da After the death of Daniel, nun pobo de provinza
escena galega. This Alfonso tries to make en Cuba. Tempo despois
competition incorporates a amends for what he could decide actuar por conta
selection of the proposals not give him while he was propia e convence o seu
that we have considered alive. fillo mediante unha carta
the most daring and as para crear un arma sónica
having an intense auteur Estrea mundial / World capaz de contrarrestar a
feeling and that represent premiere influenza estadounidense
the heterogeneity of the no país.
Galician scene. After the fall of the Soviet
block, a Russian spy is
confined to a provincial
town in Cuba. Later on,
she decides to act on her
own and convinces her
son through a letter to
create a sonic weapon
capable of counteracting
American influence in the
country.
078
UN PAÍS EXTRAÑO A NENA AZUL THE FILM MACHINE
UN PAÍS ESTRAÑO A MÁQUINA DE
Sandra Sánchez | 2018 PELÍCULAS
Laura Pousa| 2018 | 21:47 25:10 | España | FIC | COL
España | FIC | COL Sonia e Miriam Albert-
Sira, unha nena de oito Sobrino | 2018 | 06:00
Madrid, finais do verán anos, filla dun percebeiro EUA | FIC, EXP | COL, B/N
de 2017, unha muller furtivo da Costa da Morte,
fuxe da súa casa. Unha fuxe da escola e se refuxia The Film Machine é un
historia sobre o amor, os nunha solitaria praia, en asalto ó xénero de terror
encontros e a memoria, busca do seu pai. Alí ten e á arrogante estrutura
interpretada pola mítica un misterioso encontro narrativa de tres actos.
periodista española Rosa con alguén que parece ser The Film Machine is an
María Mateo. o seu propio espello. assault to the horror
Madrid at the end of Sira, the eight year old genre and the conceited
Summer 2017. The daughter of a shellfish traditional narrative.
legendary Spanish poacher from the Coast
journalist Rosa Maria of Death, runs away
Mateo plays a woman that from school and shelters
runs away from home. A on a lonesome beach,
story about love, chance as she’s looking for her
encounters and memory. father. There she has a
mysterious encounter with
info@offecam.com someone who seems to be
a mirror image of herself.
Estrea en Galicia / Galician
premiere
079
PLANETA GZ 2
Teatro Principal
02.10.2018 | 22:30h | 105m 00s
080
CAERÁN LÓSTREGOS O SALVAXE LEVA
DO CEO O SEU TEMPO
081
PENÍNSULAS 1
NUMAX
03.10.2018 | 22:00h | 87m 57s
S
ección que recolle películas españolas Elena López Riera | 2018
da temporada. Un programa diverso 24:00 | Suiza | DOC | COL
que non busca unha liña definida, senón
poñer en valor cada obra en si mesma. A No sur de España, unha
section comprised of interesting Spanish films raza de pombas moi
of the season. We are not looking for a well- coloridas, recompensarán
defined line in this varied programme – each non a aquela que voe máis
piece is interesting in itself. rápido, senón a aquela
que saiba seducir a unha
pomba femia, e voe o
maior tempo posible ao
seu lado.
In the south of Spain, a
race of colourfully painted
pigeons, will reward not
the one who flies the
fastest, but the one who
will have known how to
seduce a female pigeon,
and to fly the longest time
at her side.
082
LOS INOCENTES ALIENS LOS DESHEREDADOS
OS INOCENTES ALIENÍXENAS OS DESHERDADOS
info@marvinwayne.com
083
PENÍNSULAS 2
NUMAX
04.10.2018 | 22:00h | 93m 25s
084
SECCIÓNS
PARALELAS
PARALLEL
PROGRAMMES
RETROSPECTIVA
RETROSPECTIVE
ULRICH SEIDL
088
A IMAXE GAIOLA
THE CAGE IMAGE
AARÓN RODRÍGUEZ SERRANO
089
RETROSPECTIVA
RETROSPECTIVE
ULRICH SEIDL
090
desire to sublimate, but rather, the one that comes closer to between shame
and irony to encapsulate its protagonists until reducing their gestures and their
sufferings to the fascinating look under the microscope.
Certainly, there will be plenty of voices that reproach Seidl for his radically
anti-humanist project. We can not blame anyone for continuing to pursue
the old platonic idea that only in beauty - in this case, in the image - does the
idea of g
ood unfold in some way. Quite the opposite, Seidl’s films explicitly
demonstrate the opposite. His frames are exquisitely planned, respecting
the proportions derived from the Renaissance perspective with the greatest
ferocity, unfolding around the golden ratio and yet it is precisely there
where the driving forces and emotions flow and are confused. Nothing so
contradictory, and hence, nothing so fascinating: in the iron control of the
elements -where it is made explicit that there is a lens that refuses to change
the shot- it is precisely where a horror erupts that is so exaggerated that we
don’t know whether to burst out laughing or leave the room deeply terrified. It
doesn’t matter. Seidl’s movies tell us again and again that, no matter how much
we refuse to look, its content will continue to unfold endlessly.
Let’s take a simple example. The inordinate confessions in Jesus, You Know (Jesus,
Du weisst, 2003) where the camera is usually positioned at a distance halfway
between the altar and the face of the believer. Owing to the use of wide angles,
the lines of the temple expand wildly and the human body that is confessing
is reduced almost to a visual anecdote, a smudged spot in the theological
landscape. We don’t know if Seidl wants us to imagine the perspective of
a God indifferent to the verbalized brutalities of human behavior or if, on
the contrary, he takes pleasure in eroding that old idea, so characteristic of
the vivid Renaissance ideology, which situated man as the driving force and
justification of creation. Perhaps his camera is capable of saying both things at
the same time – the question is: are we able to read them in the abrasive depth
they require? There will not be, in any case, any modification of the scale or
angle of the camera. There will be no break, nor a reframing that allows us to
escape when faced with the space/body-word inequality. The filmic time will
expand unbearably until we have no choice but to tear ourselves away from the
compositional relentlessness of the Director.
Any of the films that make up the exquisite selection that Curtocircuíto has
prepared will repeat this same idea over and over again. You will see that
there is absolutely no repentance in the showing of non-normative bodies,
that there is no sensuality but crushing genitality and perversion, where you
091
RETROSPECTIVA
RETROSPECTIVE
ULRICH SEIDL
will sometimes feel extraordinary compassion for their main characters, but
the Director, as if he were an illusionist, will transform your moral conceptions
into an inexplicable magic trick. Empathy is, perhaps, the great enemy of
Ulrich Seidl’s films and you will see how he fights against it with all the possible
narratological tools: punch lines with broad brushstrokes, frivolisation of
decency and historical catastrophies, demolition of the subterfuges which feed
the neoliberal capitalist framework –the wild unification of the holidaymakers
and the description of the sexual exchanges in Paraíso: amor (Paradise: Love,
2012) is, probably, one of the (horrendous) peaks of contemporary European
cinema. So, if you let yourself be seduced and provoked by Seidl’s films, you will
undoubtedly be one step closer to understanding the tapestries and illusions
that we are going to surround our body with day by day, our relationship with
others and, of course, our own perception of the cinematographic event. As it
often happens with great texts, I can not promise you that it will be an easy or
pleasant experience. Perhaps it is not necessary either: it is enough to know
that images can be built to be demolished, with a firm and decisive showdown,
the places where we have been placing the truth for centuries.
© Sepp Dreissinger
092
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 1
Teatro Principal
29.09.2018 | 18:30h | 120m 00s
PARADIES: LIEBE
PARAÍSO: AMOR
093
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 2
Teatro Principal
30.09.2018 | 20:15h | 135m 00s
IMPORT / EXPORT
Dúas historias de persoas tombos de Austria cara she’ll find happiness in the
que están buscando un o este, chegando ate West, Olga travels from
traballo e que perden o Ucraína. the Ukraine to Austria
seu traballo: que viaxan Two stories of people and ends up as a cleaning
para atopar un novo who are looking for a job lady on a hospital geriatric
comezo na vida. Olga é da and who lose their job - ward. In the search for
parte oriental de Europa, who travel to find a new work and meaning with his
onde a pobreza existencial start in life. Olga comes stepfather, Paul stumbles
está á orde do día. Paul from the eastern part of from Austria eastwards, as
é da parte occidental, Europe, where existential far as the Ukraine.
onde o desemprego non poverty is the order of
supón fame, senón unha the day. Paul is from Filme en 35mm / 35 mm
perda de significado e the western part, where film
de sentido do propósito. unemployment entails
Imaxinándose que atopará not hunger, but a loss of
a felicidade, Olga viaxa meaning and sense of
de Ucraína a Austria e purpose. Imagining that
acaba como muller da
limpeza nun pavillón
xeriátrico. Buscando un
traballo e significado co
seu padrasto, Paul sae a
094
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 3
Museo das Peregrinacións
01.10.2018 | 19:00h | 105m 00s
095
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 4
Teatro Principal
03.10.2018 | 17:00h | 95m 00s
096
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 5
Teatro Principal
04.10.2018 | 20:15h | 121m 00s
HUNDSTAGE
DÍAS DE CAN
Fai unha calor abrasadora, It is oppressively hot, sex and violence. Of days
sur de Viena, na terra de south of Vienna, in the filled with solitude, the
ninguén de estradas que no-man’s land of freeway loss of love, the longing
dan a autovías, centros feeder roads, shopping for love. A film about life
comerciais e casas para centres and single-family in all its vulnerability and
unha soa familia. A houses. The temperature intimacy.
temperatura aumenta, rises, aggression rises. The
as agresións aumentan. asphalt blisters. In this Filme en 35mm / 35mm film
O asfalto burbulla. Nesta sweltering atmosphere,
tórrida atmosfera, seis six stories set in the same
historias situadas no place and time, tell of daily
mesmo momento e lugar, life and aggression, nights
historias de vida cotiá e full of songs and games,
agresións, noites cheas de
cancións e xogos, sexo e
violencia. De días cheos de
soidade, a perda do amor,
o anhelo do amor. Unha
película sobre a vida en
toda a súa vulnerabilidade
e intimidade.
097
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 6
Teatro Principal
05.10.2018 | 18:30h | 87m 00s
JESUS, DU WEISST
JESÚS, TI QUE TODO
O SABES
Unha película como un xubilada cuxo marido a in the parish and simply
confesionario. A xente vai enganou con outra muller: tells Jesus everything and
á igrexa. A xente séntase nos seus rezos soña con regrets everything: erotic
soa no banco dunha vinganza. fantasies as well as heroic
igrexa, a xente rézalle A film like a confessional. dreams. And the retired
a Xesús, que o é todo People go to church. chemistry teacher whose
para eles: Pai e Amigo, People sit alone on a spouse cheated on her
Redentor e Salvador, guía church pew, people pray with another woman: In
e muro das lamentacións... to Jesus, who is everything her prayers she dreams of
conversador, silencioso, to them: Father and vengeance.
cariñoso. Coñecemos a Friend, Redeemer and
un estudante que desafía Savior, guide and wailing Filme en 35mm / 35mm film
aos seus pais e acude a wall - talkative, silent,
misa diariamente, pasa loving. We meet a student
todo o seu tempo libre na who defies his parents
parroquia e simplemente and attends Mass daily,
cóntalle todo a Xesús e spends all his free time
non se arrepinte de nada:
fantasías eróticas así
como soños heroicos. E
a profesora de química
098
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 7
Teatro Principal
06.10.2018 | 18:30h | 76m 00s
099
RETROSPECTIVA / RETROSPECTIVE
ULRICH SEIDL 8
Teatro Principal
06.10.2018 | 18:30h | 90m 00s
SAFARI
100
RETROSPECTIVA
RETROSPECTIVE
ROBERTO MINERVINI
102
UN ESTADO LIBRE
A FREE STATE
NICOLAS RAPOLD
103
RETROSPECTIVA
RETROSPECTIVE
ROBERTO MINERVINI
Invocar a estas lendas do medio podería facer que Minervini soase máis
fachendoso ou valioso do que as súas películas indican. De feito, probablemente
o seu traballo máis complexo e desconcertante ata o de agora, The Other Side
(ás veces titulado simplemente Louisiana, polo seu emprazamento), funciona
grazas a súa forma de aceptar o caos tan sumamente humano (o que hai tanto
dentro do corazón, como por toda a sociedade en xeral). A súa primeira parte
segue, con intimidade e crueza, a un drogadicto, Mark, e á súa compañeira, Lisa,
demostrando especial atención á textura da pel, ao ton e á iluminación que
Minervini e Romero puliron como outra forma de axustarse aos rigores do ser
e a experiencia. (Fíxense só na cara inflada e atribulada do rapaz de Low Tide,
que parece a dun boxeador curtido polo ring da vida). O amor de Mark e Lisa
é complicado e real, e antes de que nos preguntemos a onde queren chegar
os directores coas súas historias, The Other Siderenace como unha mirada
encarnada das comunidades milicianas de dereitas.
Este momento de ruptura e cambio destaca no cine recente (un análogo non
ficticio, tal vez, á rotura narrativa refractada en Mulholland Drive antes do 11
de setembro), e coa elección de Donald Trump, isto axudou a conferirlle a The
Other Side a propiedade de ser unha profecía ignorada. Pero se Minervini foi un
profeta, non estaba mirando cara o futuro, senón cara o presente que tiñamos
diante de nós pero que non nos detivemos a mirar. A enerxía e as paixóns
libres que se ven na película poden ser á vez gloriosas e inquietante. “Eu quería
estar en primeira liña”, díxome unha vez Minervini nunha entrevista. Conseguiu
colocarnos nela con el, e segue nela para abrirnos os ollos.
104
Roberto Minervini’s Stop the Pounding Heart introduces us to a large
Christian farming family, and a young rodeo aspirant and his circle. In the
first 30 minutes, we see women working at chores such as milking goats and
selling dairy goods at the market, and for the men, practice riding a dummy
bronco and shooting guns. When Minervini brings together these two micro-
communities through a “meet-cute” over a fence, he is completing a certain
portrait of America—devout, fiercely driven by principles of freedom, skirting
the economic margins yet epitomizing the mainstream, the all-American.
Minervini does not claim to resolve these kinds of tensions and instead
recognizes them as crucial and identifying facts of American identity. Part of
his origin story as a filmmaker involves working in New York City at the turn of
the millennium as an IT consultant, only to experience the contested, irregular
election of George W. Bush and the September 11th, 2001, terrorist attacks in
bewildering succession. Studying at the New School, he directed several shorts
and then a trio of increasingly polished features rooted in Texas: The Passage,
Low Tide, and Stop the Pounding Heart. He has had prestigious premieres in
Cannes, Venice (most recently, What You Gonna Do When the World’s on Fire?),
and the New York Film Festival.
105
RETROSPECTIVA
RETROSPECTIVE
ROBERTO MINERVINI
While Minervini’s method tends toward the organic—the result of long takes
and an openness to emotional intensity whatever the constitutional toll—he
is also evidently steeped in the multiple strands of concerted realism running
throughout film history. He has referenced Cesare Zavattini, the Neorealist
theorist, and there’s an echo with those earliest Italian portraits of the
dispossessed in the boy left to his own devices in Low Tide, himself part of
another Minervini double portrait with his addicted mother. But in addition to
Italian masters such as Pasolini and Rossellini, he also cites the American Allan
King and Brazil’s Osualdo Candeias as inspirations.
Invoking these legends of the medium might make Minervini sound more
pretentious or precious than his films indicate. In fact, probably his most
complex and troubling feature so far, The Other Side (sometimes titled simply
Louisiana, after its setting), succeeds through its embrace of utterly human
chaos—both within the heart and across society generally. Its first half trails,
with intimacy and rawness, a drug-addicted man, Mark, and his partner, Lisa,
showing the particular attention to skin texture and tone and lighting conditions
that Minervini and Romero have honed as another mode of attunement to
the rigors of being and experience. (Witness simply the puffily beleaguered
face of the boy in Low Tide, already looking like a boxer in the ring of life.)
Mark and Lisa’s love is messy and real, and before we might wonder where
the filmmakers will go with their stories, The Other Side becomes reborn as an
embedded look of right-wing militia communities.
This moment of rupture and change stands out in recent cinema (a nonfiction
analogue, perhaps, to the narrative break portrayed in Mulholland Drive before
9/11), and with the election of Donald Trump, it has helped endow The Other
Side with the quality of an unheeded prophecy. But if Minervini was a prophet,
he was looking not into the future, but rather at the present that was in front
of us if we cared to look. The freewheeling energy and passions on display in
the film can be glorious and unnerving at the same time. “I wanted to be on the
front line,” Minervini told me once in an interview. He has succeeded in placing
us there with him, and it remains for us to open our eyes.
106
RETROSPECTIVA / RETROSPECTIVE
ROBERTO MINERVINI 1
Teatro Principal
30.09.2018 | 17:00h | 101m 20s
STOP THE
POUNDING HEART
DETÉN O CORAZÓN
PALPITANTE
Sara é unha rapaza nova Detén o corazón palpitante crisis, questioning the
criada nunha familia é unha exploración da only way of life she has
de pastores de cabras. adolescencia, a familia, os ever known. In a stunning
Os seus pais educan na valores sociais, os roles de portrayal of contemporary
casa aos seus 12 fillos, xénero e a relixión no sur America and the insular
seguindo rigorosamente dos Estados Unidos rural. communities that dot
os preceptos da Biblia. Sara is a young girl raised its landscape, Stop
Ao igual que as súas in a family of goat farmers. the Pounding Heart
irmás, Sara é educada Her parents homeschool is an exploration of
para ser unha muller their twelve children, adolescence, family and
devota, subordinada rigorously following the social values, gender roles,
aos homes, á vez que precepts of the Bible. Like and religion in the rural
mantén a súa pureza her sisters, Sara is taught American South.
emocional e física intacta to be a devout woman,
ata o matrimonio. Cando subservient to men while t.lionel@docandfilm.com
Sara coñece a Colby, un keeping her emotional
mozo afeccionado aos and physical purity
rodeos, entra nunha crise, intact until marriage.
cuestionándose a única When Sara meets Colby,
forma de vida que coñece. a young amateur bull
Nun retrato impactante rider, she is thrown into
dos Estados Unidos
contemporáneos e das
comunidades insulares
que salpican a súa paisaxe,
107
RETROSPECTIVA / RETROSPECTIVE
ROBERTO MINERVINI 2
Museo das Peregrinacións
01.10.2018 | 20:30h | 88m 50s
THE PASSAGE
Ela acaba de ter She just found out that vagabondage, escape
coñecemento de que o her cancer is terminal. He and freedom. A poignant
seu cancro é terminal. just got out of prison and tale of soul searching
El acaba de saír do desperately needs some and friendship, shot in a
cárcere e precisa cartos money. He is hitchhiking documentary style and
desesperadamente. El throughout Texas to featuring mostly real life
está facendo autoestop pursue his passion. They people.
por Texas para perseguir have nothing in common,
a súa paixón. Non teñen besides having nothing t.lionel@docandfilm.com
nada en común, salvo left to lose. For this reason
non ter nada que perder. and a couple of dollar
Por este motivo, e cun bills, these three people
par de billetes de un embark on a journey
dólar, estas tres persoas together. A road-movie
embárcanse nunha viaxe after our own heart,
xuntas. Unha road movie metaphorical and self-
seguindo ao noso propio discovering, where the
corazón, metafórica e de road clearly symbolises
descubrimento persoal, na
que a estrada simboliza
claramente vagabundeo,
escape e liberdade. Unha
conmovedora historia
sobre a procura da alma e
a amizade, filmada como
un documental e na que
sae principalmente xente
da vida real.
108
RETROSPECTIVA / RETROSPECTIVE
ROBERTO MINERVINI 3
Museo das Peregrinacións
02.10.2018 | 19:00h | 92m 30s
LOW TIDE
MAREA BAIXA
109
RETROSPECTIVA / RETROSPECTIVE
ROBERTO MINERVINI 4
Museo das Peregrinacións
06.10.2018 | 19:00h | 91m 45s
LOUISINA
(THE OTHER SIDE)
110
RETROSPECTIVA
RETROSPECTIVE
BERTRAND MANDICO &
ELINA LÖWENSOHN
112
L’HOMME DE MANDICO
PACÔME
113
RETROSPECTIVA
RETROSPECTIVE
BERTRAND MANDICO &
ELINA LÖWENSOHN
cine dun universo paralelo no que Francia seguiu a máxica liña representada
por Cocteau e Rivette en lugar da corrente das “historias da clase media” de
Truffaut e Despléchin. O cine dun universo paralelo no que son Walerian
Borowcyk e Andrzej Zulawski os que influenciaron aos novos directores dos
80 en lugar de Steven Spielberg e George Lucas. O cine dun universo paralelo
que ensalzaría as ilustracións de Topor e as tiras cómicas de Fred. O cine dun
mundo no que Nerval sería rei.
The films by Bertrand Mandico belong to the History of Urban Legends. For a
long time, as mythical as they were invisible, one had the impression that they
came down to us like goddesses with many faces, shrouded in a thick electric
cloud of waiting and mystery. Happy as Ulysses, the spectator had to navigate
between festivals and retrospectives to catch a glimpse of each one of them.
But once he had seen one, he couldn’t escape anymore: the film had a magical
114
hold on him like Circe. The cinema remained in his memory as an Orphic
temple full of human statues where he would have witnessed the summoning
ritual of a goddess with lush flesh, full of ripening fruit and fading flowers.
With this box set now in your hands as a “portable temple”, the films by
Bertrand Mandico can be viewed and re-lived by replaying them over and over
again in your home. They will turn your flats into cosmic caves of hot flesh.
They will plunge you into his funny dialogues, hanging on and cruel just like a
bubble bath. But the more you watch them over again, the more they will see
and influence you – and you mutate together to become that kind of mutant
with purple eyelids and that his films now call: a rigorous parahumanity just
like eroticism, as exciting as arithmetic, as overwhelming as logic, as clear-cut
as madness, as anxious as daybreak; a parahumanity just as fabulous as the
abominable snowman, the Loch Ness monster, the Manticore or the Berbalang:
something like “Mandico, The Man”. The films by Bertrand Mandico belong to
the History of Fantastic Zoology.
115
RETROSPECTIVA / RETROSPECTIVE
BERTRAND MANDICO & ELINA LÖWENSOHN 1
Teatro Principal
02.10.2018 | 20:15h | 110m 00s
116
RETROSPECTIVA / RETROSPECTIVE
BERTRAND MANDICO & ELINA LÖWENSOHN 2
Teatro Principal
03.10.2018 | 22:30h | 96m 02s
contact@eccefilms.fr
117
RETROSPECTIVA / RETROSPECTIVE
BERTRAND MANDICO & ELINA LÖWENSOHN 2
Teatro Principal
03.10.2018 | 22:30h | 96m 02s
118
RETROSPECTIVA / RETROSPECTIVE
BERTRAND MANDICO & ELINA LÖWENSOHN 3
Teatro Principal
04.10.2018 | 22:30h | 37m18s
contact@eccefilms.fr
119
RETROSPECTIVA / RETROSPECTIVE
BERTRAND MANDICO & ELINA LÖWENSOHN 3
Teatro Principal
04.10.2018 | 22:30h | 37m18s
contact@eccefilms.fr
120
RETROSPECTIVA / RETROSPECTIVE
BERTRAND MANDICO & ELINA LÖWENSOHN 4
NUMAX
05.10.2018 | 22:00h | 90m 40s
121
RETROSPECTIVA / RETROSPECTIVE
BERTRAND MANDICO & ELINA LÖWENSOHN 4
NUMAX
05.10.2018 | 22:00h | 90m 40s
122
ULTRA PULPE
123
PÚLSAR
PULSAR
JESSICA SARAH RINLAND
124
U
n púlsar é unha pequena estrela de neutróns
cun intenso campo magnético que emite pulsos
a intervalos regulares. Curtocircuíto ten a misión
de detectar e programar a autores emerxentes
cun traballo sólido que xa delaten unha mirada e unha
linguaxe propias. Púlsar é enerxía, novidade e risco. A
pulsar is a small neutron star with an intense magnetic
field that emits pulses at regular intervals. Curtocircuíto
has the duty to detect and promote emergent authors
who have a solid career by now, one revealing a
personal outlook and language. Pulsar is energy,
innovation and risk.
HISTORIAS NATURAIS
NATURAL STORIES
BECCA VOELCKER
Un home axeónllase sobre libros para protexer a terra que hai por baixo del,
Wild Flowers baixo un xeonllo Dragonflies baixo a outra. Os libros son almacéns
de información e coxíns de polpa de celulosa, feitos de madeira e herbas como
as que está a explorar. É un membro da Sociedade da Historia Natural de
Elmbridge, o suxeito de Black Pond (2018) da cineasta anglo-arxentina Jessica
Sarah Rinland. A película segue á sociedade observando avelaíñas, medindo
árbores e estudando fungos. Axeonllado sobre os libros, o home representa
algo que representan todas as películas de Rinland. Combinan o físico cos libros,
ambos son sensuais e están intelixentemente pensados. Gravado en 16 mm,
outro tipo de celuloide, o seu material e unha coalescencia de natureza e ciencia.
125
PÚLSAR
PULSAR
JESSICA SARAH RINLAND
126
Nun encargo para Channel 4 de 2016, O voo dunha avestruz (Interior da escola),
unha nena tímida de 8 anos ve un vídeo de natureza que a informa de que
o avestruz é incapaz de facer o que fai tan famosos os paxaros: non poden
voar. Un animal análogo para estender as ás dun mesmo, o avestruz, ao igual
que a nena, finalmente triunfa. A determinación da nena trae á mente a outra
científica nova, o prodixio da botánica de Adeline for Leaves (2014), e tal vez, á
propia Rinland. Cunha curiosidade insaciable, as súas películas están moi por
riba do convencional.
A man kneels on books to protect the earth beneath him, Wild Flowers under
one knee and Dragonflies under the other. The books are stores of information
and cushions of cellulose paper pulp, made from wood and grasses like the
ones he’s exploring. He is a member of the Elmbridge Natural History Society,
the subject of British-Argentinian filmmaker Jessica Sarah Rinland’s Black Pond
(2018). The film follows the society observing moths, measuring trees, and
surveying fungi. Kneeling on the books, the man embodies something that all
Rinland’s films do. They combine physicality with bookishness; they are both
sensual and cleverly thought-out. Shot on 16mm—another type of celluloid—
their very material is a coalescence of nature and science.
127
PÚLSAR
PULSAR
JESSICA SARAH RINLAND
Fable and humour are never far from Rinland’s films, and curiosity drives them
to surreal places. Nulepsy (2011) is an 8-minute portrait of a man’s pathological
need to be nude. Beginning from seemingly simple questions (‘what would
life be like without clothes?’), Rinland unravels myriad social and historical
threads. ‘How does the world look from a tree top?’ generates Not As Old As
The Trees (2014), a portrait of an octogenarian who spends his spare time
climbing trees. ‘What is a whale?’ is the focus of We Account the Whale Immortal
(2016), a tripartite film projection whose images and spoken narration weave
myth, history, scientific inquiry and art. Images frequently contradict verbal
information, playfully undermining any single claim to truth; Rinland’s narrators
are as unreliable as they are well spoken.
128
PÚLSAR
PULSAR
JESSICA SARAH RINLAND 1
NUMAX | 04.10.2018 | 20:00h| 55m 21s
129
PÚLSAR
PULSAR
JESSICA SARAH RINLAND 1
NUMAX | 04.10.2018 | 20:00h| 55m 21s
130
ELECTRIC OIL
ACEITE ELÉCTRICO
131
PÚLSAR
PULSAR
JESSICA SARAH RINLAND 1
NUMAX | 04.10.2018 | 20:00h| 55m 21s
132
PÚLSAR
PULSAR
JESSICA SARAH RINLAND 2
NUMAX | 05.10.2018 | 20:00h| 42m 30s
133
PÚLSAR
PULSAR
JESSICA SARAH RINLAND 3
NUMAX | 04.10.2018 | 20:00h| 50m 32s
134
A BOILED SKELETON
UN ESQUELETO FERVIDO
135
PÚLSAR
PULSAR
JESSICA SARAH RINLAND 3
NUMAX | 04.10.2018 | 20:00h| 50m 32s
136
CARTA BRANCA / CARTE BLANCHE:
EZEQUIEL MÉNDEZ VIDAL
Museo das Peregrinacións | 03.10.2018 | 20:30h | 122m 00s
Entrada de balde ata completar aforo / Free admission while seating is available
138
CONOZCA USTED CAMINO DE SANTIAGO
ESPAÑA: COMPOSTELA CAMIÑO DE SANTIAGO
COÑEZA VOSTEDE
ESPAÑA: COMPOSTELA José Luis Font | 1982
32:00 | España
Claudio Guerín Hill | 1967 DOC | COL
90:00 | España | DOC
Documental que narra,
Un dos episodios da serie a través das voces en
documental Conozca off dos actores Franciso
usted España de TVE, no Valladares e Berta Riaza,
que o director amosa os o fenómeno relixioso de
encantos da cidade de peregrinación masiva
Compostela. do Camiño de Santiago
One of the episodes of que se inicia tras o
the documentary series descubrimento no século
Conozca usted España on IX do sepulcro do Apóstolo
the Spanish TV channel Santiago.
TVE, in which the director Documentary that
reveals the charms of the narrates, through the
city of Compostela. voice-overs of the actors
Francisco Valladares and
Berta Riaza, the religious
phenomenon of the
massive pilgrimage of the
Camino de Santiago that
began after the discovery
in the 9th century of
the tomb of the Apostle
Santiago.
139
TERRA:
XACIO BAÑO
NUMAX
03.10.2018 | 20:00h | 55m 30s
S
ección non Xacio Baño (Xove, Lugo) estuda cinematografía na
competitiva adicada Universidade de León. Especialízase en edición e
a cineastas de montaxe. Produce, escribe e dirixe varias curtametraxes
Galicia que teñan presentes en festivais coma Locarno, BAFICI,
unha obra consistente e NewDirectors/NewFilms MoMA, Clermont-Ferrand,
personal. Non-competitive Telluride Film Festival, Slamdance, Mar del Plata…
section dedicated to En 2016 seleccionárono coma un dos dez talentos
Galician filmmakers who emerxentes do cinema español pola revista Variety. En
have a consistent and 2018 estreou en Locarno a súa primeira longametraxe
personal work. de ficción: Trote, producido por Frida Films.
140
TROTE (FRAGMENTOS)
“Filla de”. “Irmá de”. durante uns días coa súa that final step. Trotting.
Carme vive nunha aldea parella, María. Trote é a Running away. Trot takes
das montañas do interior loita entre o home e o place during the weekend
de Galicia xunto coa cabalo, entre a razón e o in which the “Wild Mane
súa nai enferma e co instinto. Crop” takes place, the
seu pai, Ramón, co que “Daughter of...”. Sister ancestral fight of man and
apenas se comunica. of...”. Carme lives in a horse. The village begins
Traballa nunha panadería mountain village deep in to prepare for the fiesta.
e precisa escapar deste the heart of rural Galicia Luís, her older brother,
ambiente opresivo, pero together with her ill returns to the family home
as circunstancias sempre mother and her father, for a few days with his
lle impediron dar o Ramón, with whom she girlfriend, María. Trot is the
paso. Trotar. Fuxir. Trote barely communicates. struggle between man and
transcorre durante a fin de She works in a bakery and horse, between reason
semana na que se celebra needs to escape from that and instinct.
a “Rapa das bestas”, a loita oppressive environment,
ancestral do home e o but circumstances always
cabalo. A aldea comeza a prevent her from taking
prepararse para a festa.
Luís, o seu irmán maior,
volve á casa familiar
141
TERRA:
XACIO BAÑO
NUMAX
03.10.2018 | 20:00h | 55m 30s
142
ANACOS ESTEREOSCOPÍA
143
TERRA
JAIONE CAMBORDA
Museo das Peregrinacións
05.10.2018 | 19:00h | 19m 30s
144
RAPA DAS BESTAS PROBA DE AXILIDADE ARIMA (PEQUENO
EXTRACTO, WIP)
Jaione Camborda | 2017 Jaione Camborda | 2015
09:43 | España 03:53 | España Jaione Camborda | 2018
DOC, EXP | B/N DOC, EXP | B/N 02:00 | España
DOC, EXP | COL
Un acontecemento Cánidos voadores surcan
tradicional e pintoresco a pantalla. Os seus donos Arima describe envolto en
que nos convida móvense ávidos sobre o atmósferas evocadoras
a experimentar a terreo marcando unha a vida de catro mulleres
intensidade dun combate danza simbiótica. A imaxe e unha nena que se ve
corpo a corpo entre home transcende o cotiá e alterada pola aparición
e besta. invoca o que subxace e se inesperada de dúas
A traditional, picturesque despraza. figuras masculinas
event that invites us to Flying canidae criss- antagónicas entre sí.
experience the intensity of cross the screen. Their Arima is a suggestive
a close combat between owners move avidly on portrait of six women
man and animal. the ground, marking a whose lives are altered by
symbiotic dance. The the unexpected presence
image transcends the of two antagonistic male
everyday and invokes characters.
what is underlying and
moving.
145
TERRA
JAIONE CAMBORDA
Museo das Peregrinacións
05.10.2018 | 19:00h | 19m 30s
LILIT NIMBOS
146
CABECERA CABECERA
NOVOS CINEMAS PUNTO DE VISTA
147
SUPERNOVA
CGAC
04.10.2018 | 19:00h | 105m 31s
E
sta sección naceu para salvar a brecha existente SENDEIRO
entre os centros de formación e os circuítos de
festivais profesionais. Eses primeiros traballos Lucía Estévez | 2018
que non teñen fácil acceso a espazos de difusión 15:00 | España | FIC | COL
atopan en Supernova o seu lugar. O festival quere
empregar esta sección para que cineastas emerxentes Un conto de irmáns. O
aprendan a presentar, defender e acompañar os seus paso do tempo vive nas
filmes e, para isto, encargarase de que entre o público paredes baleiras da casa
haxa sempre programadores, produtores e realizadores familiar. Julia e Manu
máis experimentados que poidan cuestionar as conviven co silencio e
propostas e enriquecer os coloquios. This section was a distancia, de costas á
created to bridge the gap between the training centres realidade. A inocencia
and the professional festival circuits. These first works acompaña ao cativo nun
that do not have easy access to distribution spaces can intento por sacar a flote á
find their place in Supernova. The Festival wants to súa irmá.
use this section so that emerging filmmakers learn to A story of siblings. The
present, defend and accompany their films and, to do passage of time bounces
so, the Festival will ensure that among the public there off the empty walls of
are always more experienced programmers, producers the family home. Julia
and filmmakers who can question the proposals and and Manu live together
enrich the colloquiums. with the silence and the
isolation, turning their
backs on reality. Innocence
accompanies the youngest
one in an attempt to keep
his sister afloat.
148
RESILIENCIA 16-11-2016/13-5-2017
149
SUPERNOVA
CGAC
04.10.2018 | 19:00h | 105m 31s
150
SER Y TEMPO MARXES
SER E TEMPO
Sara Rodríguez | 2018
Daniel Arana | 2018 07:15 | España
06:39 | España DOC, EXP | COL
DOC | COL
Dende pequenos
O tempo é aquilo que alien, there is already ensínannos a escribir
experimentamos nun an irreconcilable, cyclic correctamente para
primeiro esquecemento and infinite dualism. To non exceder a marxe.
do Ser. Cando vivimos live time as chronology Medramos e a vida
a temporalidade como and extension on the complícase. Os estudos,
algo lineal e alleo a nós horizontal axis, as a a familia, os amigos, o
existe xa un dualismo succession of horizons and traballo, están moldeando
irreconciliable, cíclico e theologies, is an endless o noso itinerario.
infinito. A vivencia do line in which existence Simplemente un día dáste
tempo como cronoloxía becomes incessant conta de que estás na
e extensión no eixo da waiting; a wait of what is marxe, nun lugar onde
horizontal, como unha unknown in which we lose estaba prohibido entrar.
sucesión de horizontes ourselves like shipwrecks From childhood, they
e teleoloxías, é unha liña adrift, unaware of the only teach us to write properly
sen fin na que a existencia immediate and real thing so that we don’t go past
se torna unha espera in us, our own being. the margin. We grow up
incesante; unha espera and life gets complicated.
de non se sabe que, Studies, family, work are
na que nos perdemos shaping our itinerary.
como náufragos á deriva, Simply one day, you
descoñecedores do único realise that you are in the
inmediato e real en nós, o margin, a place where it
propio Ser. was forbidden to go.
Time is what we
experience in the initial
oblivion of being. When
we live temporality as
something lineal and
151
SUPERNOVA
CGAC
04.10.2018 | 19:00h | 105m 31s
152
TIEMPO LONXE
TEMPO
Alejandro Rodríguez
Alicia Alonso | 2018 2018 | 02:50 | España
02:43 | España | EXP | COL FIC | COL
life, but it ended up
becoming a visual and Unha reflexión sobre a Hai momentos que
auditory reflexion on the miseria emocional á que ocorren só unha vez. Esta é
landscape, urbanization, estamos abocadas nunha a historia que quen se vai,
tranquility and other sociedade ao límite de sí de quen deixa atrás todos
aspects of life that we mesma. Os traumas, os os seus recordos, todo o
try to see in another way medos e as feridas do que o converteu en quen
and reinterpret, distorting pasado ábrense paso cara é agora. É un momento
what we see to show un mundo no que poucos enmarcado no tempo onde
other things or perhaps entenden que o afecto é o non hai volta atrás, onde
the same things, but they máis necesario. as emocións tráganse por
seem to be changed in A reflexion on the derradeira vez.
an uncomfortable and emotional misery to There are moments that
even suffocating way, with which we are doomed in a only happen once. This is
the ambitious goal that society at the limit of itself. the story of someone who
someone else blows a The traumas, fears and is leaving, someone who
gasket. wounds of the past make is leaving behind all her
their way to a world in memories, all that made
which few can understand her who she is today. It is
that the affect is the most a moment framed in time
essential. where there is no going
back, where emotions are
swallowed for the last time.
153
famZINE
Teatro Principal | 30.09.2018 | 12:00h | 78m 22s
Teatro Principal | 06.10.2018 | 12:00h | 78m 22s
Entrada de balde ata completar aforo / Free admission while seating is available
O
cine, ademais de ofrecer entretemento
aos máis pequenos, permite compartir
unha actividade e pasar tempo en familia.
É un estupendo recurso didáctico e unha
ferramenta para dar renda solta á creatividade dos
nenos. Curtocircuíto estrea esta nova sección na que o
cinema convértese no nexo entre os maiores e os máis
pequenos da casa. The cinema, in addition to offering
entertainment to the little ones, makes it possible to
share an activity and spend time with the family. It is
a great didactic resource and a tool to give free rein to
the creativity of children. Curtocircuito releases this new
section in which cinema becomes the nexus between
the largest and the smallest of the House.
154
JSME PŘECE LIDI O FIM DA FILA RED & THE KINGDOM
SOMOS HUMANOS O FIN DA FILA OF SOUND
DESPOIS DE TODO
Marcelo Pimentel | 2016 Phil Gomm | 2018 | 18:13
Jan Míka | 2016 | 16:45 02:47 | Brasil | ANI | COL Reino Unido, Inglaterra
República Checa ANI | COL
ANI | COL Baseado nun libro de
ilustracións premiado, a Red & The Kingdom of
Durante un cru inverno, historia trata de animais Sound é unha adaptación
a lebre debe enfrontarse brasileiros postos en fila. A animada da composición
ao frío, á fame e ao perigo medida que pasa o tempo, de 1945 de Benjamin
dos cazadores e outros os animais descobren Britten The Young Person’s
animais. Un día descobre novos motivos para Guide To The Orchestra
a vida tan boa, cómoda permanecer en fila, día si (Guía de orquestra
e segura que teñen os e día tamén, incluíndo a para xóvenes). R&KoS
coellos. presenza dun personaxe visualiza a orquestra
During a harsh winter, folclórico. Despois de sinfónica como un reino
the hare must face the todo, que hai ao final da fantástico inspirado por
freezing cold, hunger and fila? O estilo gráfico evoca instrumentos musicais.
the dangers of hunters a arte indíxena brasileira. Red & The Kingdom
and other animals. One Based on an award- Of Sound is an
day he finds out what a winning picture book, the animated adaptation
good, comfortable and story is about Brazilian of Benjamin Britten’s
safe life rabbits lead. animals standing in line. 1945 composition, The
As time goes by, the Young Person’s Guide To
honza@filmofon.cz animals discover new The Orchestra. R&KoS
reasons to continue in visualises the symphony
line, day in and day out, orchestra as a fantastical
including the presence realm inspired by musical
of a folklore character. instruments.
After all, what is at the end
of the line? The graphic Estrea en España / Spanish
style evokes Brazilian premiere
indigenous art.
155
famZINE
Teatro Principal | 30.09.2018 | 12:00h | 78m 22s
Teatro Principal | 06.10.2018 | 12:00h | 78m 22s
Entrada de balde ata completar aforo / Free admission while seating is available
156
TEENAGE RIOT 01.10.2018 | 11:30h
Teatro Principal 02.10.2018 | 10:00h
64m 00s 03.10.2018 | 11:30h
04.10.2018 | 10:00h
H
istorias e ARIANA FOREVER! LA ÚLTIMA VIRGEN
perspectivas ARIANA PARA SEMPRE! A ÚLTIMA VIRXE
que convidan
á xente nova Katharina Rivilis | 2017 Barbara Farré | 2018
a ser eles mesmos e a 23:23 | Alemaña 16:43| España | FIC | COL
loitar polos seus ideais FIC | COL
nun mundo que premia Sara, unha rapaza de 13
a estandarización e o Margarita, a rapaza de 13 anos, ten a necesidade de
pensamento único. Stories anos introvertida allea ao abandonar a súa inocencia
and approaches that instituto observa á bela para internarse no mundo
invite young people to Adriana nunha excursión. adulto e así encaixar
be themselves, fight for Non obstante, Adriana é dentro do seu grupo
their ideals, in a world that testemuña da obsesión de amigas. Envolta por
rewards standardisation dos seus compañeiros un mundo onde reina a
and a single way of por vela fóra de control. aparencia, verase obrigada
thinking. Cando a excursión se ve a forzar a súa vontade
ensombrecida por un converténdose así nunha
escuro segredo, Margarita vítima máis da sociedade.
enfróntase a un conflito Sara, a 13-year-old-girl,
moral. has the need to leave
Margarita, the 13 years her innocence in order
old introverted outsider to get inside the adult
of the school observes world, so that she can
the beautiful Ariana on fit into her circle of
a class trip. However, friends. Surrounded by
Margarita witnesses her a world where only the
classmates’ obsession appearance matters, she
for Ariana getting out of is going to see her will
control. As the class trip forced, and therefore will
is overshadowed by a become another victim of
dark secret, Margarita is this society.
confronted with a moral
conflict.
158
JAG TROR JAG VELVET
ÄR LITE KÄR I DIG
PENSO QUE ESTOU Paula Hopf | 2018 | 14:49
NAMORADO DE TI México | FIC | COL
159
CRIATURAS 01.10.2018 | 10:00h
CRIATURES 02.10.2018 | 11:30h
Teatro Principal 03.10.2018 | 10:00h
51m 55s 04.10.2018 | 11:30h
S
ección de cinema LE PHARE PLANTAE
infantil. Películas O FARO
que farán vibrar —e Gilherme Gehr | 2017
pensar— aos máis Quentin Arrius, Damien 13:25 | Brasil | ANI | B/N
pequenos. A mellor forma Contreras, Alan Fra,
de xerar e educar a mirada Daurélia Gazel, Laura Ao cortar unha árbore
do noso público futuro. Gerlier, Ola Ierardi masiva nas profundidades
Children’s film session. 2017 | 07:02 | Francia da selva amazónica, un
These films will make the ANI | COL madeireiro contempla
youngest members of the unha inesperada reacción
family vibrate —and think. Nun cemiterio de botes, da natureza. Unha visión
This is the best way to prodúcese unha relación sobre as consecuencias
build and educate the gaze conflitiva entre dous irreversibles da
of our future audience. veciños: un fareiro e unha deforestación e o
serea. O fareiro guía aos sometemento por parte
botes cara augas seguras, dos seres humanos aos
mentres que as sereas demais seres da Terra.
intentan afundilos. When chopping down
In a boat graveyard, a a massive tree deep in
conflictual relationship the Amazon rainforest, a
takes place between two lumberjack contemplates
neighbours: a lighthouse an unexpected reaction of
keeper and a mermaid. nature. A viewpoint on the
The lighthouse keeper irreversible consequences
guides the boats towards of deforestation and the
safe waters while the submission of human
mermaid tries to sink beings to the rest of the
them. living beings on Earth.
coline@ecolescreatives.com
160
RED & THE KINGDOM RUNNING LIGHTS UNDISCOVERED
OF SOUND LUCES FUGACES SEN DESCUBRIR
161
CURMAOS
Museo das Peregrinacións
03.10.2018 | 19:00h | 66m 30s
D
ende hai un lustro, Curtocircuíto For a lustrum, Curtocircuíto has
mantén un forte compromiso co maintained a strong commitment to the
cinema e a cultura portuguesa cinema and the Portuguese culture that
que se materializa nesta edición is materialised in this edition through
a través do programa Curmaos, que the Curmaos programme, which seeks
busca potenciar a fraternidade entre to strengthen the fraternity between
Galicia e Portugal e ratificar a fortaleza da Galicia and Portugal and ratify the
Euro-rexión Atlántica en materia cultural. strength of the Atlantic Euroregion
Esta afinidade vense traducindo en in cultural matters. This affinity
diferentes accións, como a presencia de translates into different actions, such
xurados portugueses (os directores João as the presence of Portuguese judges
Nicolau e Pedro Maia, a programadora (Directors João Nicolau and Pedro
e distribuidora Salette Ramalho ou Maia, the programmer and distributor
a actriz Ana Moreira), a atención do Salette Ramalho and the actress Ana
festival pola emerxencia das novas Moreira), the festival’s attention due
olladas na sección Púlsar (que xa foi to the emergence of new perspectives
adicada a João Salaviza, Ana Vaz ou in the Púlsar section that was already
Gabriel Abrantes) ou en retrospectivas, dedicated to João Salaviza, Ana Vaz and
como a adicada á produtora O som Gabriel Abrantes) and in retrospectives,
e a fúria, representante da forza do like the one dedicated to the company
cinema portugués e unha das produtoras that produced O som e a fúria [The
portuguesas con máis percorrido, así Sound and the Fury], representative
como unha media de 6 filmes lusófonos of the strength of Portuguese cinema
na Sección Oficial do festival. and one of the Portuguese production
companies with more runs, as well as
Esta liña de acción transcende a propia an average of 6 Lusophone films in the
programación e engloba iniciativas como Festival’s Official Section.
a colaboración de Curtocircuíto con
festivais de cinema como Vila do Conde, This line of action transcends the
PortoPostDoc e IndieLisboa, ou na programming itself and includes
presencia de bandas portuguesas como initiatives such as the Curtocircuíto’s
Ricardo Remedio ou Equations, nos collaboration with film festivals such
concertos musicais do festival. as Vila do Conde, PortoPostDoc and
IndieLisboa, and in the appearances of
Por primeira vez, Curmaos cristalízase Portuguese bands like Ricardo Remedio
nunha sesión panorámica que pon a and Equations, in the Festival’s music
atención no cinema lusófono do último concerts.
ano. Todas estas accións véñense
desenvolvendo coa colaboración e coa For the first time, Curmaos crystallises
cofinanciación do Instituto Camões. in a panoramic session that puts the
attention on Lusophone films of the past
year. All these actions are developed with
the collaboration and co-funding of the
Instituto Camões.
162
PIXEL FRIO DE GENTE SE
PIXEL FRÍO FEZ HISTÓRIA
HISTORIAS DA XENTE
Rodrigo Areias | 2018
15:17 | Portugal Inês Vila Cova | 2017
FIC | COL 18:49 |Portugal
DOC | COL
Eles xestionan un
espazo cultural. El cre na Un museo, un libro e sounds are the starting
evolución tecnolóxica. Ela unha extensa colección point in an attempt to
cre que o amor é estático. de arquivos son o traballo show the tribute that José
Unha última exposición e dun humilde “Caxineiro” Vila Cova craved so much
un último espectáculo. que estaba namorado da to complete. A tribute
They manage a cultural súa terra natal, Caxinas. to his homeland and its
venue. He believes in Os seus arquivos de people.
technological evolution. imaxes e sons son o punto
She believes that love is de partida para intentar agencia@curtas.pt
static. One last exhibition amosar a homenaxe que
and one last show. José Vila con moita ansia
intentou completar. Unha
agencia@curtas.pt homenaxe á súa terra e as
súas xentes.
A museum, a book and
an extensive collection
of archives are the work
of a humble “Caxineiro”
who was in love with this
homeland, Caxinas. His
archives of images and
163
CURMAOS
Museo das Peregrinacións
03.10.2018 | 19:00h | 66m 30s
164
SESIÓNS
ESPECIAIS
SPECIAL
SESSIONS
NOVEDADES CARMINHA X LOIS PATIÑO:
O ESPÍRITO DE PUCHO BOEDO
Teatro Principal
06.10.2018 | 22:30h | 66m 00s
168
KIKOL GRAU
Teatro Principal
05.10.2018 | 17:00h | 157m 00s
169
HELLO HELLO HELLO : LEE RANALDO : ELECTRIC TRIM
Teatro Principal
07.10.2018 | 17:00h | 76m 00s
170
CONCERTOS
+EVENTOS
CONCERTS
+EVENTS
CONCERTOS
CONCERTS
SUNSET ROLLERCOASTER
03.10.2018 | 22:30h
5€ | En colaboración con La Melona /
In collaboration with La Melona
A banda chegou á fama tras a The six-piece shot to acclaim with the
autoedición do seu álbum de debut self-release of debut record ‘Bossa Nova’
Bossa Nova no 2011. Este levounos a in 2011, which led to extensive touring
facer unha extensa xira que culminou culminating in a performance at Japan’s
cunha actuación no prestixioso Summer prestigious Summer Sonic Festival,
Sonic Festival de Xapón, no que foron where they were dubbed “the icons of
alcumados como “as iconas asiáticas do city- pop in Asia”. In Spring 2018, they
pop de cidade”. Na primavera do 2018 released anticipated followup ‘Cassa
publicaron Cassa Nova, cementándose Nova’, further cementing themselves
a eles mesmos como unha “amalgama as “a blissed-out amalgam of Motown’s
súper feliz da era dourada do Motown golden era and mellow ’80s-style synth
e o melodioso synth groove dos 80” groove” (Bandcamp Daily) who persist in
(Bandcamp Daily), insistindo en ampliar broadening their horizons while crafting
os seus horizontes á vez que elaboran captivating melodies that continue to win
melodías cativadoras que seguen them fans across the globe.
conseguíndolles fans por todo o mundo.
174
NIGHTCRAWLER + 16PINEAPPLES
+ NARCOLEPTICA
Nightcrawler
175
CONCERTOS
CONCERTS
FESTA 15 ANIVERSARIO /
15TH ANNIVERSARY CONCERT
BAIUCA + DJ NIGGA FOX
+ DJ FIRMEZA
Baiuca
176
Dj Nigga Fox Dj Firmeza
177
PERFORMANCES
Martin Messier
178
ARREDOR DO SON
AROUND SOUND
179
PERFORMANCES
Rúa Nova
03.10.2018 | 20:00 h
180
ARREDOR DO SON
AROUND SOUND
Mercado de Abastos
06.10.2018 | 13:30 h
181
SESIÓNS DJ
DJ SESSIONS
El Corzo
06.10.2018 | 00:30 h
De balde / Free
182
RADIO 3 /
CAFÉ CON CREA
COFFEE WITH CREA
Cafetería Rhin
01.10.2018 | 20:30 h
183
ACTIVIDADES
ACTIVITIES
ARREDOR DO SON
AROUND SOUND
ARREDOR DO SON
AROUND SOUND
XOÁN-XIL LÓPEZ
Nesta nova entrega de Arredor do Son quixemos utilizar este medio para
achegarnos ao eixo natureza/tecnoloxía como dous aspectos que cada vez
están máis presentes no debate social e, en consecuencia, nos traballos de
numerosos artistas contemporáneos, tal e como se pode ver en boa parte dos
contidos que se enmarcan este ano nas diferentes seccións de Curtocircuíto.
Pero tamén é preciso pensar os modos nos que esa realidade tan complexa
é transmitida e representada dende a escoita, especialmente na produción
audiovisual. A sonidista Amanda Villavieja achéganos á práctica creativa da
captación sonora para cine documental e de ficción convertendo o micrófono
nunha ferramenta caligráfica, mentres Charly Schmukler incida na alquimia
186
do deseño sonoro e no rol que desempeña como un elemento esencial na
construción da narrativa.
In this new series of Around Sound, we wanted to use this medium to get closer
to the nature/technology axis as two aspects that are increasingly present in
the social debate and, as a result, in the work of many contemporary artists, as
can be seen in in much of the content that is outlined this year in the different
sections of Curtocircuíto.
Works like FIELD by Martin Messier, in which he experiments with the residual
frequencies of electromagnetic fields produced by the conglomerate of devices
that surround us daily, or the MELT performance/installation by the Danish
187
ARREDOR DO SON
AROUND SOUND
artist Jacob Kirkegaard, made from sound recordings of the melting of glaciers
made with hydrophones, are two examples of how sound can reveal to us
landscapes otherwise inaccessible.
The whale is also a recurring subject when we approach our relationship with
nature. Almost more geography than animal, in the words of Philip Hoare,
the whale has been equally the object of exploitation and fascination. This
contradictory relationship is present in the filmography of Jessica Sarah
Rinland and in some of the works of the investigator José Luis Espejo on
modern visual and sound culture.
But it is also necessary to think of the ways in which such a complex reality is
transmitted and represented in listening, especially in audiovisual production.
The sound engineer Amanda Villavieja brings us closer to the creative practice
of sound capture for documentary and fictional films, turning the microphone
into a calligraphic tool, while Charly Schmukler focuses on the alchemy of
sound design and on the role it plays as an essential element in narrative
construction.
The purpose of this program is, as in the previous edition, “to claim the place of
the eardrum along with the retina” and to make us aware of the importance of
sound as a means of knowledge and experimentation in the world.
188
OBRADOIROS E SEMINARIOS
WORKSHOPS AND SEMINARS
189
OBRADOIROS E SEMINARIOS
WORKSHOPS AND SEMINARS
Sasha Pas
Como unha idea dunha Escola de Música Sasha Pas é un artista fundador do
para nenos me axudou a redescubrir estudio Playtronica. Pas traballa con
o mundo e a empezar a crear o futuro. prácticas interdisciplinarias explorando
Aprende tocar música en un grupo novos tipos de interaccións entre o home
con froitas e verduras en lugar de usar e a tecnoloxía coa axuda do son como
instrumentos musicais normais. un medio. Os proxectos de Playtronica
exhibíronse no Centre Georges
— Idade: +8 Pompidou (París), ou no Palais de Tokyo
— Duración: 1 hora (París); ademais, Pas participou no
— Grupo: 20 persoas programa paralelo do Moscow Biennial of
— Introdución á música electrónica Young Contemporary Art (2018); Sonar+D
moderna Festival (Barcelona); Loop (Berlín); e no
— Non é necesaria formación musical Performance Pets (Londres).
— Experimenta improvisación nunha jam
en grupo Sasha Pas is an artist and founder of
Playtronica studio. Pas works with
How an idea of a Music School for Kids interdisciplinary practices exploring new
helped me to rediscover the world and types of interaction between man and
to start shaping the future. Learn how technology with the help of sound as a
to play music in a band with fruits and medium. Playtronica projects have been
vegetables instead of ordinary music exhibited at Centre Georges Pompidou
instruments. (Paris), and Palais de Tokyo (Paris); Pas
has also participated in the parallel
— Age: 8+ program of the Moscow Biennial of
— Duration: 1 hour Young Contemporary Art (2018); Sonar+D
— Group: 20 persons Festival (Barcelona); Loop (Berlin);
— Introduction to modern electronic Performance Pets (London).
music
— No musical background needed
— Experience improvisation in a group
jam
190
ARREDOR DO SON
AROUND SOUND
Nos últimos anos vimos como o son leads us into the world of sound design
adquiriu unha gran relevancia na for films and videogames, dealing with
industria da creación audiovisual, non issues such as language and audiovisual
só como un accesorio, senón como un production, immersive sound, and audio
elemento con indiscutibles capacidades post-production techniques.
narrativas. Neste proceso, o deseñador
de son desempeña un papel vital Charly Schmukler
tomando decisións que determinarán
de forma drástica o resultado dunha Participou como responsable de son
produción cinematográfica. Partindo en máis de 50 longametraxes nacionais
da súa experiencia no mundo da e internacionais e gañou numerosos
creación sonora, froito dunha longa premios pola súa labor como sonidista,
traxectoria, Charly Schmukler, un dos recibindo o Goya ao Mellor Son no
máis reputados sonidistas nacionais, 2014 pola súa labor en Las brujas de
introdúcenos no mundo do deseño Zugarramurdi, de Alex de la Iglesia. Un
sonoro para cine e videoxogos tratando dos seus últimos proxectos, a película
temas como a linguaxe e a produción Campeones de Javier Fesser, representará
audiovisual, o son inmersivo, ou as a España na vindeira edición dos Premios
técnicas de produción de audio. Oscar. Actualmente é profesor na
Diplomatura de Son na ECAM e no SAE.
In recent years, we have seen how sound
has gained great importance in the He has participated as Sound Director in
industry of audiovisual creation, not only more than 50 national and international
as an accessory but also as an element feature films and has won numerous
with indisputable narrative capabilities. awards for his work as a sound engineer
In this process, the sound designer plays winning the Goya for Best Sound in 2014
a vital role in taking decisions that will for his work on Witching and Bitching
drastically determine the result of a film by Alex de la Iglesia. One of his latest
production. Starting from his experience projects, the film Champions by Javier
in the world of sound creation, as a Fesser, will represent Spain in the next
result of a longstanding professional edition of the Oscars. He is currently a
career, Charly Schmukler, one of the teacher in the Sound Programme for a
most renowned national sound artists, diploma at the ECAM and the SAE.
191
CONFERENCIAS
TALKS
192
ARREDOR DO SON
AROUND SOUND
193
CONFERENCIAS
TALKS
A historia común das baleas e as persoas The common story of whales and
é unha das máis populares do século XX. people is one of the most popular of
É unha historia asociada coa morte e a the 20th century. It is a story associated
predación. Curiosamente, entre as liñas with death and predation. Curiously,
desa historia, hai un relato insospeitado between the lines of that story, there is
e preciso da visión e a escoita humana an unsuspected and accurate account
así como do papel destes dous sentidos of human vision and listening as well as
na historia moderna. O mal é sempre the role of these two senses in modern
humano é un proxecto en proceso history. Evil Is Always Human is a project
do investigador José Luís Espejo que underway from Jose Luís Espejo that
relata o papel que tivo o corpo da balea tells of the role that the body of the
no desenvolvemento do capitalismo whale has had in the development of
actual a través da análise das imaxes e current capitalism through the analysis
sons que os seres humanos crearon ou of the images and sounds that humans
captaron destes mamíferos mariños. A have created or captured from these
balea é tamén un suxeito recorrente na marine mammals. The whale is also
filmografía de Jessica Sarah Rinland, a recurring subject in Jessica Sarah
na que aparece como un punto de Rinland’s filmography in which it appears
partida que lle permite tratar cuestións as a starting point that allows her to deal
vinculadas coa ecoloxía, a historia, a with issues related to ecology, history, the
representación dos animais no cine, o representation of animals in the cinema,
medio ambiente ou os cambios culturais. the environment or cultural changes.
194
José Luis Espejo
José Luis Espejo organiza eventos e José Luis Espejo organises events and
exposicións, investiga e dá clases. exhibitions, researches and teaches
Estudou historia do arte en Madrid, classes. He studied Art History in Madrid,
Bos Aires e Oxford, e nos últimos Buenos Aires and Oxford and in recent
anos centrou as súas investigacións years has been focusing his research
nas relacións entre o arte e a cultura on the relationship between art and
da escoita. Participou en proxectos the culture of listening. He participated
autoxestionados como Mediateletipos in self-managed projects such as
e UrsonateFanzine. É asesor musical no Mediateletipos and Ursonate Fanzine. He
Museo Reina Sofía e coordina o módulo is a music consultant at the Reina Sofía
de Teoría e Historia no Mestrado de Museum and coordinates the Theory and
Industria Musical e Estudos Sonoros na History module in the Music Industry and
Universidade Carlos III de Madrid. Sound Studies Master’s programme at
the Carlos III University in Madrid.
195
OBRADOIRO
WORKSHOP
NARRATIVA E LINGUAXE
CINEMATOGRÁFICO: CURSO DE CINE
PARA PROFESORADO DE SECUNDARIA
E BACHARELATO
NARRATIVE AND FILM LANGUAGE:
CINEMA COURSE FOR SECONDARY
EDUCATION AND A LEVELS FACULTY
JORGE CANTOS
Programa
196
This course is a user-friendly training
programme for Secondary Education and
A Levels Faculty. It proposes a theoretical-
practical approach to the different
elements that make up the audiovisual
narrative, as well as film language. The
main objective of the course is that
participants acquire sufficient knowledge
to develop analytical and critical thinking.
It starts in the creative processes of the
audiovisual medium and includes the
basic tools to introduce audiovisual art
into the classroom.
197
MESA REDONDA
ROUND TABLE
198
PROGRAMA
199
ACTIVIDADES PARA ESTUDANTES
STUDENTS ACTIVITIES
CANTEIRAS Contido
CGAC
— Presentación do centro e do proxecto
03.10.2018 | 10:30 - 12:30 h — Selección de pezas a proxectar
Entrada de balde para centros ata — Coloquio arredor da experiencia de
completar capacidade / Free admission realización das pezas por parte dos
for Centers while seating is available participantes.
Prazas / seats: 200
Canteiras is an activity incorporated
into Curtocircuíto’s programming that
showcases educational initiatives for
the cinema within our community
Canteiras é unha actividade integrada and the educational centres in all of
na programación de Curtocircuíto co Galicia. Canteiras aims to be the exhibit,
obxectivo de poñer en valor iniciativas showcase and promoter of model
de educación para o cine dentro da nosa practices that enable students to know,
comunidade e dos centros educativos de interpret and express themselves
toda Galicia. through audiovisual creation and
reflection on audiovisual objects.
Canteiras quere ser a mostra, a posta
en valor e a medio de promoción de Canteiras 2.0
prácticas modélicas que capacitan ao
alumnado para coñecer, interpretar The basic idea is to bring together two
e expresarse a través da creación initiatives within the field of education
audiovisual e a reflexión entorno aos for the audiovisual sector and to share
obxectos audiovisuais. experiences, exchange ideas, ways of
proceeding, approaches, perspectives,
Canteiras 2.0 models, proposals, perceptions, opinions,
conclusions and doubts so that we can
A idea básica é a de facer confluír dúas pursue fostering dialogue between
iniciativas do ámbito da educación quality initiatives that promote literacy
para o audiovisual e que compartan and audiovisual creativity within the
experiencias, intercambien ideas, formas Galician community.
de proceder, enfoques, perspectivas,
modelos, propostas, percepcións, Centres
opinións, conclusións e dúbidas de
maneira que persigamos fomentar o IES As Barxas (Moaña) | IES Concepción
diálogo entre iniciativas de calidade Arenal (Ferrol)
que promoven a alfabetización e a
creatividade audiovisual dentro da Content
comunidade galega.
— Presentation of the centre and the
Centros project
— Selection of the pieces to be screened
IES As Barxas (Moaña) | IES Concepción — Colloquium on the experience of
Arenal (Ferrol) filming the pieces by the participants.
200
EQUIPO
TEAM
Dirección artística / Artistic Direction: Pela del Álamo Coordinación xeral / General
Coordination: Martín Cañedo Programación / Programmers: Pela del Álamo, Pixi
Arnoso, Izaro Bo Responsable técnico e control de copias / Technical Management
& Print Traffic: Pixi Arnoso Coordinación de invitados / Guest Coordinator: Marta
Díaz Coordinación de contidos / Catalogue & Web Coordination: Alicia Alonso
Comunicación / Communication: Andrea Villa, Julia Sánchez Redes / Social Media:
Cibrán Tenreiro Asistente de dirección / Assistant Director: Brais Romero Asistentes
de programación / Assistant Programmers: Xulián Sambade, Coque Dosil Xefe de
produción / Production Manager: Pablo Comesaña Produción de actividades /
Activities Production: Coque Dosil, Pablo Comesaña Produción de concertos e
eventos / Concerts & Events Production: Coque Dosil, Xulián Sambade Produción
de invitados / Guest Production: Melina Regueira, Gabi Martínez Asistencia
convidados / Guests Assisstance: Mon Rivas Departamento pedagóxico / Education
Department: Coque Dosil Tradución invitados / Guest Translation: Adrián Ramos
Auxiliar de producción / Production Assistant: Jorge Po Hermo Deseño / Design:
Juan Junquera Vídeo: Leo López Fotografía / Photography: Aigi Boga Asistente vídeo e
deseño / Video and Design Assistant: Emilio Horyaans Tráfico de copias & fees / Print
Traffic & Fees: Filmika Galaica Subtitulado / Subtitling: Adrián Ramos Traducións /
Translations: Veneatra Dambreville, Andrés Corral Web / Website: Numax
Auditorio de Galicia: Xaquín López, Silvia Modia, Mª Jesús Busto, Miriam F. Louzao,
Ana Parga, Ángeles Otero, Ángela Pereira, Carlos Millán
AGRADECEMENTOS
ACKNOWLEDGEMENTS
Aarón Rodríguez Serrano, Alberto Lechuga, Anxo Bernárdez Agrafojo, Becca Voelcker,
Celia Parra, Copynino, Enric Albero, Izaro Bo, Jorge Lorenzo de Finca a Lavandeira,
José María Rodríguez Armada, Lorenzo Zuazua, Louise Rinaldi, Manuel Iglesias, Miguel
Mariño, Miriam Rodríguez, Natalia Marín, Novedades Carminha, Teófila Noemí Ruiz,
Sarah Domínguez, Uxía Caride, Adrián Canoura, Alfonso Blanco, Ángel Santos, Antón
Reixa , Antonio Durán Morris, Anxos Fazáns, David Melero, Dolores Ben, Felipe Lage,
Jorge Coira, Lois Patiño, Lucía C. Pan, Lucía Villar, Mamen Quintas, Manolo González,
Margarita Ledo, Marián Sande, Nieves Rodríguez, Oliver Laxe, Pancho Casal, Pepe Coira,
Sandra Sánchez, Silvia Fuentes, Silvia Rubio, Sonia Méndez, Xacio Baño, Xaime Fandiño,
Curtas Vila do Conde, Festival Punto de Vista, Academia Galega do Audiovisual (AGA),
Asociación de actores e actrices de Galicia (AAAG), Asociación Galega de Produtoras
Independentes (AGAPI), Asociación Galega de Profesionais da Dirección e Realización
(CREA), Asociación Sindical Galega de Guionistas (AGAG), Centro Galego de Artes da
Imaxe (CGAI) - Filmoteca de Galicia, Clúster Audiovisual Galego, Filmoteca Española, La
Melona, Televisión Española (TVE), Universidade de Santiago de Compostela (USC).
202
NOTAS
NOTES
—Organiza—
—Medios colaboradores—