baluarte - punto de vista...baluarte pza. baluarte s/n 31002 pamplona prize: €3 from friday 24...

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TIME TO FLY

All films are flight otherwise they are not films. After blowing out the candles to mark our tenth anniversary and becoming consolidated at our Baluarte airport, the festival is back, full of films that are raised from the ground with a dance of air and mystery. It is time to fly. The FLYING programme will feature the wind –how to trap it-, the clouds –how to observe them- or the air –how to cross it-. 40 films will present us with the two faces of the impossible dream for man and other air walkers.

The Central Region has one more short film than in other years, making a total of 18 films in a round and solid official section. An even number, 18 films in which two local contributions stand out: David Arratibel and Aitor Gametxo, nearby filmmakers who have spent hours in cinema seats and now show us the miracle which consists of moving onto the screens. Perhaps it is also converse: going from a spectator to a filmmaker.

Seniority, with Luciano Emmer, who made almost one hundred films and we present his less known and more personal treasures here: his films on art, a discipline that is sometimes as elusive and difficult to trap as air itself.

Youth is concentrated in X Films with three filmmakers who have gone from being promising and bring us their consolidated career, such as María Cañas, Pilar Monsell and Omar Razzak and the much awaited world premiere of the film selected in 2016: Velasco Broca and his New Altar.

Special sessions that take us from a Pelota Evening with two documentaries that Jorgen Leth made on this sport separated by 30 years to the latest discoveries in Chez les Basques – including one of the first embossed films by the Lumière brothers, our landscape in three dimensions. Portraits with Alan Fleischer and the emotional tribute to Luce Vigo, daughter of Jean Vigo and the festival’s godmother, to whom this edition is devoted following her recent death.

Oteiza, the great heterodox, the biggest challenge for our programming or how to organise four sessions with an artist who never made a film and whose ideas were noted down on paper. This session presents two unpublished super8 films made by Oteiza and a priceless sound archive narrated in his own voice to hear in the hall: Speech to the man in the film darkness.

This is also the last edition by this Artistic Director, who bids farewell with an invitation to continue dreaming beyond the screens with The Fifth Wall programme. Twelve metro stations outside the cinemas which invite us on a journey through the city and its surrounding area to experiment and participate in what may be the film of the future, films similar to the theatre where reality abandons the screens and goes on stage. The man who flees enters film, Oteiza told us in the 1960s. Today, perhaps the man who flees leaves film and we will follow him wherever he goes.

Oskar AlegriaArtistic Director

Tribute to Luce VigoThursday, March 9th, 17h

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Official Section – The Central Region9 feature length films and 9 short films are in the running for the Punto de Vista Grand Prize for Best Film, the Jean Vigo Prize for Best Director, the Prize for the Best Short Film, the Audience Prize, and the Youth Prize.

FLYINGThe human desire to fl y, but also the birds, the composition of air, every-human desire to fly, but also the birds, the composition of air, every-day life in airports, how astronauts feel, the acrobatics of springboard divers, the mesmerising power of clouds, the sheikhs’ passion for fal-cons, man’s attempts at being a winged creature, news from air walkers and so on. A theme illustrating the Festival’s narrative and aesthetics and offering endless possibilities for poetry and visual impact.

Luciano Emmer: From the racconto to the essayThis retrospective takes a diptych approach to Luciano Emmer’s art film: three sessions to explain the change from story to essay; from his initial dramatisation proposal of painting to the art film-essay in his last twenty years, when he decided to explore documentary films in the first-person, rethinking and explicitly citing his own previous films.

The Fifth WallIn a constant effort to reinvent itself as a documentary film festival, the 11th Punto de Vista will feature The Fifth Wall, a programme tracking documentary film into new havens or spaces in a modern, much needed, review of the new collective forms of chronicling reality.

Hunter HuntedHunter hunted is the expression when the director of the fi lm inadver-is the expression when the director of the film inadver-tently creeps into the background of an image in a shooting oversight. There are fetishists who collect them. Here, beyond the fetishism, the portraitists of these five figures are looking for them to be the close-up that reveals details that are blurred in the distance: Jean-Luc Godard, Ab-bas Kiarostami Chris Marker, Raoul Ruiz and Manoel de Oliveira.

Heterodocsias: Oteiza, the filmmaker without cinemaHow can we organise a retrospective on a filmmaker who never made a film? How can we put together a series of programmes that unveil his ideas on screen? Are we before the great heterodox? Someone who did not finish a single film aware of the fact that his idea was always superior to the result? At Punto de Vista, as lovers of c hallenges, we have leapt into the unknown and assumed the risk of filling four afternoons of film devoted to the non-existent work of Jorge Oteiza.

Special screeningsThe festival will devote the eleventh edition to Luce Vigo and will programme a tribute session with L´Atalante, the legendary film by Jean Vigo, and Crossing Paths with Luce Vigo, a portrait filmed by Jem Cohen during one of Luce’s visits to Pamplona. On wednesday Baluarte will hold a Pelota Evening with two documentaries about our local sport filmed by the great danish filmmaker Jørgen Leth. The member of the jury Alain Fleischer will introduce two of his celebrated portraits. On saturday, three new discoveries of Chez les basques.

X Films ProjectPunto de Vista is once again offering three Spanish filmmakers the chance to make an audiovisual creation in Navarre. María Cañas, Pilar Monsell and Omar A. Razzak will be presenting their projects, and the winner chosen by the X Films Committee will receive funding to direct a documentary film that will premiere at the 2018 edition of the Festival.

All Official Section films are screened with subtitles in English

TICKET SALES

BALUARTEPza. Baluarte s/n 31002 Pamplona

Prize: €3From Friday 24 February until 6 March, from 11am to 2pm, and from 5pm to 8pmAfter Monday 6 February, from 9:30am to 2pm, and from 4:30pm to 10:30pm

SALE OF THE CATALOGUE AND THE BOOK “OTEIZA AL MARGEN”

Fondo de Publicaciones del Gobierno de Navarra(C/ Navas de Tolosa, 21) and Baluarte Main Hall during the festivalCatalogue price: €5Book price: €15

BUSES

On Avd. del Ejército: 4, 8, 9, 10, 12, 15 and 18On Padre Moret: 16 and 17On Yanguas and Miranda: 10, 17, 19 and 22More information available at http://www.mcp.es/transporte

OTHER VENUES OF THE FESTIVAL

Teatro GayarreAvda. Carlos III, 1

Filmoteca de NavarraPaseo Antonio Pérez Goyena, 3From Baluerte Bus number 12.

PRACTICAL INFORMATION

FESTIVAL VENUEBALUARTEPza. Baluarte s/n. 31002 PamplonaTelephone number: 34 948 066 066

FESTIVAL OFFICEOpening hours: 9:30am to 2pm and 4:30pm to 8pmE-mail: [email protected] number: 948 066 199 / 948 066 200Website: www.puntodevistafestival.com

Imprime: Imprenta Zubillaga S.L. Depósito Legal: NA 164-2016

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SUNDAY, MARCH 5TH

19:00 Teatro GayarreThe fift wall

MARUJA ENAMORADA

Dir: Vivi Tellas. With Maruja Bustamante and Inti el Hermoso, 70’

A Biodrama appears each year in Argentina, which is a theatre play where what

is performed is real following a script with what is known as: minimum fiction

threshold. More specifically, Maruja Enamorada is a play that deals with the

hypothesis of love, a romantic documentary in which Maruja Bustamante relives

all of her love affairs, which she has experienced in reality without inventing

anything, whilst moving forward with her story.

Masterclass by Vivi Tellas after the show (20:30)

MONDAY, MARCH 6TH

10:00 Cámara AuditoriumOfficial Section - The Central Region (76’)

GREEN SCREEN GRINGO

Douwe Dijkstra. Netherlands, Brazil. 2016. 16’

WE MAKE COUPLES

Mike Hoolboom. Canada. 2016. 60’

More info on page 10

12:30 Cámara AuditoriumOfficial Section - The Central Region

NORMAL AUTISTIC FILM

Miroslav Janek. República Checa. 2016. 90’

Far from being just another film on autism, inverts the mirror and does not present the autistic as different people, it’s a true film about people with hobbies who de-dramatise their daily life with their humour and desires. Using a direct visual style and a casual pace in the editing, often accompanied by some piano notes, this choral portrait of a group of autistic teenagers challenges us to enter the screen

and cross their mirror.

17:00 Cámara AuditoriumHunter Hunted

MORCEAUX DE CONVERSATIONS AVEC JEAN-LUC GODARD

Alain Fleischer. France. 2016. 125’

Portrait of Godard whilst preparing the Travel(s) in Utopia exhibition at the

Georges Pompidou Centre. It is the culmination of successive reinventions,

which began with his phase as a critic for Cahiers du Cinéma in the 1950s,

and continued with his revolutionary fiction in the 1960s, his essays in the

1970s, his return to essay fiction in the 1980s, and the coronation of all his work

with Histoire(s) du cinéma. FLYING 10.Aerophile.

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17:00 Gola RoomFLYING 2: BIRDS (after Hitchcock) (106’)

Five films present us with a set of winged creatures as kings of the air to the envy

of man and other inhabitants of the land. Pigeons, ravens with a superhuman

speech and falcons from the oil countries, animals that have had their wings cut

and now fly in private jets.

AVIARY

Katherin MacInnis. USA. 2013. 5’

Vivisection in film of the winged animal that has surpassed man in a mystery:

how to connect two points for communication. The artist, Katherin MacInnis,

portrays the armies through a marathon of palpitating archive images in black

and white, a tribute to the flight of these heroines of the air, like another tribute

to the unknown soldier.

ORNITOGRAPHIES

Xavi Bou. Spain. 2017. 4’

Muybridge and Marey’s chronophotography taken to an extreme and raised to

something more poetic: making the invisible visible. The result is forms and

figures that fly over our heads, leaving a mark that is as full as beauty as it is

an enigma.

WE FLY AGAIN

Alexandru Vlad. Romania. 20’

The raven is the object of study in this fable that this young Rumanian filmmaker

traces through dreamlike images where there is no lack of human recreation of the

animal. It is a satire that also reflects our prejudices and leaves us without arguments

when we prefer the song of a goldfinch to this intelligence of black wings.

THE ART OF FLYING

Jan Van Ijken. Netherlands. 2015. 7’

A hypnotising short film on the mysterious and suggestive flight of starlings in

large flocks. The result of this plague-flight is the dance of a formless mass that

creates changing shapes in the sky with the skill and malleability of a hive. The

choreography is perfect: the flight of each one is the flight of all of them.

THE CHALLENGE

Yuri Ancarani. Italy, France, Switzerland. 2016. 69’

Falcons no longer fly with their own wings, they contemplate the clouds from

the window inside the private jet that carries them. Yuri Ancarani in his ironic

observational portrait tells us that the hunting of these birds of prey is none

other than image, which puts the owners in the sky and traps the animals alive.

With the presence of Xavi Bou and Alexandru Vlad

17:00 Corona RoomLuciano Emmer 1: Racconto (91’)

Journey through Luciano Emmer’s first creative stage, from his discovery of the

dramatisation of painting to the outbreak of the mass tourist.

RACCONTO DE UN AFRESCOLuciano Emmer. Italy. 1940. 10’

Biography of Christ told in images from Giotto’s murals in the Scrovegni Chapel in Padua, and edited using the language of fiction film. This small experiment on the dramatisation of painting, in which documentary film, fiction and animation come together, revolutionised the field of film art forever. .

PARADISO TERRESTRELuciano Emmer. Italy. 1941. 11’

Tale of the expulsion from Eden based on the exuberant paintings by Bosco. In this short film, the system of editing fragments of contemporary classical music with which the beginning of Racconto da un alfresco was being built, before having to commission Roman Vlad to make an original soundtrack on copyright grounds can be appreciated.

ISOLE NELA LAGUNALuciano Emmer. Italy. 1948. 13’

In Isole nella laguna Emmer pans the islands of the lagoon, their empty spaces, their few inhabitants who create artesian masterpieces without ever smiling. The images of both films return half a century later to conjure up Venice at the end of the century destroyed by tourism in Nostalgia.

LEONARDO DA VINCILuciano Emmer. Italy. 1952. 46’

In his most ambitious art film to date, winner of the Golden Lion at the Venice Film Festival, Emmer throws all of his cinematographic creativity into going through Leonardo da Vinci’s notebooks, seeking a balance with the pedagogical and critical tendency of art film, along the lines of the critofilms by Carlo Ragghianti and particularly Rubens (1948) by Henri Storck and Paul Haesaerts.

LA SUBLIME FATICALuciano Emmer. Italy. 1966. 11’

La sublime fatica is based on the commission to film the sculptures by Michelangelo in the year of the fourth centenary of his death, for a short film with Charlton Heston that would originally accompany the premiere of El tormento y el éxtasis. At the last moment, Fox broke the contract, but Emmer turned the commission towards a critical and ironic look at the mass tourism that was starting to invade Italy in the 1960s, highlighted by chirping music and the obsessive gaze of the wide-angle camera, in dialogue with the verses written by the sculptor in the 16th century.

20:30 - Cámara AuditoriumOPENING FILMFLYING 1

IL CASTELLOMassimo D’Anolfi, Martina Parenti. Italy. 2011. 90’

What can and cannot fly through the skies? A young boy from Paraguay with

9 cocaine eggs in his stomach? Red bream that may contain arms? A woman

who loses her ticket and is forced to live in the airport bathroom? All of these

questions are raised in this cas-tle that the pair of filmmakers from Milan,

Massimo D´Anolfi and Martina Parenti, built when they locked themselves in

their city’s airport, Malpensa, to capture everything that went on there during

four seasons.

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TUESDAY, MARCH 7TH


WASTE no.2. WRECK

Jan Ijäs. Italy. 2016. 11’

TREBLINKA

Sergio Trefáut. Portugal. 2016. 61’



COLOMBI

Luca Ferri. Italy. 2016. 20’

THE HOST

Miranda Pennell. UK. 2015. 60’.



GREEN SCREEN GRINGO

Douwe Dijkstra. The Netherlands, Brazil. 2016. 16’

Reality is presented in a new way before our eyes. A green screen opens up

through the crowd to reveal the contrasts of a country that is going through

political upheaval, but never loses its passion for music, art and pace of life.

The result is a reflection that is as bold and committed to Brazilian society as a

protest song to the rhythm of samba.

WE MAKE COUPLES

Mike Hoolboom. Canada. 2016. 60’

Resistance, desire, capitalism… Everything is put through Mike Hoolboom’s

blender in this film that sums up the beginning of our century in a brilliant film

essay proposal. Edited over six years, we are faced with a lucid reflection in the

form of a collage on the art of producing images, with the echoes of the cinema-

going and the social turmoil of the Occupy movement to Pussy Riot. Images to

digest, not to consume.

With the presence of Douwe Dijkstra

17:00 Gola RoomFLYING 3: His highness, THE BUTTERFLY (72’)

Film experiments on the flight of the butterfly as a film metaphor that is

transformed and transforms us. The testimony of an animal, the filmmaker, who

is capable of burning his wings in his tireless flight towards the light.

MOTHLIGHT

Stan Brakhage. USA. 1963, 4’

First film miracle: animating what cannot be animated. The maestro Brakhage,

with his entomologic eye, brings this collection of night butterfly wings to life after

they are found lifeless, having been burnt by a lamp and which the filmmaker

decides to resuscitate by sticking the wings directly onto a 16mm film.

PAPILLON D’AMOUR

Nicolas Provost. Belgium. 2003, 4’

Second film miracle: create a metamorphosis of what has been filmed. The

Belgian visual artist designs a new film through fragments of Rashomon by

Akira Kurosawa, developing a mirror effect to become the magical appearance

of a chrysalid that uses its wings to finally disappear by vanishing into thin air.

LE BATTEMENT D’AILES D’UN PAPILLON

Aleksandr Balagura. France, Ucraine, Italy. 2008. 64’

Third film miracle: immortalise the memory. Everything is flight in this film full

of unfinished films: aeroplanes over an unknown Kiev, seagulls in a long calm

night and Muybridge’s pigeon flapping its wings in front of the camera which is

repeated like a mantra. Flight as a metaphor, the memory works here like the

beating of the wings of a butterfly, with its individual fragility but devastating

effect when done all together.

With the presence of Aleksandr Balagura

17:00 Corona RoomLuciano Emmer 2: Racconto to essay (81’)

One of Emmer’s main documentaries on art and his re-appropriation and

rewriting in the first person half a century later.

PICASSO

Luciano Emmer. Italy, France. 1954. 41’

For the first great exhibition devoted to Picasso in Italy in 1953, Emmer was

commissioned to make a documentary on the painter from Malaga. He set just

one condition: to allow him to film Picasso working at his Vallauris studio. The

film would become one of the great milestones in the relationship between

Picasso and the film industry.

INCONTRARE PICASSO

Luciano Emmer. Italy. 2000. 40’

Half a century after his documentary on Picasso, which was cut into various

short films in Italy in order to distribute it more easily, Emmer returns to his

own material to re-appropriate it and transform it: it would no longer be the

asymmetric tale of an anonymous filmmaker who observes the genius painter in

amazement, but a work created in complicity between the two authors reflecting

on their two expressive means.

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NORMAL AUTISTIC FILM

Miroslav Janek. Czech Republic. 2016. 90’

More info on page 6

20:00 Gola RoomFLYING 4: Vertical look (56’)

An invitation to place your hands behind your head, lied down in the grass and

look upwards and to do so wordlessly. With the permission of James Benning:

seven skies.

SKY BLUE

Maki Satake. Japan. 2003. 1’

First look at the sky more through touch than vision. Maki Satake’s video poems

present the brief magic of the haiku where the artist’s hands always appear

manipulating the image. Their fingers cut out a piece of sky to turn it into a paper

plane. Magic to start with, the sky rotates and the sky flies.

TWO SKIES

Lukas Marxt. Germany. 2013. 4’

The vertical look of this second proposal focuses on the marine horizon, filmed

twice from a gas platform in the Norwegian Sea: at dawn and at dusk. Here, the

enigma lies in the combination. The Austrian artist places these two seas in the

image, one facing upwards and the other facing downwards.

DES NUAGES AUX FÊLURES DE LA TERRE

Philippe Cote. France. 2007. 18’

A sky in black and white, filmed in super8, highlighting the film grain, it’s

alternated with colour in this wonderful feast of clouds in all of their geometries

and volumes: fleeting clouds, palpitation of cumulus, halos that dance in a

thousand figures.

HEATHROW

Dryden Goodwin. UK. 1994. 13’

The accessible sky within reach of one’s hand, under the gaze of the great

British drawer, Dryden Goodwin. We take off. Anxiety, passengers like ants,

planes that lift their nose into the wind, the pulse of the huge London airport.

On it, Goodwin draws us a sky with two faces where “a mystical refuge and a

fear of the blue void” is experienced. Passengers return. Relaxation. We land.

PROXIMITY

Inger Lise Hansen. UK. 2006. 4’

A sky inverted in four different moments and atmospheres gives the ground

the privilege of taking the superior role for a few moments and dominating the

image. What is solid becomes ethereal and offers us a thousand changing

shapes. Inger Lise Hansen with her typical look from another hemisphere, her

own upside-down world.

Amorante concert.Friday, March 10th 21:30h

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TRANQUILITYSiegfried A. Fruhauf. Austria. 2010. 6’

A woman on the beach travels lying down through the air with her gaze. The

voice of Neil Armstrong warns us that we have reached the sea of tranquillity of

the title, whilst the waves and the water help the flight. The sky is like a patch of

dense shapes that palpitate, seen from the spacesuit of an astronaut satisfied

with the world and with himself.

CLOUDSPeter Gidal. Reino UK. 1969. 10’

Peter Gidal closes this journey through the skies with his vertical look that plays

at nothing: the sky is often devoid of image, no more than a subtle presence

of air on the screen. However, suddenly a plane crosses it and our illusion is

disrupted once more… until the next time… nothing and something in perpetual

air play.

20:00 Corona RoomHeterodocsias: About Oteiza I (64’)

PAISAJE DESOCUPADOJuan Carlos Quindós de la Fuente. Spain. 2015. 12’

Based on the writings of Jorge Ramos Jular, who analysed Jorge Oteiza’s work

in accordance with evolving spatial categories, Quindós tackles the mural of

the Apostles as a topographic landscape in which Oteiza’s sculptures occupy a

virtual horizontal position, once more looking up to the sky and receiving the rain

with open arms, like they did for many years in a nearby ditch..

HARRIAREN ERRESISTENTZIAGillermo Zuaznabar. Spain. 2003. 15’

Like a collage, the film revolves around an article written by Josep Quetglas

and Gillermo Zuaznabar which analyses Jorge Oteiza’s work, located on the

International Bridge (1971), between Irun and Hendaya. It does not have

objective pretensions, but the images infect the look of their observers and

condemn them to listen to the hidden secret kept.

SIETE VIGÍAS Y UNA TORREManuel Asín. Spain. 2007 37’

For over forty years, Jorge Oteiza marked culturally key places with stones and

metal, sensitive points on the map. Unnoticeably, he put statues in watchtowers

and landscape fronts, as watchful and protective signs. His friend, the architect,

Francisco Javier Sáenz de Oíza, finally built his house in Alzuza, his tower, like

a defensive fort

With the presence of Gillermo Zuaznabar and Manuel Asín

20:00 Teatro GayarreThe Fift wall

NADIA

Documentary theatre play on the experience of Nadia Ghulam, a young Afghan

refugee who came to Barcelona in 2006 after suffering the ordeal of the civil war

in her country. She explains her true story, without performances, screening real

images and documentary material.

20:00 Filmoteca de NavarraFLYING 5: Portrait of a bomber

B-52Hartmut Bitomsky. USA, Switzerland, Germany. 1998. 104’

The great German documentary maker, Harmut Bitomsky, made a portrait of one of these monsters of the sky in this film at the end of the 1990s, the mythical B-52 bomber, which is a portrait of North America’s command of the sky in our century. In his peculiar style, the director from Bremen does not stay in the air and also seeks the other side on earth. Bitomsky gives the voice to the American pilot who launched 2,250 tonnes of bombs and then interviews the Vietnamese man who found his wife cut into two in his demolished house.

With the presence of Hartmut Bitomsky

22:30 Cámara AuditoriumHunter Hunted: Tribute to Abbas Kiarostami

TAKE ME HOMEAbbas Kiarostami. Iran. 2016. 16’

The last Kiarostami’s short film features a “football” in the main lead. The philosophical and thematic meanings can be derived by the viewer with their own instinct.

76 MINUTOS Y 15 SEGUNDOS CON ABBAS KIAROSTAMISeyfolah Samadian. Iran. 2016. 76’

Premiered at the Venice Film Festival, two months after his death, with 76 minutes and 15 seconds with Abbas Kiarostami we find ourselves before a series of fragments of his life and work over several years, devoid of interviews not even in voice-over or declarations that back them up, forming an honest tribute with a background that is as spiritual and revealing as the films by the great Iranian maestro.

22:30 Gola RoomFLYING 9: Icarus and company (56’)

The legend of the son of Daedulus and the topic of the fragility of his wings is revisited from different points of view, but through a common pulse: failure as a significant part of the flight and its regeneration.

TEN MINUTES BEFORE THE FLIGHT OF ICARUSArunas Matelis. Lithuania. 1990. 10’

The prelude to the flight. The film takes us through an old city, Uzupis, inside an even more ancient city, Vilnius, and invites us to visit its ruins, but this historic decadence is only present in the foreground. The expertise of Arunas Matelis hides behind a latency-imminence that something is going to take off but it is unknown what. His film, his country, both things?

FALLTom Dewitt. USA. 1971. 16’

Using changes in colour, superimpositions and multi-perspectives, his tale mixes men falling with the silhouettes of eagles and fleeing clouds, in a tale of Icarus which somehow transmits the immortality of the legend: the man falling through the air in classical Greece is the same as the man free falling centuries

later in the Twin Towers.

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THE FALL OF IKAR

Yuri Shiller. Russia. 2003. 30’

Yuri Shiller’s Icarus follows Beckett’s saying: “Ever failed. Fail better”. Filmmaker

of landscapes and peasants, his gaze, full of wise slowness, rests on one of

these anonymous heroes unaware of his feat, even when he is filmed in his

village. He hides his treasure in his garden: an ultra light plane that he himself

built with which he dreams of leaving the earth.

22:30 Corona RoomLuciano Emmer 3: Essay

Three essays from Emmer’s final stage, built from an ongoing dialogue between

looking and memory.

NOSTALGIE


For the retrospective devoted to Balthus in Venice in the year of his death,

Emmer remembers the city where he grew up. To do so, he uses his filmed

memory, his two short films from half a century ago, Isole nella laguna and

Romantici a Venezia.

BELLA DI NOTTE


Emmer was commissioned by Rai 2 to make the official documentary on the

reopening of the Villa Borghese in Rome and its extraordinary collection of works

of art. The filmmaker, like all the other times, re-appropriates the commission

and turns it into something else: a night-time journey in the first person through

his memory and his experience as a child in this place.

CON AURA…SENZ’AURA: VIAGGIO AI CONFINI DEL ARTE


Essay self-portrait, a testament film of Emmer guided by Leonardo, Benjamin

and Proust, the eighty-year-old filmmaker embarks on a journey inside

the Pastena cave (but imagining Lascaux) in search of the origin of art.

Simultaneously, he gradually goes back in his memory to the beginning of his

film career, allowing the capacity of suggestion of the shapes that come before

him to set the thought mechanism in motion.

WEDNESDAY, MARCH 8TH


FOYER

Ismaïl Bahri. Tunisia, France. 2016. 31’

Tunis “observed” through the surprising filter of a blank sheet of paper placed

just a few centimetres from the lens, whose shape changes in colour with the

vibration of the wind and the sun light and covers the vision, hiding the external

image, but not its sound. A risky slide that best reflects the reality and the

turbulent social context of his country paradoxically by hiding it.

LAND WITHINJenni Kivistö. Finland, Colombia. 2016. 60’

The native Wayuu live in the La Guajira Desert, located between the extreme

north of Colombia and Venezuela. They do not consider themselves to be

citizens of either of the two countries. Through an observational staging, the

Finnish filmmaker also begins to question her own country and this is when she

feels a strange connection and discovers that the word “maa” means “land” in

Wayyu and in her native Finnish.


L’ABCDAIRE DE L’AMOUREUSE D’UN PHOTOGRAPHE

Anahit Simonian. France, Spain. 2017. 29’

CONVERSO

David Arratibel. Spain. 2017. 61’



WASTE no.2. WRECK

Jan Ijäs. Italy. 2016. 11’

Rabbit Beach in Lampedusa has recently been voted the best beach in the

world on TripAdvisor. Located between the coasts of Italy and Tunisia, the

Mediterranean island is also the most tragic point in the drama of immigration

that plagues us today. The challenge: to make a film about immigrants without

showing them.

TREBLINKASergio Trefáut. Portugal. 2016. 61’

Voices during the night, trains between the fog, naked bodies in the railway

wagons that travel across the east of Europe guided by the ghosts of the Nazi

extermination. Two questions: if the Holocaust can be told in a different way,

perhaps it is because everything is never told. And secondly: if poetry existed

during Auschwitz, perhaps it can also exist afterwards.

With the presence of Jan Ijäs and Sergio Trefáut..

1918

17:00 Gola RoomFLYING 6: The winged camera (79’)

The camera flying through the air to the glory of art, the exaltation of beauty or espionage. The end of the perspective, with the look of God and film abandoned in the sky.

GAMELANClaudio Caldini. Argentine. 1981. 12’ The Argentinean filmmaker invents a device like a Davidian sling to which he ties his camera and he makes it turn and turn around the landscape whilst filming. The result: earth, sky, earth, sky and once more earth, sky, in a circular film that appears to accompany the planet Earth in its rotational drifting.

BIT PLANEBureau of inverse Technology. USA. 1999. 14’ The camera is perched on the wings of a spy plane at the end of the 1990s on its maiden flight by the most protected place on the planet: Silicon Valley. This BIT is the name of the information agency that makes this successful experiment on the wings of a controlled plane and offers us a small big brother to see the greatest of polygons of our era from the sky.

END OF PERSPECTIVEAnton Ginzburg. USA. 2015. 21’

The Hudson River Valley, which was one of the leading landscapes chosen by the North American romanticism painters in the middle of the 19th century, is the journey through the air of two drones which put the New York based filmmaker Anton Ginzburg into orbit. With brushstrokes that are now mechanised, the first conclusion is clear: perspective is ended from the sky.

30KMSimon Faithfull. UK. 2003. 32’

Final flight in this programme which is a pilotless journey by the British artist, Simon Faithfull, a veteran of the air, who likes to test the law of gravity in each piece and in this case, the stratosphere too. The journey here is presented in this way: it starts with a face, that of the artist in a close-up releasing a camera on a weather balloon in the countryside of the south of England, and the final destination is none other than the final edge of space.

17:00 Corona RoomSpecial sessions: Alain Fleischer, two portraits

ALAIN FLEISCHERAlain Fleischer. France. 2002. 13’

À LA RECHERCHE DE CHRISTIAN B.Alain Fleischer. France. 1989. 45’

The first is an autobiographical journey through his discovery of Photography: from his first questions about the paths of the image and the word, to the increasingly sophisticated construction of objects, slides, fictions; from the first photograph of a nude woman (his sister) to his monumental erotic projections on urban architecture. The second, In Search of Christian B., is a tale told in the first person that tries to bring together some pieces that refer to his artist friend, who he had known more than twenty years earlier: images of recent or old films, images of places or installations, or images that simply remind him of him.

With the presence of Alain Fleischer

Official Section The Central Region.

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20:00 Gola RoomBosgarren horma

INOIZ IKUSI GABEKO PELIKULAZinemarekin hitzordua fede-aitor gisa. Ikusten ez den horretan sinesten dutenentzako. Proiekzio sorpresa. 40’ (Euskaraz)

20:00 Corona RoomThe Fift wall

LA PELÍCULA JAMÁS VISTAUna cita en el cine como acto de fe, solo apta para los que creen en lo que no se ve. Proyección sorpresa. 40’ (Spanish)

20:00 Cámara AuditoriumSpecial sessions: Pelota evening

PELOTAJørgen Leth. Denmark. 1983. 47’

One of the best historic documentaries on pelota, which shows that good films, like wine that is carefully blended, ages to perfection. The film travels through the passion and the anthropology of those who play in the streets and in the small porticos of the churches. The game is attached to the village or the village is attached to the game, which at times is not the same, as seen clearly in the film.

PELOTA IIJørgen Leth, Olatz González Abrisketa. Denmark, Spain. 2015. 71’

Thirty years after making Pelota, the Danish filmmaker Jørgen Leth returns to the Basque countryside to film a new documentary on the star sport. This time, he is accompanied by the anthropologist, Olatz González Abrisketa. The return visit is full of surprises in time: the then champions are now coaches and there is a new generation willing to leave their hands on the court.

With the presence of Olatz González Abrisketa


COLOMBILuca Ferri. Italy. 2016. 20’

Mr. and Mrs. Colombi is a love story that challenges the passing of time. She cannot move by herself. He helps her to eat with a spoon. Together, they feel lucky, isolated from all the changes in this world. Their retreat is one of absolute symbiosis, without children. Almost a century later, together they gradually lose their strength but not their lucidity.

THE HOST Miranda Pennell. UK. 2015. 60’.

The Host combines the filmmaker’s personal memory with collective memory and shows the trick of a well armed matryoshka doll: how a family film can contain a whole country as well as a search for a personal mirror in which oneself is reflected. Using the keys of essay film, the director delves into the past of her parents as former British Petroleum workers in Iran. The investigation reveals the other side of the country and takes the form of a huge international allegation.

With the presence of Miranda Pennell

22:30 Gola RoomFLYING 8: Air Walkers

Under Ionesco’s verse, some inhabitants who transit the sky are presented: bird

men, ski jumpers, divers, springboard divers, parachutists and other illustrious

challengers of gravity who make the air their home.

DEATH JUMP - FRANZ REICHELT JUMPS OFF THE EIFFEL TOWER

Unknown. France. 1912. 2’

One of the most famous flights in the city of lights, that of the Austrian tailor,

Franz Reichelt, who showed the effectiveness of a parachute suits in tests with

dolls that he had previously performed from the window of his apartment. One

day, he got permission to try it out from the Eiffel Tower, but once up there, he

wanted to be the jumper. His dream: feeling the wings that, like Leonardo, he

had dreamed of sewing throughout his life.

DEL TUFFARSI E DELL’ANNEGARSI

Paolo Gioli. Italy. 1972. 11’

Diving is the aquatic version of air floating. The great Italian experimental

filmmaker presents us with one of his brief film essays on the bodies that enter

the water after a fleeting flight without knowing what awaits them in the depths.

A fixed photo combined with waves of water, a mirror effect, solarised and

overlapping jumps, everything is valid in the Gioli collage. If diving and flying

are synonyms, drowning can be a fatal fall. However, nothing denies the beauty

of a winged body suspended in the air like a dagger that threatens the water.

CLOCKSHOWER

Gordon Matta-Clark. USA. 1973. 13’

Pedestrian in the sky of Broadway who follows in the footsteps of Harold Lloyd

in Safety Last in his own tribute-satire of film. The artist Gordon Matta-Clark, son

of surrealism and ill-fated in his short career by pancreas cancer, challenges life

without nets and he does so as he knows best: as a space artist. Hanging from

the Clocktower in Manhattan, he washed, shaved and brushed his teeth there,

making the air his home sweet home.

THE GREAT ECSTASY OF THE WOODCARVER STEINER

Werner Herzog. West Germany. 1974. 43’

Werner Herzog confesses that his frustrated dream of becoming a ski jumper

led him to conquer the air through his camera and film. His portrait of Steiner,

who he follows on the slopes just a few centimetres from his flight, has traces

of a hagiography that tries to capture that angelical moment which has passed

into our film heritage with the priceless soundtrack by Popol Vuh, in this flight

slowed down to 20% of a hero of the sky.

CARNICEROS DEL AIRE

Enrique Urdanoz. Spain. 1992. 25’

Passion for flight is increasingly seen in these Quixotes of aviation, who risk

their lives in each outing and for whom the statistics say that 90% will not return

with life one day. Their objective is to carry meat from the lost jungle to the

other side of the Andes in Bolivia and on the return journey they pass over the

snowed summits overloaded with 7,000 kilos in home-made planes that they

themselves repair. Enrique Urdanoz from Pamplona uses his camera skills to

capture one of these last goldsmiths of the wind: Captain Walter Ballivián.

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22:30 Corona RoomHunter Hunted

CHRIS MARKER: NEVER EXPLAIN, NEVER COMPLAIN

Jean-Marie Barbe, Arnaud Lambert. France. 2016. 146’

Posthumous portrait of Chris Marker (1921-2012), the elusive French filmmaker-

essayist, traveller, photographer and cat-lover. Two filmmakers, Jean-Marie

Barbe and Arnaud Lambert, propose a chronological journey through his

thoughts and cinematographic work.

THURSDAY, MARCH 9TH


CIDADE PEQUENA

Diogo Costa Amarante. Portugal. 2016. 19’

CICHA SYMFONIA (A SILENT SYMPHONY)

Aitor Gametxo. Spain, Poland. 2016. 25’

ISLANDS OF FORGOTTEN CINEMAS

Ivan Ramljak. Croatia. 2016. 35’



FROM VINCENT’S HOUSE IN THE BORINAGE

José Fernandes. Belgium, Portugal. 2016. 18’

5 OCTOBER

Martin Kollar. Slovakia, Czech Republic. 2016. 50’



CIDADE PEQUENA

Diogo Costa Amarante. Portugal. 2016. 19’

Frederico learnt at school that when the heart stops, people die. Terrified, he

could not sleep that night. To protect him, his mother moved to the country with

him, in full contact with animals and nature, where they enjoy the peacefulness

of the place with parsimony and amazement. Alongside them the filmmaker

himself, who imagines the world from the eyes of a sleeping child through the

inevitable passing of time, creating a dance between reality and fiction which

finally challenges his childhood.

CICHA SYMFONIA (UNA SINFONÍA EN SILENCIO)

Aitor Gametxo. Spain, Poland. 2016. 25’

The unpronounceable Wroclaw in Poland, city of changing borders, is now, like

all cities, the scene of noise and melodies that deaf people are unaware of.

Throughout a day, we are witness to an extraordinary silent symphony made

up of visual rhymes, conversations, everyday moments, childhood emotions

and pleasures that normally go unnoticed, but here they are rediscovered in

the most comfortable of silences. It is a symphonic portrait of a resoundingly

familiar city.

ISLANDS OF FORGOTTEN CINEMAS

Ivan Ramljak. Croacia. 2016. 35’

Among the remnants of what was once a popular cinema, the echo of a voice

that remembers its prosperous past on the Croatian islands sounds. Through

anecdotes and personal memories of the older locals, they take back to a time

when the cinema and its atmosphere were still the centre of society. A requiem

for film as a collective experience and at the same time a celebration of its

essence in constant metamorphosis with the world.

With the presence of Diogo Costa Amarante, Ivan Ramljak and Aitor Gametxo

17:00 Gola RoomFLYING 7: The base of the air is red. And green. And blue. (120’)

Three experiments to capture the hardest thing in film: the wind. Three looks

that are heard for what is not seen and once more present us with man faced

with the mystery of the unattainable.

MAÎTRE-VENT

Simon Quéheillard. France. 2012, 22’

An inventory of winds trapped with a curious device: the artist from Bordeaux

places piles of cardboard boxes, plastic bags and other light elements in the

ditch of a series of French roads. The filmed traffic causes the gust as it passes

by and makes the improvised towers shake or fall, depending on the force of

the wind that the vehicles create as they go past. Between conceptual and

burlesque, in this first attempt to trap the wind, the air enters the scene with

all of its invisibility.

PLASTIC BAG

Ramin Bahrani. USA. 2009. 18’

Herzog tells us, in his beautiful English, the story of a plastic bag that sails

through the air in a mad love race in search of its creator, which ends in harsh

criticism of a world and an ocean that is increasingly polluted. It is a journey

through the air that takes us to the depths of the human being. The air is not as

clean as it appears to be.

UNE HISTOIRE DE VENT

Joris Ivens, Marceline Loridan. France. 1988. 80’

This film is a chair on the horizon. A chair on which a tired filmmaker sits to fulfil

his final dream: trap the wind. It does not matter in which desert or in which

point of lost Asia this chair is placed, as the tired filmmaker will make it there to

do what he has always done: wait. In search of the wind, his rucksack is filled

with the poetic side: a kite exhibition, a mask that creates air with its fierce

blowing and the trunk where all the winds hide.

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17:00 Corona RoomSpecial sessions: Tribute to Luce Vigo

CRUZANDO CAMINOS CON LUCE VIGO

Jem Cohen. Spain. 2010. 11’

As a prelude to this tribute to Luce Vigo, “the guardian angel of Punto de Vista”,

we present this gem that unites two of the most illustrious visitors. Perhaps what

can be highlighted is something that is not usually mentioned in the synopsis:

kind-heartedness. It must be mentioned because it is transmitted in the final

result and it is doubly noticed when he who is making the portrait and the

portrayed look at each other from the heart. One looks, the other speaks. The

French visitor walks through her house. The visitor from New York follows her

almost arm in arm. It starts to rain, time to put on a hood, Luce tells us about

her childhood, her father and cinema... the bench where she sits will always be

the Luce Vigo bench.

L’ATALANTE

Jean Vigo. France. 1934, 89’

It is the chronicle of a man before an empty bed, the most famous film scene

before some recently abandoned sheets, a frustrated honeymoon aboard a

barge that is as full of cats as it is of dreams. It is a collage of kisses that

roll around on themes floor, a milonga devoted to a disagreement, an essay

on slovenliness on a never-ending river. It is the tune of an accordion that

sings to eyes the colour of the weather, a film that is submerged to capture a

nameless dance under the water, the song to the dumbness of a man who runs

towards a horizon that moves away. It is the best tribute to the daughter of an

unrepeatable filmmaker, the memory of her time on our table, her eternal smile

in one of our squares. It is L´Atalante.


L’ABCDAIRE DE L’AMOUREUSE D’UN PHOTOGRAPHE

Anahit Simonian. France, Spain. 2017. 29’

How to film a word? How to listen to a photograph? How to tell of a love life

in just 26 words? How to put what does not fit into life in a dictionary? In the

celebration of what we call beauty, Anahit Simonian, fascinated by the oneiric

universe of the French photographer Guillaume Poussou, picks up a camera

for the first time in her life –she is a composer– and documents the rhythm of

his creative process. Reality fragmented by letters, art encapsulated in voices,

numbering and listing as the best container for what moves us.

CONVERSO

David Arratibel. Spain. 2017. 61’

A film about a church organ, family, harmony and something even more difficult:

faith. Intelligently dismounting the classic format of the interview documentary

(don’t forget Converso also comes from the verb to converse), the director sits

on a chair that becomes a confessional of others and his own, asking questions

in front of a mirror that is none other than the mirror of the house. A family film

with a personal search and a huge cinematographic question: If the Holy Spirit

enters our home, is it possible to make a film on it?

With the presence of Anahit Simonian and David Arratibel

Heterodocsias: Oteiza, the filmmaker without cinema

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20:00 Gola RoomHeterodocsias: About Oteiza II (70’)

A LA SOMBRA DE PERKAIN

Fernando Pagola. Spain. 2010 6’

The images show the movement of the pelota player on the court. The language

is simple, abstract and with clear references to the 19th century pioneers, Marey

and Muydbrige. The movement is generated with the distortion of the body

itself, like Kerstez had already suggested in 1932. The athlete’s body without

any adornment.The space without references. Greece and the Basque world.

The myth. Stone and flesh.

SOROA

Asier Altuna. Spain. 2014. 13’

Arid soil, sun, wind.

A procession crosses the landscape.

The echoes of their prayers bring the rain.

CASA VACÍA

Jesús Palacios. Spain. 2012. 20’

Empty House is a journey around the ruins of this house in Irun, in which the

artists Jorge Oteiza and Nestor Basterretxea lived between 1957 and the

mid-1970s. While we are exploring this dark and empty space a dialogue is

established between the images of the present and the materials of the past.

OTEIZA

Itziar Añibarro. Spain. 2008. 9’

This piece is based on the sculptural work The Fourteen Apostles of Arantzazu,

by Jorge Oteiza. It is an interpretation of the work by this artist, through dance

and poetry, in which the core concept is the idea of the emptiness of the

material. The body is a sculpting material and poetic language, a ballet of bodies

creating spaces to fill them with spirituality. The poem becomes the support for

movement, in a visual narration filled with symbolism.

MAKING OF DE OTEIZA: APÓSTOLES Y RECLUSOS

Itziar Añibarro. Spain. 2008. 32’

Now the prisoners are the ones who speak and tell their experiences in the

workshop, but also in their approach to the figure of Oteiza.

With the presence of Fernando Pagola, Asier Altuna and Itziar Añibarro

20:00 Corona RoomX Films: María Cañas, Pilar Monsell, Omar A. Razzak (90’)

CINE PORCINO, VIDEOMAQUIA Y RISASTENCIA (30’)

María Cañas

Session programme: My Pigman, Moribunda, Toro’s Revenge. (2005-2006),

Dios se ríe en las alturas, Holy Thriller (2011), Al toro bravo échale vacas (2015),

Al compás de la marabunta (2015), Meet my meet N.Y. (2007) and excerpts

from Fuera de serie (2012), La mano que trina (2015), Sevillana, la Sevilla del

diablo (2013).

ÁFRICA 815 (30’)

Pilar Monsell

Excerpts from África 815 (2013).

INTERLUDIO (30’)

Omar A. Razzak

Excerpts from Paradiso (2013), La tempestad calmada (2016) and Torpe (2017).

With the presence of María Cañas, Pilar Monsell and Omar A. Razzak


FOYER

Ismaïl Bahri. Tunisia, France. 2016. 31’

LAND WITHIN

Jenni Kivistö. Finland, Colombia. 2016. 60’


22:30 Gola RoomFLYING 2: BIRDS (after Hitchcock) (106’)

AVIARY

Katherin MacInnis. USA. 2013. 5’

ORNITOGRAPHIES

Xavi Bou. Spain. 2017. 5’

WE FLY AGAIN

Alexandru Vlad. Rumaine. 20’

THE ART OF FLYING

Jan Van Ijken. The Netherlands. 2015. 7’

THE CHALLENGE

Yuri Ancarani. Italy, France, Switzerland. 2016. 69’

Más información en la página 8


RAOUL RUIZ, CONTRA LA IGNORANCIA FICCIÓN

Alejandra Rojo. France. 2016. 63’

“Of the many men who I am, who we are, I can’t find a single one”. This quote,

which opens a poem by Neruda, can serve us as a compass for Alejandra Rojo

to enter the unfathomable and varying work of the Chilean filmmaker, Raoul

Ruiz, who lived in France and died in 2011, having directed over a hundred films,

many of which are lost and may others yet to be discovered.

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FRIDAY, MARCH 10TH


EUROPE, SHE LOVES

Jan Gassman. Switzerland. 2016. 97’

Can love survive in a Europe that has been severely hit by the global economic

crisis? To find out the answer, we look at the inner landscape of diverse

European cities, from Dublin to Seville and from Thessaloniki to Tallinn, where

four young couples expose their feelings to the rhythm of their bodies, giving

in to passion to overcome their differences and daily woes, those of a society

on the edge.


LA DEUXIÈME NUIT

Eric Pauwels. Belgium. 2016. 75’



FROM VINCENT’S HOUSE IN THE BORINAGE

José Fernandes. Belgium, Portugal. 2016. 18’

The reading of a letter addressed to his brother, Theo, is the metaphoric starting

point of this suggestive immersion into the work and places inhabited by

Vincent Van Gogh at a key moment in his artistic life, when he abandoned his

faith to rediscover the world of painting in the Belgian mining town of Borinage.

Pure oil images that take the shape of a mysterious and elusive dream like the

great Dutch maestro.

5 OCTOBER

Martin Kollar. Slovakia, Czech Republic. 2016. 50’

Facing a life or death operation, Ján flees away and escapes with the only

companion of his bicycle. His destination: inland Slovakia, where he lives

surrounded by animals and becomes a hermit trying to assimilate what could

be his final days. His other destination: his inner self, is presented to us through

the pages of a fatal diary that advances like a countdown, with a date marked in

red: 5th October, the day of the operation.

With the presence of José Fernandes

17:00 Gola RoomFLYING 7: The base of the air is red. And green. And blue (120’)

MAÎTRE-VENT

Simon Quéheillard. France. 2012, 22’

PLASTIC BAG

Ramin Bahrani. USA. 2009. 18’

UNE HISTOIRE DE VENT

Joris Ivens, Marceline Loridan. France. 1988. 80’


17:00 Corona RoomLuciano Emmer 1: Racconto (91’)

RACCONTO DE UN AFRESCO


PARADISO TERRESTRE


ISOLE NELA LAGUNA


LEONARDO DA VINCI


LA SUBLIME FATICA


More info on page 9


LA DEUXIÈME NUIT

Eric Pauwels. Belgium. 2016. 75’

Following the death of his mother, the filmmaker, Eric Pauwels, dedicates this

heartfelt love letter in the form of a film to her, aware of the fact that the world

has changed totally after her disappearance. Through the images that he keeps

of her, everyday objects and childhood memories, ephemeral feelings and

literary quotations, we are given an intimate diary in which wisely reflect on how

to learn to look at our world through the eyes of those who are no longer with us.

With the presence of Eric Pauwels

20:00 Gola RoomFLYING 10: AEROPHILE (63’)

The passion for flight started with the Lumière brothers filming the flight of a

dirigible balloon twice. A century later, airspace is extended like a huge human

laboratory to challenge vertigo and gravity.

EXPÉRIENCE DU BALLON DIRIGEABLE DE M=SANTOS-DUMONT: II

Association frères Lumière. France. 1901. 1’

In addition to the exit of workers and the arrival of trains, the creators of this

“invention without a future” also film the first steps to travel through the air.

Aboard his device, the French-Brazilian, Alberto Santos-Dumont, creator of the

dirigible balloon and the first man to have three diplomas of the air: balloon,

zeppelin, aeroplane. Behind the camera, one of the operators at the Lumière

factory. New born film and aviation, at the beginning of the century, looking at

each other strangely..

3130

PANORAMA PRIS D’UN BALLON CAPTIFAssociation frères Lumière. France. 1898. 1’

Another air jewel from the Lumière brothers, this time with the camera going up in the air in the basket of a hot-air balloon. The opposing shot to this film appears in the catalogue of the film factory in Lyon, the same flight but filmed from the ground, of which only a photograph has been preserved. The seventh art is christened in the air with an image of a lad who moves away from the ground.

ANTIGRAVITACIJA (ANTIGRAVITACIÓN)Audrius Stonys. Lithuaine. 1995. 20’

Just by seeing the shot of the old Lithuanian woman who is enjoying the air on her face with her eyes closed and a look of satisfaction from the heights of the bell tower in her village… it is worth kneeling down to watch this film. An angelical silent black and white film is used with the lyrical outlook of Audrius Stonys, who has already visited Punto de Vista to speak to us about silence and is now back to give us a breath of air.

METEORMatthias Muller, Christoph Girardet. Germany. 2011. 15’

Wonderful collection of film childhoods, from Oliver Twist, Léaud in The 400 Blows, Caussat and Bruel in Detroit Rock City and the great Pascal Lamorisse in his unease after losing his red balloon. The magic of this mixture is to make children fulfill the same dream, childhood on the pillow of fear and innocence. And mystery. The great art of this pair of filmmakers-collectors who always create films with their own sense based on scenes that have already been filmed by others.

SPINMartin Hansen. Germany. 1986. 8’

A dervish hanging from the sky, relentlessly turning in this dance video that questions the law of gravity and plays with the wind and its currents until the sky becomes a place to hold infinite acrobatics. If man decided to walk upright, a future step could be to do so through the air. Hansen repeats this to us in this reflection-song on lightness.

ORBITGiuseppe Boccassini. Italy, Germany. 2016. 15’

Orbit, ignition, landing on the moon, Italian-born Boccassini deploys his dictionary of images to take us on the conquest of space in this beautiful visual fable in the form of a circle in which the saga in the universe begins and ends with shots –the less evident and the least seen – from the Twin Towers disaster – the cruellest air stunt of our century. Among them, a collage of flights take place in the sidereal darkness, with capsules and motherships, lunar craters and airborne strolls in which the astronaut maintains an umbilical cord with the spaceship as if space were the most beautiful and close-up image of a journey to its own origin: the maternal embryo

ATLASJakub Korselt. Czech Republic. 2013. 3’

Outside. Night-time. A film that is like zooming out or exiting a tunnel backwards or entering a black hole, depending on how you look at it. El The young Czech filmmaker presents us with his own goodbye to the earth in a smooth journey to the end of the constellations, as the best way of closing our programme on flight

and its circumstances. We are going, but we don’t know where to.

Pelota eveningWednesday, March 8th, 20h

3332

20:00 Corona RoomHeterodocsias: Oteiza, the man who flees

Third session on the artist from Orio in which we offer his greatest and scarce

film treasures from his archive, making them all the more valuable. It is a session

especially built for the festival and never shown, in which two super8 films shot

by Oteiza himself will be put on screen, as well as sound recordings that he left

with instructions and ideas on film creation, along with some other emotional

surprises.

URBIA (SUPER 8 FILM SHOOT BY OTEIZA)

Jorge Oteiza. (1960 aprox) Spain. 8’

Film from which the header for this year’s Punto de Vista emerged and the

jewel of Jorge Oteiza’s film archive, in which most of the Super8 that have been

preserved are not an archive register but a film attempt, like the positioning of a

sculpture or the filming of a day of regattas. However, this is not so in this case.

In Urbia, the film begins with a family purpose - the recording of an excursion-,

but it is soon forgotten and becomes something else. Soon, Jorge Oteiza is

captivated by the surrounding landscape: capturing all of the silhouettes of the

mountains that surround him, playing with the profile that cuts the sky through

his movements in a feast of images and dance of shapes that is reminiscent of

a Vertov of the terrain. It is Oteiza with the camera.

DISCURSO AL HOMBRE EN LA OSCURIDAD DEL CINE

Sound archive recorded by Oteiza. 11’

Healing from Death was going to be the title of the collection of poems by Oteiza

- God Exists to the North West, published in 1990. Jorge Oteiza left several

notes with this title and we have also found this sound archive in this section,

which has the air of some notes for this future book, but was finally a text that

was never published. It is a brilliantly narrated declaration in which Jorge Oteiza

directly addresses the man who flees, telling him about several of his film ideas,

and his commitment to the moment and his lack of memory.

OPERACIÓN H

Nestor Basterretxea, with the participation of Jorge Oteiza. Spain. 1963. 12’

Film commissioned by Juan Huarte which served to promote his industry,

but which also gave Nestor Basterretxea and Jorge Oteiza the opportunity

to experiment with cinematographic material as if it were sculptural. The final

script of what was filmed is by Nestor Basterretxea, but it is known that Oteiza

participated with various of the ideas (Jorge himself said the story of a screw

should be told in this film) and he ended up in the credits as a sculptor in a

film that explores the metaphor of the industrial methods of production and

distribution..

CÓMO FILMAR UNA ESCULTURA

Filmed testimony by Jorge Oteiza. Spain. 1989. 3’

In front of a camera, Oteiza records a series of corrections explaining his

dissatisfaction with the filming of his sculptures. Seen today, the testimony is

a gift to understand the sculptor-filmmaker’s idea of how to film a sculptural

work and which music should accompany it in the subsequent editing, how the

camera should pan in and out in a journey of shapes and how Anton Webern is

the musician that is above all the notes. It is a small lesson that will serve us to

watch the last of his films in which Oteiza preaches by example, filming his own

sculptures in Aranzazu.

ARANZAZU (SUPER 8 FILM SHOOT BY OTEIZA)

Jorge Oteiza. Spain. (1969 aprox) 2’

Another film from Oteiza’s archive that escapes from the family register and has

a film intention. Oteiza uses his camera to record his frieze of the 14 Apostles

in Aranzazu (Gipuzkoa), probably in the year in which it was installed in 1969,

following the controversy in which they were left forgotten in a ditch for a dozen.

That’s why this Oteiza with his camera in hand is a victorious Oteiza who looks

from one side to the other of the work that has now been installed.

21:30 - Baluarte main hall / free entry

CONCERT AMORANTE

Amorante is the personal project of Iban Urizar, a classically trained musician

with a career of two decades under his belt, related the experimental music

scene and free improvisation in the Basque Country in projects like Bizarra or

Mengele Quartet. He has composed soundtracks for documentaries, short films

and spots and he is currently developing his solo project, combining traditional

and popular music with experimentation and improvisation, but without losing

track of the concept of song as a vehicle of expression.

22:30 Cámara AuditoriumPremiere X Films 2016

NUEVO ALTAR

Velasco Broca. Spain. 2017.

A parish without a priest. Another priest is temporarily tending the congregation.

He faces the Demon or even worse.

With the presence of Velasco Broca

22:30 Gola RoomOfficial Section - The Central Region

EUROPE, SHE LOVES

Jan Gassman. Switzerland. 2016. 97’



O CINEMA, MANOEL DE OLIVEIRA E EU

João Botelho. Portugal. 2016. 81’

A photograph is the starting point for this manifesto made through the deepest

admiration for Manoel de Oliveira (1908-2015), the most important figure in

the history of Portuguese film. His filmography crossed the 20th century and

entered into the 21st century accompanied by a timeless breath of extraordinary

modernity, whether adapting to the great writers of his country or reviewing the

History of Portugal.

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SATURDAY, MARCH 11TH

11:00 - Sala BulevarX Films

PRESENTATION OF PROJECT X FILMS

María Cañas, Pilar Monsell and Omar A. Razzak will present their submissions

for the X Films project to the selection committee.

17:00 Cámara AuditoriumSpecial sessions: Chez les basques

EUSKADI

René le Henaff. Francia. 1936. 22’

Three-dimensional films existed 80 years ago. Louis Lumière, at that time the

creator of the cinematograph, patented a new invention in 1935: 3-D film. For

several years, dozens of productions were made using this system, but finally it

did not take off. Interestingly enough, one of the first films made with Lumière’s

3-D process was “Chez les Basques”, or in other words, in the Basque lands

to the north of the Pyrenees. This is another film milestone to add to the series

of documentaries we covered at Punto de Vista 2015 under this heading. On

this occasion, it is a cinematographic poem called Euskadi, filmed by René Le

Henaff (René Clair and Marcel Carné’s editor), where the Basque landscapes

and cultural practices highlight the strength of the recently premiered third

dimension on the screen.

BASKER: A FILM ON THE NORTH OF SPAIN

Dan Grenholm, Lennart Olson. Sweden. 1963. 24’

Filmed in the winter of 1963, Basker is an ethnographic documentary film in

which scenes of the Basque culture and landscape is brought to the Swedish

audience with masterly cinematographic skill. The document begins in Navarra

with the Ituren and Zubieta carnival and observes the procession of its joaldunak

(cowbell carriers). The folklore is followed by sport with a pelota game in Bergara

and the rural sports of stone dragging with oxen and ram fighting, both filmed

in Aia. The film also captures magical moments, such as an aurreskus (dance)

competition in Abadiño, the beautiful sound of the txalaparta (wooden percussion

instrument) at the Bilandegi farmhouse in Martutene and the priceless bickering

between the bertsolaris (verse singers), Uztapide and Basarri. An open window

to Sweden in the 1960s and a treasure for our audience today.

BONDE I BASKERLAND: A FIML ON THE PYRENEES

Dan Grenholm, Lennart Olson. Sweden. 1963. 17’

Inseparable from Basker, Bonde i Baskerland rounds off the unique joint portrait

of the Basque Country by Grenholm and Olson. Focusing on rural life, the

film brings out the more ethnographic side and shows, in addition to beautiful

images of the landscape and some towns in the north of Navarra. The document

concludes with golden images only for Basquologists: the great musician,

Maurizia Aldeiturriaga on the pandereta (tambourine), alongside her husband,

Vancio Bernaola, playing a jota in Spanish in the kitchen of their farmhouse in

Elixabiti (Artea-Bizkaia).

17:00 Gola RoomHeterodocsias: Oteiza, the man who flees

URBIA (SUPER 8 FILM SHOOT BY OTEIZA)Jorge Oteiza. (1960 aprox) Spain. 8’

DISCURSO AL HOMBRE EN LA OSCURIDAD DEL CINE Sound archive recorded by Oteiza. 11’

OPERACIÓN HNestor Basterretxea, with the participation of Jorge Oteiza. Spain. 1963. 12’

CÓMO FILMAR UNA ESCULTURA Filmed testimony by Jorge Oteiza. Spain. 1989. 3’

ARANZAZU (SUPER 8 FILM SHOOT BY OTEIZA)Jorge Oteiza. España. (1969 aprox). 2’

More info on pages 32 y 33

17:00 Corona RoomLuciano Emmer 3: Essay

NOSTALGIELuciano Emmer. Italy. 2001. 9’

BELLA DI NOTTELuciano Emmer. Italy. 1997. 28’

CON AURA…SENZ’AURA: VIAGGIO AI CONFINI DEL ARTELuciano Emmer. Italy. 2003. 58’


20:00 Cámara AuditoriumClosing ceremony

OTEIZA AND THE MOON (60’)

An audiovisual theatre performance created by the festival rounds off the edition and its leading themes. Jorge Oteiza in the flesh and blood invites on a stroll through his ideas on flight to discover the cave in Isturitz where a magical txistu made out of a vulture’s wing bone by prehistoric man will fill the sky and the gala with magic or his project on a cemetery in Ametzaga, where his idea for an empty airport will put us in communication with a final flight. Written by Oskar Alegria and staged by Ion Martinez, the scenes will be interspersed with the presentation of the Festival awards and will precede another guest on this journey towards the moon: the film, Our Century by Artavazd Pelechian.

OUR CENTURYArtavazd Pelechian. Armenia. 1983. 49’

“Our Century is a film about us, about me, about what I‘m striving for, what we‘re all striving for every person, humanity. And this desire to ascend, to transcend, is literally embodied in the cosmonauts“, says Pelechian of his longest and un-doubtedly most vertical film, a geometric definition that he himself defends for all of his films. The Armenian director’s distance montage fulfils an ecstasy in this festival of propellers and wings, where biplanes and zeppelins, parachutists and aviators, crowds and triumphant marches through showers of confetti are repeated with those that the film re-veals in its space race.

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Closing ceremony.Oteiza and the moon,Saturday, March 11th, 20h.

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Colaboran / Laguntzaileak / Collaborate

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