SEFF is gathering steam and the positive energy is spreading to filmmakers and public. After the excitement of the opening and the first screenings, the rhythm is gradually building up and there are more and more people enjoying themselves and creating those moments we appreciate so much at the festival, where meetings and discussions continue non-stop and so much cinema – in all its dimensions- is concentrated in so few square meters. Yesterday we saw Albert Serra’s press conference about his film La muerte de Luis XIV, in which he recounted some curious details, such as that the ante-project was a performance that was going to be installed in a museum and it ended up becoming a film. The screening of La muerte de Luis XIV left no one indifferent and the following discussion was held in a packed cinema with everyone enjoying the peculiarities of this imposing film which stars Jean-Pierre Léaud. We also had Ado Arrieta, talking about his fascination with the concept of ‘time’. He said about Belle Dormant “all my films are dream-like, in which what matters is time and sleep”.
There was also time for the Andalusian Panorama reception, which all the directors of short and feature films attended to present their films and celebrate the support which SEFF gives to directors who produce their films from Andalusia. Antonio Morales, director of Marisa en los bosques: “If I make films it’s because I love watching films and talking about films”; Helena Madico, co-writer Madres Invisibles: “The film’s thesis is that loving isn’t a crime. There is a great need to break the gap of inequality and give visibility to the women who choose to be single mothers or mothers in secret in Morocco; Jorge Molina Arroyo, co-director de La voz en lucha, a documentary on Manuel Gerena, “The last representative of protest flamenco. Also, just 40 years ago Gerena was forbidden to sing in the Lope de Vega Theatre and now we are back with his documentary”; Mar Díaz, director of Spanish Dancer: “Antonio Moreno was an Andalusian actor who triumphed in Hollywood in the 20s, he was a superstar”; José Luis Tirado, director of No, un cuento flamenco: “Our film is titled 'no' because at times it is necessary to say no. It is a musical fiction film, a contemporary, urban opera”. Also in this section are short and feature length films such as Cántico or Aunque tú no lo sepas. La poesía de Luis García Montero.
In the afternoon we had coffee with Federica Di Giacomo, director of Liberami and Rita Azevedo, director of Correspondencias, a moment when directors such as Alonso Valbuena or Carlos Rivero (from other festival sections) were also present sharing impression with both directors. The Alameda Theatre was packed for Hernán Zin’s film, Nacido en Siria, which aroused great expectation and emotions in the public. We also saw Gurumbé. Canciones de tu memoria negra and Le Parc, by Damien Manivel, a film enjoyed from the front row by Eugène Green and Victor Ezenfis. Things that happen in SEFF. And we continue.