Resistances, a competitive section created in 2013 with the aim of showing and circulating that necessary, unconventional cinema, which has gradually altered the general audiovisual current in our country, will once again have the challenge of stimulating the public with new and different proposals, one of them out of competition. The most militant cinema on the national territory arrives on this occasion from Madrid, Catalonia, Galicia and, of course, Andalusia.
After the premieres of their first works at the last edition, Alonso Valvuena, from Cordoba, and Carlos Rivero, from Seville, bring to the festival The Earth Will Open and Things, respectively. As opposed to the collage of domestic images of ghosts, spirits and black magic from Valvuena, Rivero again takes the viewpoint of the young boy Aarón to portray his family holidays. Miguel Rodríguez is another Andalusian who will be competing for the Fipresci award with his first film, The Island, which recovers the legendary Andalusian ‘90s television puppet programme, La isla de Flora. Once again the festival supports the new voices in our cinema, whether offering the opportunity to new directors to show their work or following the career of young filmmakers who already presented their first films at the festival. Veteran voices in resistance cinema also have their place in the festival. Kikol Grau has come back, on this occasion with a punk study of the recent history of our country in The Transaction: an audiovisual journey through the Transition; or Pablo Llorca who, with his usual naturalness, portrays the father-daughter relationship in a working class neighbourhood on the outskirts of Madrid in Affection and the third person featuring Mario Gas and his own daughter, Miranda. Within this section, there will also be the new works by the Madrid director Ana Serret, Goya 2005 for Best Documentary Short Film for Extras, the Galician Ana Domínguez and the Catalonian Mónica Rovira. Mr. Liberto and the Little Pleasures is the title of the new film by Serret, a personal portrait of old age and appreciation of life. Domínguez travels to her origins in Children of the Vine, a film made without haste where the pagan roots of festivities are recovered through the wine producing tradition. Seeing a Woman is the new work by Rovira, a portrait in first person about the complexity of amorous relations, from falling in love to living together.
As well as talking with the festival public in the cinemas, these directors will have the chance to speak in depth with the university community about the most heterodox trends in our cinema in the third edition of the seminar 'Stories and inertias of Spanish cinema', organized in collaboration with CICUS (Centro de Iniciativas Culturales de la Universidad de Sevilla). In its three sessions, on 27th October, 7th and 15th November, the debate will deal with independence or precariousness, and also examine the origins of the “other” Spanish cinema, its mutations, the look of genre or the new dynamics of exhibition.