The New Spanish Cinema

The New Spanish Cinema

Friday 21 de October 2016

Our cinema is present all across the programming, and not only in the specific sections dedicated to our film industry such as Resistances or Andalusian Panorama. So, the above mentioned Oliver Laxe and Albert Serra are participating in the Official Section, but also the New Waves section and the New Waves / Non Fiction section have a large number of Spanish directors in competition. 

In the New Waves / Non Fiction the war reporter Hernán Zin presents Nacido en Siria, an Andalusian co-production with the participation of La Claqueta, a world premiere in Seville, with which he follows in the steps of the Syrian refugees to capture the urgent point of view of those who are experiencing the conflict personally. Ramón Lluis Bande, the Fipresci Award winner at SEFF 2014 with Equí y n'otru tiempu, is presenting Vida Vaquera, a portrait of the legendary   vaqueiros de alzada in the mountains of Northern Spain. 

Meanwhile, in the New Waves section we find Enrique Baró with La Película de Nuestra Vida, which revolves around a summer house, films, home movies and versions of The Planets; and Daniel Macián with La Mano Invisible, the film version of the homonymous novel by Isaac Rosa, a caustic parable about job insecurity. Also competing in this category are the established directors Ado Arrietta with Belle Durmant and Pablo Llorca with Días Color Naranja. The competitive section Resistances, now in its fourth year, supports the Spanish cinema that goes against the flow, showing a firm pioneering commitment in national territory with the film production born on the margins of the industry. 

This year the section contains 18 titles, most having their world premiere, including directors such as Gabriel Velázquez and Blanca Torres who in Análisis de Sangre Azul unearth the films made by Dr. Pedro Martínez, who in the 30s ran a mental sanatorium in the Pyrenees. The Sevillian Carlos Rivero wonders in El Misterio de Aaron if brotherhood is born or made, something that he investigates through the eyes of a young boy; and La Substància, by Lluís Galter, tells the odyssey of a delegation from the company China Merchants Group when they arrive in Cadaqués, Dalí’s refuge, to take notes with the intention of building an exact replica of that town in their country.

As a commission from ECAM to commemorate its 20 years of existence, Gabriel Azorín, who belongs to the Lacasinegra collective, puts together in Los Mutantes a whole treatise on what it means to learn to make films with an admirable economy of means. Adrián Silvestre David is presenting his first film in Seville, Los Objetos Amorosos, which links its fictional mise-en-scène with stories of real people; and Antonio Morales presenting Marisa en los Bosques, a tragi-comedy that inhabits a unknown dimension between Cavestany and Rivette.

The director Irati Gorostidi portrays in Pasaia Bitartean the peculiar human and architectural landscape of the Guipuzcoan port of Pasajes; and another portrait, this time of characters from the Raval in Barcelona, is what the directors Josep María Bendicho (as a posthumous work) and Carlos Clausell show us in Bictor Ugo. 

The films out of competition include El Último Verano, by Leire Apellaniz, partially filmed in Seville, which looks at the danger that the arrival of digital means for the summer film circuit. There are also two medium length films from Kikol Grau (Inadaptados and No somos nada), which look at the career of the groups Cicatriz and La Polla Records, and four short films directed by emerging filmmakers (and others who are more veteran), Carla Subirana (Atma), Alonso Valbuena (240.000 euros), Natalia Marín (New Madrid, Simulacro), Velasco Broca (Nuestra Amiga la Luna), Elena López Riera (her short film Las Vísceras was presented in Locarno), and María Cañas (Campo de Sueños).

2015 saw the first edition of the seminar “Other resistance narratives. An approach to the new Spanish cinema”, prepared in collaboration with CICUS, and there will be a second edition in 2016. This initiative has yielded the book Imágenes resistentes. Temáticas, narrativas y estéticas del otro cine español, in which the architects of the seminar, Samuel Neftalí Fernández Pichel, Sergio Cobo-Durán and Alberto Hermida, explain clearly what was thought and discussed in the encounter, in an edition designed by the Sevillian editorial Maclein y Parker.

Also, the SEFF is working to  contributed to give visibility to this cinema outside our borders and thanks to Acción Cultural Española through its Programme for the Internationalitasion of Spanish Culture (PICE) in VISITORS module, seven foreign cinema professionals will attend the festival with the aim tofacilitate the presence in Spain of prestigious international influencers, agents, professionals and programmers in the fields of the arts and culture, so that they can enjoy first-hand experience of various areas of Spain’s cultural and creative sector and establish direct and personal relations.

Some of the confirmed professionals: 

PETER PAUL HUTH. Germany: Film critic, director and screenwriter. 

JUDITH REVAULT. France: Programmer at the Cinema Department of the Georges Pompidou Centre (Paris) 

PAMELA BIENZOBAS. Santiago de Chile: Journalist and film critic. 

KIERON CORLESS. UK:  Film critic and editor of Sight&Sound. 

MARIOLA WIKTOR. Poland: Film critic and programmer. 

JAMES EVANS. UK: Film critic and cinema historian. 




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SEFF 2016

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