Iberodocs returns in an online format for its 8th edition, 19th April – 2nd May. Accessible to viewers in the UK and Ireland, the 21 participating documentaries (features and shorts) can be viewed with a festival pass costing £15, or individually for £5. Full details are available on the festival’s website.
I won’t be viewing this year (I’m still watching the Catalan Film Festival at the moment), but the 10th Festival Márgenes is now underway. The selection of films from the Official section that are accessible to those outside of Spain can be found here (3€ for 11 films). There is a broader range of films available if you’re in Spain, including the highly recommended “Más allá del espejo” strand, which features quite a few films that I’ve watched / written about during my investigations into el otro cine español (including Costa da morte, No Cow on the Ice, Edificio España, and O futebol).
Well, this is something nice in 2020! Cinemaattic are simultaneously holding their Catalan Film Festival at various locations in Scotland and online between 19th November and 6th December.
The programme offers a range of new and classic features, four programmes of shorts, and a series of talks/Q&As – all of which will be available online. You can buy tickets for strands of films (the links are within the programme page), or a festival pass that covers everything will only set you back £10/11€. I have bought one of those – for more than two weeks of access, and the sheer number of films, that’s really good value.
It looks like an admirably diverse set of titles. I’m hoping that I will manage to catch Luis López Carrasco’s El año de descubrimiento (which I mentioned way back last year, and have already missed at least one chance of watching – I will confess that my patience with very long films is somewhat diminished of late but I’ll try not to let that put me off), and I’ve also heard good things about My Mexican Bretzel (dir. Nuria Giménez Lorang), and Las niñas (dir. Pilar Palomero – who also has a retrospective of her shorts). I will watch as many of the shorts as I can because they are something that I’ve missed since I stopped attending film festivals.
I completely missed Festival Márgenes last year. I don’t remember exactly how that happened – it either took place earlier than previous years (I have a vague recollection of finding out after it was over), or it coincided with me having norovirus (which I have pretty successfully blocked from my memory, but it occurred at the same time of the year). Either way, I missed something that has been an annual event on the blog since 2014 – and I have always previously found something to spark my interest, that I might not have otherwise encountered.
The festival focuses on films without theatrical distribution (a lot of the films are documentaries and there are usually quite a few medium-length films included), made on the margins (or outside) of existing film industries in the Iberian Peninsula (Spain and Portugal) and Ibero-America (Spanish and Portuguese-speaking Latin American countries). You can find an extended explanation / mission statement for the festival, here. I would characterise them as being interested in the world as it is and as it might be, openly seeking innovative forms of representation and expression, and shining a light on lives off the cinematic beaten track. A lot of the films that I’ve previously watched via Festival Márgenes feel personal to the filmmaker, like this is something that they have wanted or needed – or felt compelled – to explore and share in a visual format. Personal and collective histories have been a recurrent theme in those earlier films (although it could simply be that those were the ones that caught my attention because I’m interested in the interweaving of history and memory).
The festival’s programme is divided into several sections and takes place both online and in cinemas in Madrid. The online part – free to view, and taking place between 20th November and 8th December – focuses on the ‘Sección oficial‘. The festival summarises the selection as ‘Catorce películas de siete nacionalidades distintas que comparten un espíritu de profunda libertad y búsqueda incesante abordado desde preceptos muy dispares’ (Fourteen films of seven different nationalities, sharing a spirit of profound freedom and relentless searching approached via very disparate precepts). The films included are (links take you to the relevant streaming page – you need to register with the site to get started once the festival is live):
The films sometimes have restrictions as to which countries they can be viewed in, and they won’t necessarily have English subtitles (some have in the past). The answer re: subtitles will become apparent once the festival begins. If you speak any Spanish at all, it’s worth taking a chance anyway (and the non-Spanish language films usually have Castilian subtitles) – it doesn’t cost you anything, so you have nothing to lose, and you’ll watch something that’s unlikely to make it to a screen near you. I will be intending to at least catch the films by Xurxo Chirro (who I have previously interviewed in relation to his film Vikingland (2011)) and Affonso Uchoa.
I went to Edinburgh for the day at the weekend in order to catch two documentary films with Spanish connections at the Edinburgh International Film Festival: Hamada (Eloy Domínguez Serén, 2018) and La ciudad oculta / The Hidden City (Víctor Moreno, 2018). I’m not going to write about the latter at the moment (I would need to see it again first) – although I would recommend it, if you get the chance to see it (an immersive non-narrative experience into the underground world beneath Madrid, it put me in mind of both Dead Slow Ahead(Mauro Herce, 2015) and Alien (Ridley Scott, 1979)).
Hamada is not technically a Spanish film (although the documentary’s subject matter relates to Spain’s colonial past), but Eloy Domínguez Serén is one of the Galician filmmakers whose work I have written about previously – and I’ll be looking out for his name in the future because this is a gem of a film. My Eye for Film review of Hamada can be found here.
EIFF 2019 runs 19th – 30th June, and earlier this week they announced their full programme. As I’ve previously highlighted, their Country Focus this year is Spain – so having seen the details of the full programme, I thought that I’d pick out five Spanish-related recommendations.
Apuntes para una película de atracos / Notes for a Heist Film (Elías León Siminiani, 2018)
This is on my list of Spanish films from last year that I want to catch up with both because I liked León Siminiani’s previous film (Mapa (2012), which likewise took the director as a central figure within the film, although that was more of a personal narrative), and also because it looks deadpan funny. It is not available on DVD, but it is on Filmin (without subtitles). Ticket details (two screenings).
Arrebato / Rapture (Iván Zulueta, 1979)
I’ve already made my love for this film clear in the past – I’ve not had the chance to see it on the big screen (and I can’t go to Edinburgh on the day that it’s screening), and would encourage anyone who will be at EIFF to get a ticket NOW. Out of all of the Spanish retrospective titles, this should be your priority. Ticket details (one screening).
La ciudad oculta / The Hidden City (Víctor Moreno, 2018)
I mentioned this one at the end of my 2018 round-up (which mainly detailed things that I hadn’t seen yet). Moreno’s previous film, Edificio España / The Building (2013) (which I wrote about at length here – and also recommend), captured the deconstruction (and intended refurbishment) of a skyscraping monument to Franco – this one appears to be the inverse, as he explores deep underground and the hidden realm under the city of Madrid. Longtime readers will know that I can’t resist films that explore unusual architectural spaces. Ticket details (two screenings).
Icíar Bollaín retrospective
Yes, I’m cheating here by picking a group of films rather than singling out one. Contrary to my initial impression when they first announced this retrospective, it does look like they are screening all of the feature films directed by Bollaín. I think that Te doy mis ojos / Take My Eyes (2003) is the best encapsulation of her career; it is not an easy watch (characteristically nothing is sugarcoated or simplified neatly to reassure audience expectations), but boasts two outstanding performances from Laia Marull and Luis Tosar. The bulk of Bollaín’s films are available on DVD with subtitles (some of them only as imports from Spain, but some have UK editions) and in those circumstances I tend to prioritise titles that aren’t available (or aren’t available with subtitles in a home viewing format), which in this case would point you to ¿Hola, estás sola? / Hi, Are You Alone? (1995 – Bollaín’s feature debut as a director) and Flores de otro mundo / Flowers from Another World (1999). Collectively the films illustrate Bollaín’s interest in the breadth of female experience, be that in family, love, or work – each film manages to encompass a range of lives and experiences, all looked at with compassion and solidarity. You can find ticket details for individual films by clicking on the titles on this summary page.
Shorts from Galicia
The Galician shorts included in the programme are:
Fajr (Lois Patiño, 2016)
Homes / Men (Diana Toucedo, 2016)
A liña política / The Policy Line (Santos Díaz, 2015)
Matria (Álvaro Gago, 2017)
A nena azul / The Blue Child (Sandra Sánchez, 2018)
Rapa das bestas / Wild Mane Crop (Jaione Camborda, 2017)
I have written about a selection of Galician shorts previously (in relation to Curtocircuito in 2015), and will happily recommend anything that features work by Lois Patiño sight-unseen – unfortunately I won’t be in Edinburgh on the day this programme screens, otherwise this would definitely be something I would attend. Ticket details (one screening). There is also a programme of contemporary Spanish short films, which will undoubtedly also be worth checking out – Spain has a rich culture of short filmmaking, and you can frequently encounter genuine innovation and experimentation within shorts in a way that doesn’t necessarily often get seen in relation to features.
I will be reviewing a few of the Spanish films for Eye for Film (I seem to own most of the retrospective titles on DVD), so expect further posts on Spanish films at EIFF next month.
I spotted via Eye for Filmthe announcement that the Edinburgh International Film Festival’s 2019 Country Focus (a recurring strand of the festival’s programme) will be Spain. What they’ve announced so far is the retrospective part of the strand: an overview of ‘modern Spanish cinema’; a selection of ‘cult Spanish cinema’; and a filmmaker retrospective of Icíar Bollaín.
Bollaín is based in Edinburgh, so that element kind of makes sense. I like a lot of her films (I haven’t seen the two most recent ones), and I admire her commitment to exploring social issues through cinema, and her recurrent focus on the lives of women in varying circumstances. It’s a little strange that they don’t seem to be screening Te doy mis ojos / Take My Eyes (2003); it is effectively an encapsulation of her interests and cinematic style. Personally, I think that it’s her strongest film. But, that said, perhaps it is relatively well known and they’re aiming to highlight films that haven’t had distribution over here (although También la lluvia / Even the Rain (2010) and El Olivo / The Olive Tree (2016) are included)? I would recommend Flores de otro mundo / Flowers of Another World (1999), Even the Rain, and En tierra extraña / In a Foreign Land (2014) if you get the chance to see them.
But ‘the retrospective celebration of modern Spanish cinema’ is just…odd. I don’t mind the films individually – although I was among the minority that didn’t overly like La piel que habito / The Skin I Live In (Almodóvar, 2011) – but they are not collectively a good illustration of ‘modern Spanish cinema’ in its actual diversity (yes, the selected films span multiple genres, but that isn’t what I mean by cinematic diversity – i.e. a range of voices, styles, and budgets). ‘[S]ome of the finest Spanish cinema of recent times’ is making that ‘some’ do a lot of heavy lifting. ‘Films that have been nominated for Goyas in the last decade’, perhaps. Putting Tarde para la ira / The Fury of a Patient Man (Arévalo, 2016) to one side because I still haven’t watched it (aiming to over Christmas) and I have only heard good things about it, I think that there are more interesting, distinctive, and/or innovative films that have been made in Spain in the last decade (off the top of my head, Diamond Flash (Vermut, 2011), L’accademia della muse / The Academy of Muses(Guerin, 2015), De tu ventana a la mía / Chrysalis (Ortíz, 2012), many films within the Novo Cinema Galego, El Futuro / The Future (López Carrasco, 2013), La distancia / The Distance (Caballero, 2014), Dead Slow Ahead (Herce, 2015), for starters). Those films might not be for everyone (I’m wracking my brains trying to think of a ‘recent’ Spanish film I’ve liked that’s had an A-to-B-to-C style narrative structure, or otherwise been a box-office smash, so I accept that the films that interest me tend to be outside of the mainstream [although not exclusively]) but innovation and different perspectives should be celebrated alongside mainstream commercial cinema, especially at film festivals.
Anyway, I’ll keep an eye out for them announcing the ‘separate programme of contemporary Spanish cinema’ (which may not be until the full programme is revealed in May). Personal wish list (although I won’t hold my breath): Petra (Rosales, 2018); Entre dos aguas (Lacuesta, 2018); Quién te cantará (Vermut, 2018); Trote (Baño, 2018); Viaje al cuarto de una madre (Rico Clavellino, 2018); Carmen y Lola (Echevarria, 2018); and Apuntes para una película de atracos (Siminiani, 2018).
I’ve written about each edition of Festival Márgenes since 2014, usually in the form of an overview but sometimes going into a bit of detail about films I’ve particularly liked (click on the year for the relevant post: 2014, 2015, 2016). The festival focuses on films without distribution, made on the margins (or outside) of existing film industries in the Iberian Peninsula (Spain and Portugal) and Ibero-America (Spanish and Portuguese-speaking Latin American countries). Standouts from previous editions include África 815 (Pilar Monsell, 2014), El gran vuelo (Carolina Astudillo, 2014), La sombra (Javier Olivera, 2015), No Cow on the Ice (Eloy Domínguez Serén, 2015), and Pasaia bitartean (Irati Gorostidi, 2016).
The films included in the 2017 edition (links take you to the relevant streaming page – you need to register with the site to get started):
The Luis Ospina retrospective includes 20 films (shorts and features), also free to view. No indication is given about subtitles, but generally those films not in Spanish have (Castillian) Spanish subtitles and often a lot of the Spanish-language films have English subtitles – but as I’ve said in relation to previous editions, they’re all free to view, so it won’t cost you anything to just click on one and see if subtitles appear.
As I mentioned in my post yesterday, I’m intending to watch the films by Gabriel Azorín, María Cañas, and Luis Macías as a starting point. But my experience of Festival Márgenes is that they always have a really strong line-up – I usually only manage to watch a handful of films from a given edition but I’ve never watched a dud – so although some of the films might not be your kind of thing, you should be able to find something interesting that you would not otherwise get the chance to see.
I have previously written about the 4th and 5th editions of this Spanish online festival. Specifically dedicated to films – from the Iberian Peninsula (Spain and Portugal) and Ibero-America (Spanish and Portuguese-speaking Latin American countries) – whose form, style, or duration mean that they will struggle to access the normal distribution routes or obtain a commercial release, Márgenes initially takes place in key cities in Spain, Mexico, Chile and Uruguay at the start of December, before moving online during the second half of the month. Documentaries and experimental films tend to dominate the selection.
The online side of the festival makes the films free to view. Sometimes there are rights restrictions on specific titles in certain countries – at the moment Generación Artificial and Santa Teresa y otras historias aren’t visible to me, but I don’t know if that’s a rights issue or just a glitch on the website. Films that aren’t in Spanish tend to have Spanish subtitles, but in past years the majority of the Spanish-language films have had English subtitles. The subtitles aren’t listed on the website – I’ve put a * next to the trailer links below where the festival has used a trailer with English subtitles, which is often a good indication of there being subs on the film as well [UPDATE: this hasn’t been a good indicator this time around]. But given that the films are free to view, you aren’t going to lose anything by starting a film to see whether subtitles appear. I never manage to watch everything, but I will update this post to indicate the presence of subtitles on any films I watch [UPDATE: I’ve watched two and looked at a third – I’ve added thesubtitle infobelow].
The previous editions I’ve explored have revealed gems such as África 815 (Pilar Monsell, 2014), El gran vuelo / The Great Flight (Carolina Astudillo, 2014), and La sombra (Javier Olivera, 2015) (the latter was my favourite in last year’s festival). I can recommend No Cow on the Ice (I reviewed it earlier this year) and personally will be aiming to at least catch Pasaia bitartean, Santa Teresa y otras historias (if it’s available), and Las letras (on the basis that I’ve read positive things about them in relation to other film festivals). The festival announced its prizes yesterday – I’ve marked the winners below as well.
This is the line-up of titles in the 2016 official selection (clicking on the title will take you to the streaming page for that film):
The 3rd edition of Iberodocs takes place in Edinburgh later this week from Wednesday 4th – Sunday 8th and there is plenty in their programme to recommend. Of the films I’ve seen, I’d recommend Llévate mis amores (which was my favourite documentary at last year’s EIFF), O Futebol and No Cow on the Ice – and also the shorts Ser e voltar (which is paired with the latter feature – both are by Galician filmmakers) and Sin Dios ni Santa María (which appears in the main shorts programme) – but I’ve also heard good things about Rio Corgo and Volta à terra, so I think that the festival is pretty jam-packed with things worth seeing. I have previously reviewed (in relation to different festivals) three of the films that are being shown and I have written another three this past weekend. I will add the links below as they are published over at Eye for Film.