IX Festival Márgenes: free to view online, 20th Nov – 8th Dec 2019

A collection of posters for films in this year's Festival Márgenes

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.

 

Obra (Gregorio Graziosi, 2014)

Trailer Oficial – OBRA – Gregorio Graziosi from GREGORIO GRAZIOSI on Vimeo.

I saw Obra (which means ‘work’, but can also mean ‘building works’) in 2015, at Barcelona’s Festival Internacional de Cine D’Autor. I liked the film sufficiently that I’ve periodically checked to see whether a DVD release has surfaced – no DVD has materialised, but I’ve just discovered that it’s available to stream on Amazon Prime in the UK (here). In São Paulo, young architect Joao Carlos (Irandhir Santos) discovers a clandestine burial on the worksite of his first important project, located in a lot belonging to his family. Writing for Eye for Film back in 2015, I said that:

The opening credits set up the basic through-line of the film, that the past may be hidden but it remains underneath waiting to be discovered – a theme underlined by Joao Carlos’s wife (Lola Peploe) working as an archaeologist in the centre of the city. Shot in a silvery black and white that at times has the texture of a pencil drawing, Obra’s first images show architectural forms gradually appearing in the morning mist, ghost-like structures that slowly accumulate into the form of São Paulo – but those initial shapes and outlines can still be observed within the overall image. Throughout the film, the textures and forms of buildings are contrasted as part of the fabric of a changing city, and the black and white composition captures elements of beauty in even the most rundown corner of the dense urban sprawl.

I don’t know whether it will stand up to the version I have in my memory, but it combines two of my persistent cinematic interests in a way that stood out for me in 2015: an unusual focus on – and use of – architectural space, and the idea of the city as palimpsest. I’m generally bad at following through on intentions to watch things at a later date, but hopefully I will manage to rewatch this sometime soon.

Newly Streaming Films

Courtesy of David Cairns signposting that his film Natan (co-directed with Paul Duane) was now streaming online, I discovered a new (to me) streaming platform: IFFRUnleashed. It hosts a veritable cornucopia of esoteric titles from the festival circuit, reasonably priced at 4€ for a feature and 1€ for a short.

There are a number of films that I’ve seen at festivals but not encountered elsewhere, including a range of works by Spanish directors – such as El Futuro (Luis López Carrasco, 2013) and L’Accademia delle Muse (Jose Luis Guerin, 2015 – I might finally get to watch it with English subs!) – but also short films by directors like Radu Jude, Mark Rappaport, and Benjamín Naishtat. I’m going to link to a handful of titles that I’ve previously written about:

In other Spanish film streaming news, Carlos Vermut’s Quién te cantará (2018) has just popped up on Netflix UK, which is unexpected (I may have given an involuntary yelp when I spotted it in ‘Recently Added’) but welcome (the forthcoming Spanish DVD release – which I’ve pre-ordered – doesn’t have any English subs UPDATE: It does have English subs [despite the listings details showing no sign of them]). Netflix UK continues to add very recent Spanish films and TV series, offering a much broader range of Spanish titles than was ever seen in terms of UK DVD releases in the past.

Listen to Britain (Humphrey Jennings & Stewart McAllister, 1942)

Listen to Britain09

Mubi currently have Listen to Britain in their collection (here), as part of a strand of films recommended by Paul Schrader. I reviewed the documentary short for Eye for Film back in 2016 (when it screened at the AV Festival).

If you don’t have a Mubi subscription, you can watch the 20 minute film for free on the BFI Player.

7th Festival Márgenes: free to view online, 2nd-23rd December 2017

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.

Watched in November…and things to see in December

One of those months. I watched Chavela (Catherine Gund and Daresha Kyi, 2017) – a documentary about the life and travails of singer Chavela Vargas (who often features on the soundtracks of Almodóvar’s films) – on Filmin.

I want to direct your attention to two online film festivals taking place during December: ArteKino and Márgenes. ArteKino is a Europe-wide initiative (it runs in 45 countries) to support contemporary European arthouse (their term) films by offering a wider audience the chance to view them (film distribution being what it is these days). 10 films – all with subtitles available in French, German, Spanish, and English – are free to view between 1st-17th December. You can see the full line-up here. The selection includes Scarred Hearts (Radu Jude, 2016), one of the few films I’ve seen this year that I can wholeheartedly recommend – catch that one here.

I’ve written about Festival Márgenes for the past few years (last year’s post is here) and will likely write another overview post at some point later in the month. The 7th Festival Márgenes will also make films free to view – in this case, films from the Iberian Peninsula (Spain and Portugal) and Ibero-America (Spanish and Portuguese-speaking Latin American countries), with an emphasis on documentaries and experimental formats. I think the online stage is either due to start tomorrow or on the 10th (it usually runs in the last three weeks of the year) but their website is currently down for maintenance The online stage runs 2nd-23rd December – the official selection can be found on this page(which is loading for me, but I’ve had that window open in my browser for the past week to remind myself about it – so I’m not sure that it will load for other people just now). There is also an online retrospective of the films of Luis Ospina. I don’t know whether all of the films listed will be available online in all geographic locations (there are sometimes restrictions around certain titles) and I have no idea about the subtitle situation. I only ever manage to watch a couple of films in this festival each year, but always find something interesting and worth seeking out – this year I will be aiming to watch (based on what I’ve read about them previously) Expo Lío ’92 (María Cañas, 2017), Los mutantes (Gabriel Azorín, 2016), and 25 Cines/Seg (Luis Macías, 2017). If I have time, I will write an overview in a similar form to previous years – but if not, I still wanted to highlight the festival to anyone who appreciates experimental film-making.

Watched in October

History and politics mainly, with a dash of Busby Berkeley and Álex de la Iglesia thrown in for good measure (Herederos de la bestia is a talking heads / oral history documentary about the making – and the impact/legacy within Spanish cinema – of the latter’s much-loved second feature, El día de la bestia / The Day of the Beast (1995)).

 

Watched in August

All watched on VOD (various platforms) as my DVD player died at the start of the month.

Camilo Restrepo’s essay film about violence in Colombia – La impresión de una guerra / Impression of a War (2015) – is available to watch on Mubi UK for another week.

Jonás Trueba’s La reconquista / The Reconquest (2016) is unexpectedly on Netflix UK (I had a one-month free trial this month – which I won’t be extending into a subscription because I didn’t watch very much, although there are quite a lot of recent Spanish titles on there…and a number of Jason Statham films), as is the very good documentary I Called Him Morgan (Kasper Collin, 2017).

Festival Scope has just started its Venice Sala Web again (effectively a range of films from the current Venice Film Festival as VOD) – I haven’t watched anything yet but have taken advantage of their 5 tickets for 10€ offer (films are otherwise 4€ each). The viewing dates for the films are staggered throughout the festival’s run and it’s worth seeing them sooner rather than later as sometimes titles can disappear (speaking from previous experience).

Reprint: A Collective Impulse

This piece was originally published on the old blog in April 2015; it was a culmination of my investigations into ‘el otro cine español’ thus far, and also a form of preparation for attending the D’A Festival later that month. An earlier post – this one – explains why I was looking at this particular set of films. When I first started this new blog, I wrote a post outlining where I was up to with my ‘otro cine español’ project but not much has happened since (although if you click on the ‘otro cine español’ tag at the foot of this post, you will be able to see other connected pieces). My trip to the D’A Festival in April 2015 mainly stemmed from a realisation that if I wanted to see these films (and their newer incarnations), then I would need to travel to festivals because it is difficult to cross paths with them otherwise. But I’ve had to accept that I don’t currently have the resources for festival trips, and have put the project to one side for the time being – although I keep an eye on the various Spanish online platforms that might host such films. For now, this piece and the one written specifically for this blog are a summation of the project.

I haven’t attempted to update the main part of the text (I haven’t stayed up to date with the saga of Spanish film finance, although I don’t expect that the situation has improved at all – if anything, it’s likely to have got worse) but I am rejigging the postscript because the availability status of several of the films has changed (so that info is current as of August 2017).

 

Un impulso colectivo

Marginal cinemas – or cinema being made on the margins, outside the norms of a given industrial context – are nearly always present, if not always widely visible. In the past few years in Spain, specific actions by the Rajoy government (for example, dismantling the existing film finance infrastructure without putting anything in its place, and in September 2012 raising the IVA [VAT] on entertainment (including cinema tickets) from 8% to 21%), in combination with the dire economic situation, have thrown film production in Spain into disarray and further undermined confidence in the Spanish film industry – an industry that was already habitually said to be in near-perpetual crisis. These circumstances have exacerbated the financial precariousness of those filmmakers already operating on the margins; the current reliance on self-funding and / or crowdfunding is not sustainable in the long term, and nor does it afford people a secure way of making a living. At the same time, the visibility of these films on the margins has increased because their success at film festivals abroad has raised their profiles at home. This international recognition is often presented by the press as a fillip for a beleaguered industry that these filmmakers nonetheless remain outside of.

From an outsider’s perspective (i.e. mine), there seem to be two events that crystallised the growing attention directed at goings-on on the margins: the September 2013 issue of Caimán Cuadernos de Cine, which was dedicated to ‘el otro cine español’ (the first time I had seen these films presented as being related to each other, despite their disparities), and the ‘Un impulso colectivo’ [A Collective Impulse] section (which takes its name from programmer Carlos Losilla’s Caimán article) at the D’A – Festival Internacional de Cinema D’Autor de Barcelona in April 2014. That’s not to say that these types of films weren’t being supported and championed elsewhere – many screened abroad and / or at festivals such as San Sebastián and Seville prior to these two events – but Caimán and the D’A Festival drew attention to the films and filmmakers as a group in a way that seems important to me because cinema is not created in a vacuum, and the idea of a group (however nebulous) foregrounds that these films are not isolated or unrelated occurrences.

A brief outline of each of the 14 films in ‘Un impulso colectivo’ can be found here. In this post I am going to consider the films as a group in order to highlight some areas of commonality across the programme.

Form follows content –
The ‘Un impulso colectivo’ programme offered a panorama of marginal cinema(s) in Spain, encompassing a range of financial models (including self-financing, crowdfunding, local grants and subsidies) and diverse genres and styles (a deadpan sci-fi, a musical-comedy, essay films, documentaries, and social dramas among them). The films collectively demonstrate that lack of money does not equate with a lack of ambition or signify a lower standard of visual or technical competence. For example, in El triste olor de la carne (dir. Cristóbal Arteaga) the use of one continuous take in conjunction with recurring diegetic sound (Mariano Rajoy’s 2013 national address plays on radios in cars and on the bus, making the architect of Spanish austerity almost omniscient within the narrative) reflects the way in which financial disaster pursues, and is closing in on, Alfredo (Alfredo Rodríguez); the visual and the aural are combined to position the viewer inescapably alongside Alfredo throughout his ordeal, and create an emotionally draining experience.

There are distinct forms and structures in operation across the programme. For example, Vidaextra (dir. Ramiro Ledo) and Une histoire seule (dir. Xurxo Chirro & Aguinaldo Fructuoso) create dialogues with other texts (Peter Weiss’s The Aesthetics of Resistance and the work of Jean-Luc Godard respectively) in order to expand on a worldview or explore the filmmakers’ own experiences. In other films, the actual process of telling a story becomes central to the form they take: in different ways, Uranes (dir. Chema García Ibarra), Árboles (dir. Colectivo Los Hijos [Javier Fernández Vázquez, Luis López Carrasco, Natalia Marín Sancho]), Ilusión (dir. Daniel Castro), Los primeros días (dir. Juan Rayos), and Sobre la marxa (dir. Jordi Morató) all make storytelling, or the play of artistic creation, part of their structure and exploration of broader themes. In Los primeros días, the rehearsals are interwoven with cast interviews and footage of later performances; we see the text take on new meaning for the children as they live the experience, but the juxtapositions in the structure also reinforce the theme of life’s transient nature. Filmmakers also utilise Spain’s past (in the form of Spanish colonialism and the Transition) to draw parallels and highlight connections with events in contemporary Spain in Árboles, Ilusión, and El Futuro (dir. Luis López Carrasco).

‘The crisis’ and human connections –
The economic crisis and its fallout is perhaps unsurprisingly the most persistent theme, and is manifested in various guises. Most straightforwardly, Edificio España (dir. Víctor Moreno) inadvertently captures the moments leading up to the construction bubble bursting and the subsequent sense of paralysis, while El triste olor de la carne takes up the economic theme on the level of personal devastation. In a more comedic mode, Ilusión shows economic circumstances impinging on the personal (pursuing an artistic dream) and the industrial (the film industry’s unwillingness to take a financial risk) in Daniel’s quixotic quest to make a musical about the political pacts that formed Spain’s democracy. The crisis also plays out via generational discontent, as seen in Las aventuras de Lily ojos de gato (dir. Yonay Boix) and Vidaextra where people in their late-twenties / early-thirties are stuck in a kind of arrested development, unable to fulfil the expectations of adulthood, at least in part because of social precarity and the impossibility of reliably supporting themselves. There is an undercurrent of frustration and anger – and in some cases the sad weariness of defeat – in many of the representations of contemporary social circumstances.

While several of the films – Uranes, Cenizas (dir. Carlos Balbuena), Sobre la marxa – focus on individuals in solitude (whether by preference or otherwise), the majority show informal communities held together by either friendship or shared experience. Several of these – for example, Edificio España and Paradiso (dir. Omar A. Razzak) – centre on a specific locations, and spaces in danger of desertion; the observed absences in those spaces serve to highlight the connections between those still present. But in the films where these communities represent support networks, there is an emphasis on physicality and the tactility of human interactions – whether the young immigrants playing football and larking about in Slimane (dir. José A. Alayón), the children throwing and dancing each other around the stage in Los primeros días, or the alcohol-induced flirtations and bonhomie in Las aventuras de Lily ojos de gato. Similarly, the conversation at the centre of Vidaextra explores the need for a sense of belonging, to feel part of something bigger than yourself, but also for the society you live in to in some way reflect your values and ideals. Most of the films in ‘Un impulso colectivo’ are rooted in a specific social context – with varying degrees of explicitness, they say something about Spain today – but in the parallels drawn between past and present, many of the filmmakers also suggest the possibility of (or more pointedly, the need for) change and a collective resistance to a continuation of the status quo.

I’ve only skimmed the surface, but taken together these films underline that the richness of cinema is to be found in its plurality; ‘Un impulso colectivo’ gave a taste of a multitude of styles and voices (although notably few women) standing together in the current ‘otro cine español’.

 

Availability

As far as I can tell, ÁrbolesUne histoire seule, and Vidaextra are not currently available in any format. Back in 2015 most of these films were tricky to access, so I’d like to repeat my thanks to the following people for allowing me access to their work: Luis López Carrasco (twice over), Xurxo Chirro, Ramiro Ledo, Víctor Moreno (for giving me access to Edificio España before the DVD was available), Juan Rayos, Lourdes Pérez at Producción El Viaje (and Jonay García at Digital 104 for passing that request along), and Deica audiovisual.

DVD: Edificio España, Ilusión (no subtitles), Paradiso, Sobre la marxa. [the links take you to the most straightforward way to buy them if you’re in the UK, but they may be available elsewhere as well]

Filmin: CenizasEl FuturoEl triste olor de la carne, Los primeros díasSlimane, Sobre la marxa. [although Filmin can be viewed from anywhere, it will only allow you to purchase a subscription if you are in Spain – either do as I do (buy the subscription while visiting Spain), or find a friendly Spaniard to purchase on your behalf]

Márgenes: their VOD catalogue is currently down for maintenance, so I can’t link to specific films, but they have previously had Edificio EspañaEl triste olor de la carne, and Slimane. When their catalogue is back up, I will look for links.

Vimeo: Las aventuras de Lily ojos de gato (no subtitles), Paradiso (with subtitles), Uranes (with subtitles).

Watched in February

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Plus, Mining Poems or Odes (Callum Rice, 2016) [a short film – free to view on Vimeo].

I’ve decided that I should continue watching films for the Carlos Saura Challenge even if I’m not currently writing (this may mean that I end up reshaping the project, but I’ll cross that bridge later – better to persevere in some form than give it up), hence my watching his two most recent films.

If you’re interested in Spanish language films, Festival Scope is currently showing a selection of films from FICUNAM 2017 (all free to view until 13th March) – expect at least a couple to appear in my equivalent post next month.