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). 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

watched_feb

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.

6th Festival Márgenes: free to view online, 11th – 31st December

6th-margenes-festival

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 the subtitle info below].
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):

> Arreta (Raquel Marques and María Zafra, 2016, Spain – 60 min) *trailer
> Generación Artificial / Artificial Generation (Federico Pintos, 2015, Argentina – 62 min) *trailer
> Historias de dos que soñaron / Tales of Two Who Dreamt (Andrea Bussmann and Nicolás Pereda, 2016, Mexico/Canada – 82 min) *trailer
> CAMIRA PRIZE: Il solengo (Alessio Rigo de Righi and Matteo Zoppis, 2015, Italy/Argentina – 66 min) trailer
> Inadaptados (Kikol Grau, 2015, Spain – 41 min)
> BEST FILM: Las letras / The Letters (Pablo Chavarría Gutiérrez, 2015, Mexico – 77 min) [with English subtitles] trailer
> SPECIAL MENTION BY THE JURY: No Cow on the Ice (Eloy Domínguez Serén, 2015, Spain – 63 min) *trailer
> Panke (Alejo Franzetti, 2016, Argentina/Germany/Burkina Faso – 46 min) *trailer
> NUMAX EXHIBITION PRIZE: Parábola del retorno (Juan Soto, 2016, Colombia – 41 min) trailer
> Pasaia bitartean (Irati Gorostidi, 2016, Spain – 51 min) [Castilian Spanish subs] *trailer
> Placa Madre / Motherboard (Bruno Varela, 2016, Mexico/Bolivia – 54 min) trailer
> Santa Teresa y otras historias / Saint Teresa and Other Stories (Nelson Carlo de los Santos Arias, 2015, Dominican Republic/USA/Mexico – 65 min) [no subs] *trailer
> Yo me lo creo (Terrorismo de Autor, 2016, Spain – 40 min) trailer

The Márgenes Festival 2016 also includes a retrospective of the work of Lluís Escartín, titled ‘no tengo nada que decir, prefiero escuchar. 30 años documentando lo invisible‘ [I don’t have anything to say, I prefer to listen: 30 years documenting the invisible], and a cycle dedicated to Chilean director José Luis Torres Leiva, ‘Un lugar en el mundo‘ [A place in the world] – they are likewise free to view online until 31st December.

5th Festival Márgenes: free to view online 13th-31st December

Festival Margenes 2015

The first online festival in Spain specifically dedicated to films without a commercial release or without access to the normal methods of distribution, Festival Márgenes is now in its fifth year and continues to celebrate and support filmmakers and films committed to offering alternative perspectives on both cinema and society. The full list of criteria that the films have to meet can be found here – but essentially they have to be more than 40 minutes long, to have not been distributed, and to originate from a specific set of countries (Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, México, Nicaragua, Panama, Paraguay, Peru, Portugal, Puerto Rico, Spain, Uruguay and Venezuela). The films can be of any genre, although it’s noticeable that documentaries tend to feature strongly.
The festival takes place in cinemas in Madrid, Monterrey, Barcelona, Montevideo, Córdoba, México DF, and Santiago de Chile from the 3rd December and then moves online from the 13th until the 31st. The films are all available to stream for free (although there are a couple that aren’t viewable outside of specified locations – noted below). There are Spanish subtitles on films that aren’t in Spanish, but as far as I’m aware there are no English subtitles this year. But even if your Spanish is rudimentary, I’d encourage you to give it a go – a) because cinema communicates through visuals (and non-verbal sound) at least as much as it does through verbal interactions, b) you have the chance to watch some films that you possibly won’t encounter elsewhere.
I haven’t had time to start watching the 2015 selection yet, but I wrote about the 4th edition last year and saw several films that I really liked – namely África 815 (Pilar Monsell, 2014) [UPDATE Oct 2016: the film is available to rent on the Márgenes VOD platform – there’s no indication whether subtitles are included], El gran vuelo / The Great Flight (Carolina Astudillo, 2014) [UPDATE Oct 2016: also available to rent – likewise, no indication of subtitles], and Propaganda (Colectivo MAFI, 2014). Hopefully I’ll manage to watch more this year. The festival prizes have already been awarded (indicated below – but see the website for full details / jury citations and the breakdown of what the prizes entail), so I will prioritise those titles but I also want to see Revolução Industrial [Industrial Revolution] (which I’m sure I read about last year in relation to other festivals), Transeúntes (which was recently at the Seville Film Festival), and the special bonus film (not part of the competition) Ragazzi (Raúl Perrone, 2014) – I saw Perrone’s Favula in Barcelona earlier in the year (my review) and would like to see if his other films maintain the fevered rarity of that one. So basically I need more hours in the day between now and the end of the year.
It’s also worth pointing out that Márgenes has its own VOD catalogue outside of the festival – a mixture of shorts and features (some viewable for free, others pay-per-view for a modest fee) and all at the more original and idiosyncratic end of Spanish production, including several films I’ve written about previously (for example, Edificio España (Víctor Moreno, 2013) and Branka (Mikel Zatarain, 2013)).

Anyway, the full list of films in the 2015 official selection is below – clicking on the title will take you to the streaming page for that film. I will post something further when I’ve managed to watch some of the films. UPDATE (28/12/15): I’ve started watching the films and will add * next to the title if I find that they have English subtitles (note: I’m only going to have time to watch a few, so if you’re interested I suggest that you try streaming them to see whether subtitles appear). UPDATE (Oct 2016): several of the films from this collection are now available to rent on the Márgenes VOD platform – note that subtitles aren’t mentioned, although that doesn’t necessarily mean that there aren’t any (that was also the case during the festival period and all of the ones that I watched had subs).

Alexfilm (Pablo Chavarría, 2015), Mexico, 60 min.
As cidades e as trocas (Luísa Homem and Pedro Pinho, 2014), Portugal, 139 min.
El corral y el viento* (Miguel Hilari, 2014), Bolivia, 55 min. BEST FILM
La extranjera (Miguel Ángel Blanca, 2015), Spain, 70 min [only available in Spain].
La maldad* (Joshua Gil, 2015), Mexico, 74 min. SPECIAL MENTION BY THE JURY
La sombra* (Javier Olivera, 2015), Argentina, 72 min. CAMIRA PRIZE
L’Esma del Temps (El Sentido del Tiempo) (Alexandra Garcia-Vilà, Marta González, Marta Saleta, 2015), Spain, 54 min. HONORARY MENTION
Microbús (Alejandro Small, 2014), Peru, 44 min.
Navajazo (Ricardo Silva, 2014), Mexico, 75 min. [only available in Spain, Mexico, Chile & Uruguay].
Next (Elia Urquiza, 2015), Spain / USA, 72 min.
Revolução Industrial (Frederico Lobo and Tiago Hespanha, 2014), Portugal, 72 min.
Tú y Yo (Oriol Estrada and Natalia Cabral, 2014), Dominican Republic, 85 min. EXHIBITION PRIZE
Transeúntes* (Luis Aller, 2015), Spain, 101 min.