Debates and screenings CINEMA AGAINST THE TIDE: LATIN AMERICA AND SPAIN. Dialogues, Confluences, Divergences... in the last 80 years

DAY ONE. Thursday 28 October


5-6.45 p.m. [AUDITORIUM] Opening session: audiovisual memories, analog and numerical
Jorge La Ferla (ARG)

[AUDITORIUM] Screening

Session 1: REVOLUTION AND COUNTERCULTURE [82 minutes]
During the heated cultural and intellectual revolt of the emblematic 1960s, cinema became a potent vehicle for militancy and protest. In the films from this period, the directors use humour, parody, performance, radical criticism and counter-information to the official discourse to condemn social realities of all kinds.

Revolución, Jorge Sanjinés, 1963. Bolivia, 9’10”, 16 mm [video]
Juventud, rebeldía, revolución, Enrique Pineda Barnet, 1969. Cuba, 31’, 35 mm [video]
BiBiCi Story, Carles Durán, 1969. Spain, 7’50”, 35 mm [video]
Now!, Santiago Álvarez, 1965. Cuba, 5’27”, 35 mm [video]
Agarrando pueblo (Los vampiros de la miseria), Luis Ospina and Carlos Mayolo, 1978. Colombia, 28’33”, 16 mm [video]

7.15 – 9 p.m. [FOYER] Presentation: CINEMA AGAINST THE TIDE
Angélica Cuevas Portilla (MEX), Rubén Guzmán (ARG), Marta Lucía Vélez (COL), Antoni Pinent (SP)

10 p.m. [AUDITORIUM] Screening

Session 2: TIME CAPSULES [87 minutes]
A time capsule is a way of connecting present and future and, in this case, an eternal present and a past, moving history onwards by weaving together signs and sensations so that, by means of their own force of evocation, spectators can share an experience of the world. Some of these pieces reveal scenes of everyday life or fetishist approaches to popular culture. Others are the exchange of private glances, critiques of social oppression and documentary practice.

Magueyes, Rubén Gámez, 1962. Mexico, 9’, 35 mm
Fuego en Castilla, José Val del Omar, 1958-1959. Spain, 17’, 35 mm [video]
El fin, Sergio García, 1970. Mexico, 8’, super 8 [video]
Photomatons, Eugeni Bonet, 1976. Spain, 3’, super 8 [video]
Camal, Miguel Alvear, 2001. Ecuador, 15’50”, 16 mm [video]
Street Symphony, Sarah Minter, 2006. Mexico, 5’40’’, video
Fome (‘Hunger’), Carlos Vergara, 1972. Brazil, 5’07”, silent, super 8 [video]
Mi co-ra-zón, Pola Weiss, 1986. Mexico, 10’, video
Ilha das Flores, Jorge Furtado, 1989. Brazil, 13’13”, 35 mm [video]



DAY TWO. Friday 29 October


10.30 a.m. – 12 midday. [AUDITORIUM] Talk: Archaeology of the image. The history of experimental cinema in Uruguay
Ángela López Ruiz (URU)

12.30 – 2 p.m. [AUDITORIUM] Talk: Ecuador Vive ¡Carajo! Audiovisual experiments
María Belén Moncayo (ECU)

5 – 6.45 p.m. [FOYER] Round table: Continuing Against the Tide
Rosa Cardona (SP), Juan José Mendy (URU / SP), Tomàs Pladevall (SP)
Moderator: Alfonso del Amo (SP)

7.15 – 9 p.m. [FOYER] Meeting: Mexicanness
Ximena Cuevas (MEX), Jesse Lerner (USA - MEX)

10 p.m. [AUDITORIUM] Screening

Session 3: INTERFERENCES [70 minutes]
By interference we understand the disturbance produced by an intervention. In the case of the pieces that make up this session, the interferences include interventions involving the body but also the actual image, affecting even the emulsion.

Traum (‘Dream’), Horacio Coppola and Walter Auerbach, 1933. Argentina/Germany, 2’18”, silent, 16 mm [video]
Esta pared no es medianera, Fernando de Szyszlo, 1952. Peru, 9’31”, 35 mm [video]
Los placeres de la carne, Horacio Vallereggio, 1977. Argentina, 12’, super 8 [video]
Juquilita, Elena Pardo, 2004. Mexico, 2’22”, 16 mm [video]
Ofrenda, Claudio Caldini, 1978. Argentina, 4’18”, super 8 [video]
Desnudo desciende, Silvia Gruner, 1986. Mexico, 1’30”, silent, super 8 [video]
POESIA eVENTO, Gabriel Borba, 1954-1975. Brazil, 1’22’’, super 8 [video]
Opus, José Ángel Toirac, 2005. Cuba, 4’49”, video
Danse noire, Frederic Amat, 2005-2006. Spain, 3’33”, video
Xeroperformance, Paulo Bruscky, 1980. Brazil, 40”, super 8 [video]
L’espectador / Habitació amb rellotge / La llum / Conversa, Carles Santos, 1967. Spain, 6’40”, 16 mm [video]
Horizonte sin Horizonte, Sandra DeBerduccy, 2007. Bolivia, 4’50’’, video
Natura, José Castillo, 2001. Venezuela, 1’40’’, 35 mm [video]
Pintura 63, Ton Sirera, 1962-1963. Spain, 5’30”, 16 mm [35 mm]
Impresiones en la alta atmósfera, José Antonio Sistiaga, 1988-1989. Spain, 7’, 70 mm / 15 perforations [35 mm]



DAY THREE. Saturday 30 October


12 midday. [FOYER] Round table The Archive as a Generative Space
Cristina Cámara (SP), María Belén Moncayo (ECU), Irela Núñez (PERU)
Moderator: Ángela López Ruiz (URU)

5 – 6.45 p.m. [FOYER] Round table: Latin American experimental cinema seen by Latin Americans
Jorge La Ferla (ARG), Jesse Lerner (USA - MEX), Arlindo Machado (BRA)
Moderator: Marta Lucía Vélez (COL)

7.15 – 9 p.m. [FOYER] Meeting
Narcisa Hirsch: Myth and Truth
Narcisa Hirsch (ARG),

conducted by Rubén Guzmán (ARG)

10 p.m. [AUDITORIUM] Screening

Session 4: SIGNS OF LIFE [84 minutes]
Most of the films presented in this session form part of the puzzle represented by the diversity of experimental cinema in Latin America: its interrelated identities and the hybrid nature of its culture. A visual memory, the conscious and unconscious memory of images seen and dreamed by an individual and a society. Universes packed with images of cities and places that are as extraordinary as they are mysterious, where characters and symbols appear and disappear, leaving us reminiscences of lives, loves and places.

O pátio, Glauber Rocha, 1958. Brazil, 12’43”, 35 mm [video]
La segunda primera matriz, Alfredo Gurrola, 1972. Mexico, 15’, super 8 [video]
La ciudad en la playa, Ferruccio Musitelli, 1961. Uruguay, 11’52”, 16 mm [video]
Documental, Alexander Apóstol, 2005. Venezuela, 2’13’’, video
El Aleph, Narcisa Hirsch, 2005. Argentina, 1’, super 8 and 16 mm [video]
Hamaca paraguaya, Paz Encina, 2000. Paraguay, 8’17’’, video
Habana Solo, Juan Carlos Alom, 2000. Cuba, 14’30”, 16 mm [video]
Ice Cream, Antoni Padrós, 1970. Spain, 8’10”, 16 mm [35 mm]
Miserere, Antoni Miralda and Benet Rossell, 1979. Spain, 11’20”, 16 mm [35 mm]



DAY FOUR. Sunday 31 October


6 p.m. [AUDITORIUM] Screening

Session 5: EXERCISES IN STYLE [83 minutes]
In 1947, the French writer Raymond Queneau (1903-1976) surprised the public with his radical work Exercises in Style, in which he retold an everyday event in 99 different ways. The various rhetorical variations are reflected in this session in the form of an interplay between the image and audiovisual experimentation. The result is 10 possible approaches to the experimental genre, producing as many forms as different perceptions.

Ojo de pez, Gabriel Enrique Vargas, 2008. Colombia, 15’16”, video
Elegbe, Guillermo Zabaleta, 2008. Uruguay, 3’, 16 mm [video]
Self-portrait, Ricardo Nicolayevsky, 1982-1985. Mexico, 6’30”, super 8 and 16 mm [video]
0778, Marcellvs L., 2004. Brazil, 9’27”, video
Tierra de sombra, Alberto Borea, 2002. Peru, 12’42”, silent, video
Passacaglia y Fuga, Laura Abel and Jorge Honik, 1976. Argentina, 16’, super 8 [video]
Corazón sangrante, Ximena Cuevas, 1993. Mexico, 4’18”, video
Farce Sensationelle!, Laida Lertxundi, 2004. Spain-USA, 3’10”, 16 mm [video]
Cocinero, Daniela Cugliandolo. 1999. Argentina, 3’, super 8 [video]
F.I.R.T. 119, Raymond Beluga Studio, 2002. Argentina, 10’24”, 16 mm and super 8 [video]

8 p.m. [AUDITORIUM] Screening

Session 6: MEDIUM AND MASSATGE [90 minutes]
The use of old films to give contents a new meaning is a shock tactic that makes an impact on any sensibility. Here, the creative vocation is not just entertainment, it also aims to confront, to swim against the tide and take us to the limits between reason and madness. At any moment, a pleasant visual massage can become an electroshock.

Gallery Dogs, Diego Lama, 2005. Peru, 2’19”, video
Travelling, Lluís Rivera, 1972. Spain, 10’25”, 16 mm [video]
Frank Stein, Iván Zulueta, 1972. Spain, 3’, silent, 16 mm [video]
Las maravillas del mundo salvaje / hormigas, Lourdes Villagómez, 2000. Mexico, 4’38”, video
Límites (1ª persona), Elías León Siminiani, 2009. Spain, 7’45”, video
Súper 8, David Domingo, 1999. Spain, 7’25”, super 8 [video]
Chapucerías, Enrique Colina, 1987. Cuba, 10’46”, 35 mm [video]
Alice in Hollywoodland, Jesús Pérez-Miranda, 2006. Spain, 7’, video
Fear/Miedo, Claudia Aravena, 2008. Chile, 14’, video
Minnesota 1943, Toni Serra, 1995. Spain, 7’13”, video
O som, ou tratado de harmonia, Arthur Omar, 1984. Brazil, 17’, 35 mm [video]