1 TIME TO FLY

All films are flight otherwise they are not films. After blowing out the candles to mark our tenth anniversary and becoming consolidated at our Baluarte airport, the festival is back, full of films that are raised from the ground with a dance of air and mystery. It is time to fly. The FLYING programme will feature the wind –how to trap it-, the clouds –how to observe them- or the air –how to cross it-. 40 films will present us with the two faces of the impossible dream for man and other air walkers.

The Central Region has one more short film than in other years, making a total of 18 films in a round and solid official section. An even number, 18 films in which two local contributions stand out: David Arratibel and Aitor Gametxo, nearby filmmakers who have spent hours in cinema seats and now show us the miracle which consists of moving onto the screens. Perhaps it is also converse: going from a spectator to a filmmaker.

Seniority, with Luciano Emmer, who made almost one hundred films and we present his less known and more personal treasures here: his films on art, a discipline that is sometimes as elusive and difficult to trap as air itself.

Youth is concentrated in X Films with three filmmakers who have gone from being promising and bring us their consolidated career, such as María Cañas, Pilar Monsell and Omar Razzak and the much awaited world premiere of the film selected in 2016: Velasco Broca and his New Altar.

Special sessions that take us from a Pelota Evening with two documentaries that Jorgen Leth made on this sport separated by 30 years to the latest discoveries in Chez les Basques – including one of the first embossed films by the Lumière brothers, our landscape in three dimensions. Portraits with Alan Fleischer and the emotional tribute to Luce Vigo, daughter of Jean Vigo and the festival’s godmother, to whom this edition is devoted following her recent death.

Oteiza, the great heterodox, the biggest challenge for our programming or how to organise four sessions with an artist who never made a film and whose ideas were noted down on paper. This session presents two unpublished super8 films made by Oteiza and a priceless sound archive narrated in his own voice to hear in the hall: Speech to the man in the film darkness.

This is also the last edition by this Artistic Director, who bids farewell with an invitation to continue dreaming beyond the screens with The Fifth Wall programme. Twelve metro stations outside the cinemas which invite us on a journey through the city and its surrounding area to experiment and participate in what may be the film of the future, films similar to the theatre where reality abandons the screens and goes on stage. The man who flees enters film, Oteiza told us in the 1960s. Today, perhaps the man who flees leaves film and we will follow him wherever he goes.

Oskar Alegria Artistic Director

Tribute to Luce Vigo Thursday, March 9th, 17h

2 3 PRACTICAL INFORMATION Official Section – The Central Region 9 feature length films and 9 short films are in the running for the Punto de FESTIVAL VENUE Vista Grand Prize for Best Film, the Jean Vigo Prize for Best Director, the BALUARTE Prize for the Best Short Film, the Audience Prize, and the Youth Prize. Pza. Baluarte s/n. 31002 Pamplona Telephone number: 34 948 066 066 FLYING The human desire to fly,fl y, but also the birds, the composition of air, everyevery-- FESTIVAL OFFICE day life in airports, how astronauts feel, the acrobatics of springboard Opening hours: 9:30am to 2pm and 4:30pm to 8pm divers, the mesmerising power of clouds, the sheikhs’ passion for fal- E-mail: [email protected] cons, man’s attempts at being a winged creature, news from air walkers Telephone number: 948 066 199 / 948 066 200 and so on. A theme illustrating the Festival’s narrative and aesthetics and Website: www.puntodevistafestival.com offering endless possibilities for poetry and visual impact. Imprime: Imprenta Zubillaga S.L. Depósito Legal: NA 164-2016 Luciano Emmer: From the racconto to the essay This retrospective takes a diptych approach to Luciano Emmer’s art film: three sessions to explain the change from story to essay; from his initial dramatisation proposal of painting to the art film-essay in his last twenty years, when he decided to explore documentary films in the first-person, rethinking and explicitly citing his own previous films.

The Fifth Wall In a constant effort to reinvent itself as a documentary film festival, the 11th Punto de Vista will feature The Fifth Wall, a programme tracking documentary film into new havens or spaces in a modern, much needed, review of the new collective forms of chronicling reality.

Hunter Hunted Hunter hunted is the expression when the director of the fifilm lm inadver-inadver- tently creeps into the background of an image in a shooting oversight. There are fetishists who collect them. Here, beyond the fetishism, the portraitists of these five figures are looking for them to be the close-up TICKET SALES that reveals details that are blurred in the distance: Jean-Luc Godard, Ab- bas Kiarostami Chris Marker, Raoul Ruiz and Manoel de Oliveira. BALUARTE Heterodocsias: Oteiza, the filmmaker without cinema Pza. Baluarte s/n 31002 Pamplona How can we organise a retrospective on a filmmaker who never made a Prize: €3 film? How can we put together a series of programmes that unveil his From Friday 24 February until 6 March, from 11am to 2pm, and from 5pm to 8pm ideas on screen? Are we before the great heterodox? Someone who did After Monday 6 February, from 9:30am to 2pm, and from 4:30pm to 10:30pm not finish a single film aware of the fact that his idea was always superior to the result? At Punto de Vista, as lovers of c hallenges, we have leapt SALE OF THE CATALOGUE AND THE BOOK “OTEIZA AL MARGEN” into the unknown and assumed the risk of filling four afternoons of film devoted to the non-existent work of Jorge Oteiza. Fondo de Publicaciones del Gobierno de Navarra (C/ Navas de Tolosa, 21) and Baluarte Main Hall during the festival Special screenings Catalogue price: €5 The festival will devote the eleventh edition to Luce Vigo and will Book price: €15 programme a tribute session with L´Atalante, the legendary film by Jean Vigo, and Crossing Paths with Luce Vigo, a portrait filmed by Jem Cohen BUSES during one of Luce’s visits to Pamplona. On wednesday Baluarte will hold a Pelota Evening with two documentaries about our local sport filmed On Avd. del Ejército: 4, 8, 9, 10, 12, 15 and 18 by the great danish filmmaker Jørgen Leth. The member of the jury Alain On Padre Moret: 16 and 17 Fleischer will introduce two of his celebrated portraits. On saturday, three On Yanguas and Miranda: 10, 17, 19 and 22 new discoveries of Chez les basques. More information available at http://www.mcp.es/transporte X Films Project OTHER VENUES OF THE FESTIVAL Punto de Vista is once again offering three Spanish filmmakers the chance to make an audiovisual creation in Navarre. María Cañas, Pilar Teatro Gayarre Monsell and Omar A. Razzak will be presenting their projects, and the Avda. Carlos III, 1 winner chosen by the X Films Committee will receive funding to direct a documentary film that will premiere at the 2018 edition of the Festival. Filmoteca de Navarra Paseo Antonio Pérez Goyena, 3 All Official Section films are screened with subtitles in English From Baluerte Bus number 12.

4 5 SUNDAY, MARCH 5TH

19:00 Teatro Gayarre The fift wall

MARUJA ENAMORADA Dir: Vivi Tellas. With Maruja Bustamante and Inti el Hermoso, 70’

A Biodrama appears each year in Argentina, which is a theatre play where what is performed is real following a script with what is known as: minimum fiction threshold. More specifically, Maruja Enamorada is a play that deals with the hypothesis of love, a romantic documentary in which Maruja Bustamante relives all of her love affairs, which she has experienced in reality without inventing anything, whilst moving forward with her story.

Masterclass by Vivi Tellas after the show (20:30)

MONDAY, MARCH 6TH

10:00 Cámara Auditorium Official Section - The Central Region (76’)

GREEN SCREEN GRINGO Douwe Dijkstra. Netherlands, Brazil. 2016. 16’

WE MAKE COUPLES Mike Hoolboom. Canada. 2016. 60’

More info on page 10

12:30 Cámara Auditorium Official Section - The Central Region

NORMAL AUTISTIC FILM Miroslav Janek. República Checa. 2016. 90’

Far from being just another film on autism, inverts the mirror and does not present the autistic as different people, it’s a true film about people with hobbies who de- dramatise their daily life with their humour and desires. Using a direct visual style and a casual pace in the editing, often accompanied by some piano notes, this choral portrait of a group of autistic teenagers challenges us to enter the screen and cross their mirror.

17:00 Cámara Auditorium Hunter Hunted

MORCEAUX DE CONVERSATIONS AVEC JEAN-LUC GODARD Alain Fleischer. . 2016. 125’

Portrait of Godard whilst preparing the Travel(s) in Utopia exhibition at the Georges Pompidou Centre. It is the culmination of successive reinventions, which began with his phase as a critic for Cahiers du Cinéma in the 1950s, and continued with his revolutionary fiction in the 1960s, his essays in the 1970s, his return to essay fiction in the 1980s, and the coronation of all his work with Histoire(s) du cinéma. FLYING 10. Aerophile.

6 7 17:00 Gola Room RACCONTO DE UN AFRESCO FLYING 2: BIRDS (after Hitchcock) (106’) Luciano Emmer. Italy. 1940. 10’

Five films present us with a set of winged creatures as kings of the air to the envy Biography of Christ told in images from Giotto’s murals in the Scrovegni Chapel of man and other inhabitants of the land. Pigeons, ravens with a superhuman in Padua, and edited using the language of fiction film. This small experiment on the dramatisation of painting, in which documentary film, fiction and animation speech and falcons from the oil countries, animals that have had their wings cut come together, revolutionised the field of film art forever. . and now fly in private jets.

PARADISO TERRESTRE AVIARY Luciano Emmer. Italy. 1941. 11’ Katherin MacInnis. USA. 2013. 5’ Tale of the expulsion from Eden based on the exuberant paintings by Bosco. In Vivisection in film of the winged animal that has surpassed man in a mystery: this short film, the system of editing fragments of contemporary classical music how to connect two points for communication. The artist, Katherin MacInnis, with which the beginning of Racconto da un alfresco was being built, before portrays the armies through a marathon of palpitating archive images in black having to commission Roman Vlad to make an original soundtrack on copyright and white, a tribute to the flight of these heroines of the air, like another tribute grounds can be appreciated. to the unknown soldier. ISOLE NELA LAGUNA ORNITOGRAPHIES Luciano Emmer. Italy. 1948. 13’ Xavi Bou. Spain. 2017. 4’ In Isole nella laguna Emmer pans the islands of the lagoon, their empty spaces, Muybridge and Marey’s chronophotography taken to an extreme and raised to their few inhabitants who create artesian masterpieces without ever smiling. The something more poetic: making the invisible visible. The result is forms and images of both films return half a century later to conjure up Venice at the end of the century destroyed by tourism in Nostalgia. figures that fly over our heads, leaving a mark that is as full as beauty as it is an enigma. LEONARDO DA VINCI Luciano Emmer. Italy. 1952. 46’ WE FLY AGAIN Alexandru Vlad. Romania. 20’ In his most ambitious art film to date, winner of the Golden Lion at the Venice Film Festival, Emmer throws all of his cinematographic creativity into going The raven is the object of study in this fable that this young Rumanian filmmaker through Leonardo da Vinci’s notebooks, seeking a balance with the pedagogical traces through dreamlike images where there is no lack of human recreation of the and critical tendency of art film, along the lines of the critofilms by Carlo animal. It is a satire that also reflects our prejudices and leaves us without arguments Ragghianti and particularly Rubens (1948) by Henri Storck and Paul Haesaerts. when we prefer the song of a goldfinch to this intelligence of black wings. LA SUBLIME FATICA THE ART OF FLYING Luciano Emmer. Italy. 1966. 11’ Jan Van Ijken. Netherlands. 2015. 7’ La sublime fatica is based on the commission to film the sculptures by A hypnotising short film on the mysterious and suggestive flight of starlings in Michelangelo in the year of the fourth centenary of his death, for a short film with large flocks. The result of this plague-flight is the dance of a formless mass that Charlton Heston that would originally accompany the premiere of El tormento creates changing shapes in the sky with the skill and malleability of a hive. The y el éxtasis. At the last moment, Fox broke the contract, but Emmer turned the commission towards a critical and ironic look at the mass tourism that was choreography is perfect: the flight of each one is the flight of all of them. starting to invade Italy in the 1960s, highlighted by chirping music and the obsessive gaze of the wide-angle camera, in dialogue with the verses written by THE CHALLENGE the sculptor in the 16th century. Yuri Ancarani. Italy, France, Switzerland. 2016. 69’

Falcons no longer fly with their own wings, they contemplate the clouds from 20:30 - Cámara Auditorium the window inside the private jet that carries them. Yuri Ancarani in his ironic OPENING FILM observational portrait tells us that the hunting of these birds of prey is none FLYING 1 other than image, which puts the owners in the sky and traps the animals alive. IL CASTELLO With the presence of Xavi Bou and Alexandru Vlad Massimo D’Anolfi, Martina Parenti. Italy. 2011. 90’

17:00 Corona Room What can and cannot fly through the skies? A young boy from Paraguay with Luciano Emmer 1: Racconto (91’) 9 cocaine eggs in his stomach? Red bream that may contain arms? A woman who loses her ticket and is forced to live in the airport bathroom? All of these Journey through Luciano Emmer’s first creative stage, from his discovery of the questions are raised in this cas-tle that the pair of filmmakers from Milan, dramatisation of painting to the outbreak of the mass tourist. Massimo D´Anolfi and Martina Parenti, built when they locked themselves in their city’s airport, Malpensa, to capture everything that went on there during four seasons.

8 9 TUESDAY, MARCH 7TH MOTHLIGHT Stan Brakhage. USA. 1963, 4’ 10:00 Cámara Auditorium Official Section - The Central Region (72’) First film miracle: animating what cannot be animated. The maestro Brakhage, with his entomologic eye, brings this collection of night butterfly wings to life after WASTE no.2. WRECK they are found lifeless, having been burnt by a lamp and which the filmmaker Jan Ijäs. Italy. 2016. 11’ decides to resuscitate by sticking the wings directly onto a 16mm film.

TREBLINKA PAPILLON D’AMOUR Sergio Trefáut. Portugal. 2016. 61’ Nicolas Provost. Belgium. 2003, 4’

More info on page 17 Second film miracle: create a metamorphosis of what has been filmed. The Belgian visual artist designs a new film through fragments of Rashomon by 12:30 Cámara Auditorium Akira Kurosawa, developing a mirror effect to become the magical appearance Official Section - The Central Region of a chrysalid that uses its wings to finally disappear by vanishing into thin air.

COLOMBI LE BATTEMENT D’AILES D’UN PAPILLON Luca Ferri. Italy. 2016. 20’ Aleksandr Balagura. France, Ucraine, Italy. 2008. 64’

THE HOST Third film miracle: immortalise the memory. Everything is flight in this film full Miranda Pennell. UK. 2015. 60’. of unfinished films: aeroplanes over an unknown Kiev, seagulls in a long calm night and Muybridge’s pigeon flapping its wings in front of the camera which is More info on page 20 repeated like a mantra. Flight as a metaphor, the memory works here like the beating of the wings of a butterfly, with its individual fragility but devastating 17:00 Cámara Auditorium effect when done all together. Official Section - The Central Region (76’) With the presence of Aleksandr Balagura GREEN SCREEN GRINGO Douwe Dijkstra. The Netherlands, Brazil. 2016. 16’ 17:00 Corona Room Luciano Emmer 2: Racconto to essay (81’) Reality is presented in a new way before our eyes. A green screen opens up through the crowd to reveal the contrasts of a country that is going through One of Emmer’s main documentaries on art and his re-appropriation and political upheaval, but never loses its passion for music, art and pace of life. rewriting in the first person half a century later. The result is a reflection that is as bold and committed to Brazilian society as a protest song to the rhythm of samba. PICASSO Luciano Emmer. Italy, France. 1954. 41’ WE MAKE COUPLES Mike Hoolboom. Canada. 2016. 60’ For the first great exhibition devoted to Picasso in Italy in 1953, Emmer was commissioned to make a documentary on the painter from Malaga. He set just Resistance, desire, capitalism… Everything is put through Mike Hoolboom’s one condition: to allow him to film Picasso working at his Vallauris studio. The blender in this film that sums up the beginning of our century in a brilliant film film would become one of the great milestones in the relationship between essay proposal. Edited over six years, we are faced with a lucid reflection in the Picasso and the film industry. form of a collage on the art of producing images, with the echoes of the cinema- going and the social turmoil of the Occupy movement to Pussy Riot. Images to INCONTRARE PICASSO digest, not to consume. Luciano Emmer. Italy. 2000. 40’

With the presence of Douwe Dijkstra Half a century after his documentary on Picasso, which was cut into various short films in Italy in order to distribute it more easily, Emmer returns tohis 17:00 Gola Room own material to re-appropriate it and transform it: it would no longer be the FLYING 3: His highness, THE BUTTERFLY (72’) asymmetric tale of an anonymous filmmaker who observes the genius painter in amazement, but a work created in complicity between the two authors reflecting Film experiments on the flight of the butterfly as a film metaphor that is on their two expressive means. transformed and transforms us. The testimony of an animal, the filmmaker, who is capable of burning his wings in his tireless flight towards the light.

10 11 20:00 Cámara Auditorium Amorante concert. Official Section - The Central Region

NORMAL AUTISTIC FILM Friday, March 10th 21:30h Miroslav Janek. . 2016. 90’

More info on page 6

20:00 Gola Room FLYING 4: Vertical look (56’)

An invitation to place your hands behind your head, lied down in the grass and look upwards and to do so wordlessly. With the permission of James Benning: seven skies.

SKY BLUE Maki Satake. Japan. 2003. 1’

First look at the sky more through touch than vision. Maki Satake’s video poems present the brief magic of the haiku where the artist’s hands always appear manipulating the image. Their fingers cut out a piece of sky to turn it into a paper plane. Magic to start with, the sky rotates and the sky flies.

TWO SKIES Lukas Marxt. Germany. 2013. 4’

The vertical look of this second proposal focuses on the marine horizon, filmed twice from a gas platform in the Norwegian Sea: at dawn and at dusk. Here, the enigma lies in the combination. The Austrian artist places these two seas in the image, one facing upwards and the other facing downwards.

DES NUAGES AUX FÊLURES DE LA TERRE Philippe Cote. France. 2007. 18’

A sky in black and white, filmed in super8, highlighting the film grain, it’s alternated with colour in this wonderful feast of clouds in all of their geometries and volumes: fleeting clouds, palpitation of cumulus, halos that dance ina thousand figures.

HEATHROW Dryden Goodwin. UK. 1994. 13’

The accessible sky within reach of one’s hand, under the gaze of the great British drawer, Dryden Goodwin. We take off. Anxiety, passengers like ants, planes that lift their nose into the wind, the pulse of the huge London airport. On it, Goodwin draws us a sky with two faces where “a mystical refuge and a fear of the blue void” is experienced. Passengers return. Relaxation. We land.

PROXIMITY Inger Lise Hansen. UK. 2006. 4’

A sky inverted in four different moments and atmospheres gives the ground the privilege of taking the superior role for a few moments and dominating the image. What is solid becomes ethereal and offers us a thousand changing shapes. Inger Lise Hansen with her typical look from another hemisphere, her own upside-down world.

12 13 TRANQUILITY 20:00 Filmoteca de Navarra Siegfried A. Fruhauf. Austria. 2010. 6’ FLYING 5: Portrait of a bomber

A woman on the beach travels lying down through the air with her gaze. The B-52 voice of Neil Armstrong warns us that we have reached the sea of tranquillity of Hartmut Bitomsky. USA, Switzerland, Germany. 1998. 104’ the title, whilst the waves and the water help the flight. The sky is like a patch of dense shapes that palpitate, seen from the spacesuit of an astronaut satisfied The great German documentary maker, Harmut Bitomsky, made a portrait of with the world and with himself. one of these monsters of the sky in this film at the end of the 1990s, the mythical B-52 bomber, which is a portrait of North America’s command of the sky in CLOUDS our century. In his peculiar style, the director from Bremen does not stay in Peter Gidal. Reino UK. 1969. 10’ the air and also seeks the other side on earth. Bitomsky gives the voice to the American pilot who launched 2,250 tonnes of bombs and then interviews the Peter Gidal closes this journey through the skies with his vertical look that plays Vietnamese man who found his wife cut into two in his demolished house. at nothing: the sky is often devoid of image, no more than a subtle presence of air on the screen. However, suddenly a plane crosses it and our illusion is With the presence of Hartmut Bitomsky disrupted once more… until the next time… nothing and something in perpetual air play. 22:30 Cámara Auditorium Hunter Hunted: Tribute to Abbas Kiarostami 20:00 Corona Room Heterodocsias: About Oteiza I (64’) TAKE ME HOME Abbas Kiarostami. Iran. 2016. 16’ PAISAJE DESOCUPADO Juan Carlos Quindós de la Fuente. Spain. 2015. 12’ The last Kiarostami’s short film features a “football” in the main lead. The philosophical and thematic meanings can be derived by the viewer with their Based on the writings of Jorge Ramos Jular, who analysed Jorge Oteiza’s work own instinct. in accordance with evolving spatial categories, Quindós tackles the mural of the Apostles as a topographic landscape in which Oteiza’s sculptures occupy a 76 MINUTOS Y 15 SEGUNDOS CON ABBAS KIAROSTAMI virtual horizontal position, once more looking up to the sky and receiving the rain Seyfolah Samadian. Iran. 2016. 76’ with open arms, like they did for many years in a nearby ditch.. Premiered at the Venice Film Festival, two months after his death, with 76 HARRIAREN ERRESISTENTZIA minutes and 15 seconds with Abbas Kiarostami we find ourselves before a Gillermo Zuaznabar. Spain. 2003. 15’ series of fragments of his life and work over several years, devoid of interviews not even in voice-over or declarations that back them up, forming an honest Like a collage, the film revolves around an article written by Josep Quetglas tribute with a background that is as spiritual and revealing as the films by the and Gillermo Zuaznabar which analyses Jorge Oteiza’s work, located on the great Iranian maestro. International Bridge (1971), between Irun and Hendaya. It does not have objective pretensions, but the images infect the look of their observers and 22:30 Gola Room condemn them to listen to the hidden secret kept. FLYING 9: Icarus and company (56’)

The legend of the son of Daedulus and the topic of the fragility of his wings is SIETE VIGÍAS Y UNA TORRE revisited from different points of view, but through a common pulse: failure as a Manuel Asín. Spain. 2007 37’ significant part of the flight and its regeneration. For over forty years, Jorge Oteiza marked culturally key places with stones and TEN MINUTES BEFORE THE FLIGHT OF ICARUS metal, sensitive points on the map. Unnoticeably, he put statues in watchtowers Arunas Matelis. Lithuania. 1990. 10’ and landscape fronts, as watchful and protective signs. His friend, the architect, Francisco Javier Sáenz de Oíza, finally built his house in Alzuza, his tower, like The prelude to the flight. The film takes us through an old city, Uzupis, inside an a defensive fort even more ancient city, Vilnius, and invites us to visit its ruins, but this historic decadence is only present in the foreground. The expertise of Arunas Matelis With the presence of Gillermo Zuaznabar and Manuel Asín hides behind a latency-imminence that something is going to take off but it is unknown what. His film, his country, both things? 20:00 Teatro Gayarre The Fift wall FALL Tom Dewitt. USA. 1971. 16’ NADIA

Using changes in colour, superimpositions and multi-perspectives, his tale Documentary theatre play on the experience of Nadia Ghulam, a young Afghan mixes men falling with the silhouettes of eagles and fleeing clouds, in a tale of refugee who came to Barcelona in 2006 after suffering the ordeal of the civil war Icarus which somehow transmits the immortality of the legend: the man falling in her country. She explains her true story, without performances, screening real through the air in classical Greece is the same as the man free falling centuries images and documentary material. later in the Twin Towers.

14 15 THE FALL OF IKAR WEDNESDAY, MARCH 8TH Yuri Shiller. Russia. 2003. 30’ 10:00 Cámara Auditorium Yuri Shiller’s Icarus follows Beckett’s saying: “Ever failed. Fail better”. Filmmaker Official Section - The Central Region of landscapes and peasants, his gaze, full of wise slowness, rests on one of these anonymous heroes unaware of his feat, even when he is filmed in his FOYER village. He hides his treasure in his garden: an ultra light plane that he himself Ismaïl Bahri. Tunisia, France. 2016. 31’ built with which he dreams of leaving the earth. Tunis “observed” through the surprising filter of a blank sheet of paper placed 22:30 Corona Room just a few centimetres from the lens, whose shape changes in colour with the Luciano Emmer 3: Essay vibration of the wind and the sun light and covers the vision, hiding the external image, but not its sound. A risky slide that best reflects the reality and the Three essays from Emmer’s final stage, built from an ongoing dialogue between turbulent social context of his country paradoxically by hiding it. looking and memory. LAND WITHIN NOSTALGIE Jenni Kivistö. Finland, Colombia. 2016. 60’ Luciano Emmer. Italy. 2001. 9’ The native Wayuu live in the La Guajira Desert, located between the extreme For the retrospective devoted to Balthus in Venice in the year of his death, north of Colombia and Venezuela. They do not consider themselves to be Emmer remembers the city where he grew up. To do so, he uses his filmed citizens of either of the two countries. Through an observational staging, the memory, his two short films from half a century ago, Isole nella laguna and Finnish filmmaker also begins to question her own country and this is when she Romantici a Venezia. feels a strange connection and discovers that the word “maa” means “land” in Wayyu and in her native Finnish. BELLA DI NOTTE Luciano Emmer. Italy. 1997. 28’ 12:30 Cámara Auditorium Official Section - The Central Region (90’) Emmer was commissioned by Rai 2 to make the official documentary on the reopening of the Villa Borghese in Rome and its extraordinary collection of works L’ABCDAIRE DE L’AMOUREUSE D’UN PHOTOGRAPHE of art. The filmmaker, like all the other times, re-appropriates the commission Anahit Simonian. France, Spain. 2017. 29’ and turns it into something else: a night-time journey in the first person through CONVERSO his memory and his experience as a child in this place. David Arratibel. Spain. 2017. 61’

CON AURA…SENZ’AURA: VIAGGIO AI CONFINI DEL ARTE More info on page 25 Luciano Emmer. Italy. 2003. 58’ 17:00 Cámara Auditorium Essay self-portrait, a testament film of Emmer guided by Leonardo, Benjamin Official Section - The Central Region (72’) and Proust, the eighty-year-old filmmaker embarks on a journey inside the Pastena cave (but imagining Lascaux) in search of the origin of art. WASTE no.2. WRECK Simultaneously, he gradually goes back in his memory to the beginning of his Jan Ijäs. Italy. 2016. 11’ film career, allowing the capacity of suggestion of the shapes that come before him to set the thought mechanism in motion. Rabbit Beach in Lampedusa has recently been voted the best beach in the world on TripAdvisor. Located between the coasts of Italy and Tunisia, the Mediterranean island is also the most tragic point in the drama of immigration that plagues us today. The challenge: to make a film about immigrants without showing them.

TREBLINKA Sergio Trefáut. Portugal. 2016. 61’

Voices during the night, trains between the fog, naked bodies in the railway wagons that travel across the east of Europe guided by the ghosts of the Nazi extermination. Two questions: if the Holocaust can be told in a different way, perhaps it is because everything is never told. And secondly: if poetry existed during Auschwitz, perhaps it can also exist afterwards.

With the presence of Jan Ijäs and Sergio Trefáut..

16 17 Official Section 17:00 Gola Room FLYING 6: The winged camera (79’)

The Central Region. The camera flying through the air to the glory of art, the exaltation of beauty or espionage. The end of the perspective, with the look of God and film abandoned in the sky.

GAMELAN Claudio Caldini. Argentine. 1981. 12’

The Argentinean filmmaker invents a device like a Davidian sling to which he ties his camera and he makes it turn and turn around the landscape whilst filming. The result: earth, sky, earth, sky and once more earth, sky, in a circular film that appears to accompany the planet Earth in its rotational drifting.

BIT PLANE Bureau of inverse Technology. USA. 1999. 14’

The camera is perched on the wings of a spy plane at the end of the 1990s on its maiden flight by the most protected place on the planet: Silicon Valley. This BIT is the name of the information agency that makes this successful experiment on the wings of a controlled plane and offers us a small big brother to see the greatest of polygons of our era from the sky.

END OF PERSPECTIVE Anton Ginzburg. USA. 2015. 21’

The Hudson River Valley, which was one of the leading landscapes chosen by the North American romanticism painters in the middle of the 19th century, is the journey through the air of two drones which put the New York based filmmaker Anton Ginzburg into orbit. With brushstrokes that are now mechanised, the first conclusion is clear: perspective is ended from the sky.

30KM Simon Faithfull. UK. 2003. 32’

Final flight in this programme which is a pilotless journey by the British artist, Simon Faithfull, a veteran of the air, who likes to test the law of gravity in each piece and in this case, the stratosphere too. The journey here is presented in this way: it starts with a face, that of the artist in a close-up releasing a camera on a weather balloon in the countryside of the south of England, and the final destination is none other than the final edge of space.

17:00 Corona Room Special sessions: Alain Fleischer, two portraits

ALAIN FLEISCHER Alain Fleischer. France. 2002. 13’

À LA RECHERCHE DE CHRISTIAN B. Alain Fleischer. France. 1989. 45’

The first is an autobiographical journey through his discovery of Photography: from his first questions about the paths of the image and the word, tothe increasingly sophisticated construction of objects, slides, fictions; from the first photograph of a nude woman (his sister) to his monumental erotic projections on urban architecture. The second, In Search of Christian B., is a tale told in the first person that tries to bring together some pieces that refer to his artist friend, who he had known more than twenty years earlier: images of recent or old films, images of places or installations, or images that simply remind him of him.

With the presence of Alain Fleischer

18 19 20:00 Gola Room 22:30 Gola Room Bosgarren horma FLYING 8: Air Walkers

INOIZ IKUSI GABEKO PELIKULA Under Ionesco’s verse, some inhabitants who transit the sky are presented: bird Zinemarekin hitzordua fede-aitor gisa. Ikusten ez den horretan sinesten men, ski jumpers, divers, springboard divers, parachutists and other illustrious dutenentzako. Proiekzio sorpresa. 40’ (Euskaraz) challengers of gravity who make the air their home.

20:00 Corona Room DEATH JUMP - FRANZ REICHELT JUMPS OFF THE The Fift wall Unknown. France. 1912. 2’

LA PELÍCULA JAMÁS VISTA Una cita en el cine como acto de fe, solo apta para los que creen en lo que no One of the most famous flights in the city of lights, that of the Austrian tailor, se ve. Proyección sorpresa. 40’ (Spanish) Franz Reichelt, who showed the effectiveness of a suits in tests with dolls that he had previously performed from the window of his apartment. One 20:00 Cámara Auditorium day, he got permission to try it out from the Eiffel Tower, but once up there, he Special sessions: Pelota evening wanted to be the jumper. His dream: feeling the wings that, like Leonardo, he had dreamed of sewing throughout his life. PELOTA Jørgen Leth. Denmark. 1983. 47’ DEL TUFFARSI E DELL’ANNEGARSI Paolo Gioli. Italy. 1972. 11’ One of the best historic documentaries on pelota, which shows that good films, like wine that is carefully blended, ages to perfection. The film travels through the Diving is the aquatic version of air floating. The great Italian experimental passion and the anthropology of those who play in the streets and in the small filmmaker presents us with one of his brief film essays on the bodies that enter porticos of the churches. The game is attached to the village or the village is the water after a fleeting flight without knowing what awaits them in the depths. attached to the game, which at times is not the same, as seen clearly in the film. A fixed photo combined with waves of water, a mirror effect, solarised and PELOTA II overlapping jumps, everything is valid in the Gioli collage. If diving and flying Jørgen Leth, Olatz González Abrisketa. Denmark, Spain. 2015. 71’ are synonyms, drowning can be a fatal fall. However, nothing denies the beauty of a winged body suspended in the air like a dagger that threatens the water. Thirty years after making Pelota, the Danish filmmaker Jørgen Leth returns to the Basque countryside to film a new documentary on the star sport. This time, CLOCKSHOWER he is accompanied by the anthropologist, Olatz González Abrisketa. The return Gordon Matta-Clark. USA. 1973. 13’ visit is full of surprises in time: the then champions are now coaches and there is a new generation willing to leave their hands on the court. Pedestrian in the sky of Broadway who follows in the footsteps of Harold Lloyd in Safety Last in his own tribute-satire of film. The artist Gordon Matta-Clark, son With the presence of Olatz González Abrisketa of surrealism and ill-fated in his short career by pancreas cancer, challenges life without nets and he does so as he knows best: as a space artist. Hanging from 22:30 Cámara Auditorium the Clocktower in Manhattan, he washed, shaved and brushed his teeth there, Official Section - The Central Region making the air his home sweet home.

COLOMBI Luca Ferri. Italy. 2016. 20’ THE GREAT ECSTASY OF THE WOODCARVER STEINER Werner Herzog. West Germany. 1974. 43’ Mr. and Mrs. Colombi is a love story that challenges the passing of time. She cannot move by herself. He helps her to eat with a spoon. Together, they feel Werner Herzog confesses that his frustrated dream of becoming a ski jumper lucky, isolated from all the changes in this world. Their retreat is one of absolute led him to conquer the air through his camera and film. His portrait of Steiner, symbiosis, without children. Almost a century later, together they gradually lose who he follows on the slopes just a few centimetres from his flight, has traces their strength but not their lucidity. of a hagiography that tries to capture that angelical moment which has passed into our film heritage with the priceless soundtrack by Popol Vuh, in this flight THE HOST slowed down to 20% of a hero of the sky. Miranda Pennell. UK. 2015. 60’. CARNICEROS DEL AIRE The Host combines the filmmaker’s personal memory with collective memory Enrique Urdanoz. Spain. 1992. 25’ and shows the trick of a well armed matryoshka doll: how a family film can contain a whole country as well as a search for a personal mirror in which Passion for flight is increasingly seen in these Quixotes of aviation, whorisk oneself is reflected. Using the keys of essay film, the director delves into the their lives in each outing and for whom the statistics say that 90% will not return past of her parents as former British Petroleum workers in Iran. The investigation reveals the other side of the country and takes the form of a huge international with life one day. Their objective is to carry meat from the lost jungle to the allegation. other side of the Andes in Bolivia and on the return journey they pass over the snowed summits overloaded with 7,000 kilos in home-made planes that they With the presence of Miranda Pennell themselves repair. Enrique Urdanoz from Pamplona uses his camera skills to capture one of these last goldsmiths of the wind: Captain Walter Ballivián.

20 21 22:30 Corona Room CICHA SYMFONIA (UNA SINFONÍA EN SILENCIO) Hunter Hunted Aitor Gametxo. Spain, Poland. 2016. 25’

CHRIS MARKER: NEVER EXPLAIN, NEVER COMPLAIN The unpronounceable Wroclaw in Poland, city of changing borders, is now, like Jean-Marie Barbe, Arnaud Lambert. France. 2016. 146’ all cities, the scene of noise and melodies that deaf people are unaware of. Throughout a day, we are witness to an extraordinary silent symphony made Posthumous portrait of Chris Marker (1921-2012), the elusive French filmmaker- up of visual rhymes, conversations, everyday moments, childhood emotions essayist, traveller, photographer and cat-lover. Two filmmakers, Jean-Marie and pleasures that normally go unnoticed, but here they are rediscovered in Barbe and Arnaud Lambert, propose a chronological journey through his the most comfortable of silences. It is a symphonic portrait of a resoundingly thoughts and cinematographic work. familiar city.

ISLANDS OF FORGOTTEN CINEMAS THURSDAY, MARCH 9TH Ivan Ramljak. Croacia. 2016. 35’

10:00 Cámara Auditorium Among the remnants of what was once a popular cinema, the echo of a voice Official Section - The Central Region that remembers its prosperous past on the Croatian islands sounds. Through anecdotes and personal memories of the older locals, they take back to a time CIDADE PEQUENA when the cinema and its atmosphere were still the centre of society. A requiem Diogo Costa Amarante. Portugal. 2016. 19’ for film as a collective experience and at the same time a celebration ofits essence in constant metamorphosis with the world. CICHA SYMFONIA (A SILENT SYMPHONY) Aitor Gametxo. Spain, Poland. 2016. 25’ With the presence of Diogo Costa Amarante, Ivan Ramljak and Aitor Gametxo

ISLANDS OF FORGOTTEN CINEMAS 17:00 Gola Room Ivan Ramljak. Croatia. 2016. 35’ FLYING 7: The base of the air is red. And green. And blue. (120’)

More info on page 23 Three experiments to capture the hardest thing in film: the wind. Three looks that are heard for what is not seen and once more present us with man faced 12:30 Cámara Auditorium with the mystery of the unattainable. Official Section - The Central Region MAÎTRE-VENT FROM VINCENT’S HOUSE IN THE BORINAGE Simon Quéheillard. France. 2012, 22’ José Fernandes. Belgium, Portugal. 2016. 18’ An inventory of winds trapped with a curious device: the artist from Bordeaux 5 OCTOBER places piles of cardboard boxes, plastic bags and other light elements in the Martin Kollar. Slovakia, Czech Republic. 2016. 50’ ditch of a series of French roads. The filmed traffic causes the gust as it passes by and makes the improvised towers shake or fall, depending on the force of More info on page 28 the wind that the vehicles create as they go past. Between conceptual and burlesque, in this first attempt to trap the wind, the air enters the scene with 17:00 Cámara Auditorium all of its invisibility. Official Section - The Central Region PLASTIC BAG CIDADE PEQUENA Ramin Bahrani. USA. 2009. 18’ Diogo Costa Amarante. Portugal. 2016. 19’ Herzog tells us, in his beautiful English, the story of a plastic bag that sails Frederico learnt at school that when the heart stops, people die. Terrified, he through the air in a mad love race in search of its creator, which ends in harsh could not sleep that night. To protect him, his mother moved to the country with criticism of a world and an ocean that is increasingly polluted. It is a journey him, in full contact with animals and nature, where they enjoy the peacefulness through the air that takes us to the depths of the human being. The air is not as of the place with parsimony and amazement. Alongside them the filmmaker clean as it appears to be. himself, who imagines the world from the eyes of a sleeping child through the inevitable passing of time, creating a dance between reality and fiction which UNE HISTOIRE DE VENT finally challenges his childhood. Joris Ivens, Marceline Loridan. France. 1988. 80’

This film is a chair on the horizon. A chair on which a tired filmmaker sits to fulfil his final dream: trap the wind. It does not matter in which desert or in which point of lost Asia this chair is placed, as the tired filmmaker will make it there to do what he has always done: wait. In search of the wind, his rucksack is filled with the poetic side: a kite exhibition, a mask that creates air with its fierce blowing and the trunk where all the winds hide.

22 23 17:00 Corona Room Heterodocsias: Oteiza, Special sessions: Tribute to Luce Vigo CRUZANDO CAMINOS CON LUCE VIGO the filmmaker without cinema Jem Cohen. Spain. 2010. 11’

As a prelude to this tribute to Luce Vigo, “the guardian angel of Punto de Vista”, we present this gem that unites two of the most illustrious visitors. Perhaps what can be highlighted is something that is not usually mentioned in the synopsis: kind-heartedness. It must be mentioned because it is transmitted in the final result and it is doubly noticed when he who is making the portrait and the portrayed look at each other from the heart. One looks, the other speaks. The French visitor walks through her house. The visitor from New York follows her almost arm in arm. It starts to rain, time to put on a hood, Luce tells us about her childhood, her father and cinema... the bench where she sits will always be the Luce Vigo bench.

L’ATALANTE Jean Vigo. France. 1934, 89’

It is the chronicle of a man before an empty bed, the most famous film scene before some recently abandoned sheets, a frustrated honeymoon aboard a barge that is as full of cats as it is of dreams. It is a collage of kisses that roll around on themes floor, a milonga devoted to a disagreement, an essay on slovenliness on a never-ending river. It is the tune of an accordion that sings to eyes the colour of the weather, a film that is submerged to capture a nameless dance under the water, the song to the dumbness of a man who runs towards a horizon that moves away. It is the best tribute to the daughter of an unrepeatable filmmaker, the memory of her time on our table, her eternal smile in one of our squares. It is L´Atalante.

20:00 Cámara Auditorium Official Section - The Central Region (90’)

L’ABCDAIRE DE L’AMOUREUSE D’UN PHOTOGRAPHE Anahit Simonian. France, Spain. 2017. 29’

How to film a word? How to listen to a photograph? How to tell of a love life in just 26 words? How to put what does not fit into life in a dictionary? In the celebration of what we call beauty, Anahit Simonian, fascinated by the oneiric universe of the French photographer Guillaume Poussou, picks up a camera for the first time in her life –she is a composer– and documents the rhythm of his creative process. Reality fragmented by letters, art encapsulated in voices, numbering and listing as the best container for what moves us.

CONVERSO David Arratibel. Spain. 2017. 61’

A film about a church organ, family, harmony and something even more difficult: faith. Intelligently dismounting the classic format of the interview documentary (don’t forget Converso also comes from the verb to converse), the director sits on a chair that becomes a confessional of others and his own, asking questions in front of a mirror that is none other than the mirror of the house. A family film with a personal search and a huge cinematographic question: If the Holy Spirit enters our home, is it possible to make a film on it?

With the presence of Anahit Simonian and David Arratibel

24 25 20:00 Gola Room ÁFRICA 815 (30’) Heterodocsias: About Oteiza II (70’) Pilar Monsell

A LA SOMBRA DE PERKAIN Excerpts from África 815 (2013). Fernando Pagola. Spain. 2010 6’ INTERLUDIO (30’) The images show the movement of the pelota player on the court. The language Omar A. Razzak is simple, abstract and with clear references to the 19th century pioneers, Marey and Muydbrige. The movement is generated with the distortion of the body Excerpts from Paradiso (2013), La tempestad calmada (2016) and Torpe (2017). itself, like Kerstez had already suggested in 1932. The athlete’s body without any adornment.The space without references. Greece and the Basque world. With the presence of María Cañas, Pilar Monsell and Omar A. Razzak The myth. Stone and flesh. 22:30 Cámara Auditorium SOROA Official Section - The Central Region (91’) Asier Altuna. Spain. 2014. 13’ FOYER Arid soil, sun, wind. Ismaïl Bahri. Tunisia, France. 2016. 31’ A procession crosses the landscape. The echoes of their prayers bring the rain. LAND WITHIN Jenni Kivistö. Finland, Colombia. 2016. 60’ CASA VACÍA Jesús Palacios. Spain. 2012. 20’ More info on page 17

Empty House is a journey around the ruins of this house in Irun, in which the 22:30 Gola Room artists Jorge Oteiza and Nestor Basterretxea lived between 1957 and the FLYING 2: BIRDS (after Hitchcock) (106’) mid-1970s. While we are exploring this dark and empty space a dialogue is established between the images of the present and the materials of the past. AVIARY Katherin MacInnis. USA. 2013. 5’ OTEIZA Itziar Añibarro. Spain. 2008. 9’ ORNITOGRAPHIES Xavi Bou. Spain. 2017. 5’ This piece is based on the sculptural work The Fourteen Apostles of Arantzazu, by Jorge Oteiza. It is an interpretation of the work by this artist, through dance WE FLY AGAIN and poetry, in which the core concept is the idea of the emptiness of the Alexandru Vlad. Rumaine. 20’ material. The body is a sculpting material and poetic language, a ballet of bodies creating spaces to fill them with spirituality. The poem becomes the support for THE ART OF FLYING movement, in a visual narration filled with symbolism. Jan Van Ijken. The Netherlands. 2015. 7’

MAKING OF DE OTEIZA: APÓSTOLES Y RECLUSOS THE CHALLENGE Itziar Añibarro. Spain. 2008. 32’ Yuri Ancarani. Italy, France, Switzerland. 2016. 69’

Now the prisoners are the ones who speak and tell their experiences in the Más información en la página 8 workshop, but also in their approach to the figure of Oteiza. 22:30 Corona Room With the presence of Fernando Pagola, Asier Altuna and Itziar Añibarro Hunter Hunted

20:00 Corona Room RAOUL RUIZ, CONTRA LA IGNORANCIA FICCIÓN X Films: María Cañas, Pilar Monsell, Omar A. Razzak (90’) Alejandra Rojo. France. 2016. 63’

CINE PORCINO, VIDEOMAQUIA Y RISASTENCIA (30’) “Of the many men who I am, who we are, I can’t find a single one”. This quote, María Cañas which opens a poem by Neruda, can serve us as a compass for Alejandra Rojo to enter the unfathomable and varying work of the Chilean filmmaker, Raoul Session programme: My Pigman, Moribunda, Toro’s Revenge. (2005-2006), Ruiz, who lived in France and died in 2011, having directed over a hundred films, Dios se ríe en las alturas, Holy Thriller (2011), Al toro bravo échale vacas (2015), many of which are lost and may others yet to be discovered. Al compás de la marabunta (2015), Meet my meet N.Y. (2007) and excerpts from Fuera de serie (2012), La mano que trina (2015), Sevillana, la Sevilla del diablo (2013).

26 27 FRIDAY, MARCH 10TH UNE HISTOIRE DE VENT Joris Ivens, Marceline Loridan. France. 1988. 80’ 10:00 Cámara Auditorium Official Section - The Central Region More info on page 23

EUROPE, SHE LOVES 17:00 Corona Room Jan Gassman. Switzerland. 2016. 97’ Luciano Emmer 1: Racconto (91’)

Can love survive in a Europe that has been severely hit by the global economic RACCONTO DE UN AFRESCO crisis? To find out the answer, we look at the inner landscape of diverse Luciano Emmer. Italy. 1940. 10’ European cities, from Dublin to Seville and from Thessaloniki to , where four young couples expose their feelings to the rhythm of their bodies, giving PARADISO TERRESTRE in to passion to overcome their differences and daily woes, those of a society Luciano Emmer. Italy. 1941. 11’ on the edge. ISOLE NELA LAGUNA Luciano Emmer. Italy. 1948. 13’ 12:30 Cámara Auditorium Official Section - The Central Region LEONARDO DA VINCI Luciano Emmer. Italy. 1952. 46’ LA DEUXIÈME NUIT Eric Pauwels. Belgium. 2016. 75’ LA SUBLIME FATICA Luciano Emmer. Italy. 1966. 11’ More info on page 29 More info on page 9 17:00 Cámara Auditorium Official Section - The Central Region 20:00 Cámara Auditorium Official Section - The Central Region FROM VINCENT’S HOUSE IN THE BORINAGE José Fernandes. Belgium, Portugal. 2016. 18’ LA DEUXIÈME NUIT Eric Pauwels. Belgium. 2016. 75’ The reading of a letter addressed to his brother, Theo, is the metaphoric starting point of this suggestive immersion into the work and places inhabited by Following the death of his mother, the filmmaker, Eric Pauwels, dedicates this Vincent Van Gogh at a key moment in his artistic life, when he abandoned his heartfelt love letter in the form of a film to her, aware of the fact that the world faith to rediscover the world of painting in the Belgian mining town of Borinage. has changed totally after her disappearance. Through the images that he keeps Pure oil images that take the shape of a mysterious and elusive dream like the of her, everyday objects and childhood memories, ephemeral feelings and great Dutch maestro. literary quotations, we are given an intimate diary in which wisely reflect on how to learn to look at our world through the eyes of those who are no longer with us. 5 OCTOBER Martin Kollar. Slovakia, Czech Republic. 2016. 50’ With the presence of Eric Pauwels

Facing a life or death operation, Ján flees away and escapes with the only 20:00 Gola Room companion of his bicycle. His destination: inland Slovakia, where he lives FLYING 10: AEROPHILE (63’) surrounded by animals and becomes a hermit trying to assimilate what could be his final days. His other destination: his inner self, is presented to us through The passion for flight started with the Lumière brothers filming the flight of a the pages of a fatal diary that advances like a countdown, with a date marked in dirigible balloon twice. A century later, airspace is extended like a huge human red: 5th October, the day of the operation. laboratory to challenge vertigo and gravity.

With the presence of José Fernandes EXPÉRIENCE DU BALLON DIRIGEABLE DE M=SANTOS-DUMONT: II Association frères Lumière. France. 1901. 1’ 17:00 Gola Room FLYING 7: The base of the air is red. And green. And blue (120’) In addition to the exit of workers and the arrival of trains, the creators of this “invention without a future” also film the first steps to travel through the air. MAÎTRE-VENT Aboard his device, the French-Brazilian, Alberto Santos-Dumont, creator of the Simon Quéheillard. France. 2012, 22’ dirigible balloon and the first man to have three diplomas of the air: balloon, zeppelin, aeroplane. Behind the camera, one of the operators at the Lumière PLASTIC BAG factory. New born film and aviation, at the beginning of the century, looking at Ramin Bahrani. USA. 2009. 18’ each other strangely..

28 29 PANORAMA PRIS D’UN BALLON CAPTIF Association frères Lumière. France. 1898. 1’

Another air jewel from the Lumière brothers, this time with the camera going up in the air in the basket of a hot-air balloon. The opposing shot to this film appears in the catalogue of the film factory in Lyon, the same flight but filmed from the ground, of which only a photograph has been preserved. The seventh art is christened in the air with an image of a lad who moves away from the ground.

ANTIGRAVITACIJA (ANTIGRAVITACIÓN) Audrius Stonys. Lithuaine. 1995. 20’

Just by seeing the shot of the old Lithuanian woman who is enjoying the air on her face with her eyes closed and a look of satisfaction from the heights of the bell tower in her village… it is worth kneeling down to watch this film. An angelical silent black and white film is used with the lyrical outlook of Audrius Stonys, who has already visited Punto de Vista to speak to us about silence and is now back to give us a breath of air.

METEOR Matthias Muller, Christoph Girardet. Germany. 2011. 15’

Wonderful collection of film childhoods, from Oliver Twist, Léaud in The 400 Blows, Caussat and Bruel in Detroit Rock City and the great Pascal Lamorisse in his unease after losing his red balloon. The magic of this mixture is to make children fulfill the same dream, childhood on the pillow of fear and innocence. And mystery. The great art of this pair of filmmakers-collectors who always create films with their own sense based on scenes that have already been filmed by others.

SPIN Martin Hansen. Germany. 1986. 8’

A dervish hanging from the sky, relentlessly turning in this dance video that questions the law of gravity and plays with the wind and its currents until the sky becomes a place to hold infinite acrobatics. If man decided to walk upright, a future step could be to do so through the air. Hansen repeats this to us in this reflection-song on lightness.

ORBIT Giuseppe Boccassini. Italy, Germany. 2016. 15’

Orbit, ignition, landing on the moon, Italian-born Boccassini deploys his dictionary of images to take us on the conquest of space in this beautiful visual fable in the form of a circle in which the saga in the universe begins and ends with shots –the less evident and the least seen – from the Twin Towers disaster – the cruellest air stunt of our century. Among them, a collage of flights take place in the sidereal darkness, with capsules and motherships, lunar craters and airborne strolls in which the astronaut maintains an umbilical cord with the spaceship as if space were the most beautiful and close-up image of a journey to its own origin: the maternal embryo

ATLAS Jakub Korselt. Czech Republic. 2013. 3’

Outside. Night-time. A film that is like zooming out or exiting a tunnel backwards Pelota evening or entering a black hole, depending on how you look at it. El The young Czech filmmaker presents us with his own goodbye to the earth in a smooth journey to the end of the constellations, as the best way of closing our programme on flight Wednesday, March 8th, 20h and its circumstances. We are going, but we don’t know where to.

30 31 20:00 Corona Room ARANZAZU (SUPER 8 FILM SHOOT BY OTEIZA) Heterodocsias: Oteiza, the man who flees Jorge Oteiza. Spain. (1969 aprox) 2’

Third session on the artist from Orio in which we offer his greatest and scarce Another film from Oteiza’s archive that escapes from the family register and has film treasures from his archive, making them all the more valuable. It is a session a film intention. Oteiza uses his camera to record his frieze of the 14 Apostles especially built for the festival and never shown, in which two super8 films shot in Aranzazu (Gipuzkoa), probably in the year in which it was installed in 1969, by Oteiza himself will be put on screen, as well as sound recordings that he left following the controversy in which they were left forgotten in a ditch for a dozen. with instructions and ideas on film creation, along with some other emotional That’s why this Oteiza with his camera in hand is a victorious Oteiza who looks surprises. from one side to the other of the work that has now been installed.

URBIA (SUPER 8 FILM SHOOT BY OTEIZA) 21:30 - Baluarte main hall / free entry Jorge Oteiza. (1960 aprox) Spain. 8’ CONCERT AMORANTE

Film from which the header for this year’s Punto de Vista emerged and the Amorante is the personal project of Iban Urizar, a classically trained musician jewel of Jorge Oteiza’s film archive, in which most of the Super8 that have been with a career of two decades under his belt, related the experimental music preserved are not an archive register but a film attempt, like the positioning of a scene and free improvisation in the Basque Country in projects like Bizarra or sculpture or the filming of a day of regattas. However, this is not so in this case. Mengele Quartet. He has composed soundtracks for documentaries, short films In Urbia, the film begins with a family purpose - the recording of an excursion-, and spots and he is currently developing his solo project, combining traditional but it is soon forgotten and becomes something else. Soon, Jorge Oteiza is and popular music with experimentation and improvisation, but without losing captivated by the surrounding landscape: capturing all of the silhouettes of the track of the concept of song as a vehicle of expression. mountains that surround him, playing with the profile that cuts the sky through his movements in a feast of images and dance of shapes that is reminiscent of 22:30 Cámara Auditorium a Vertov of the terrain. It is Oteiza with the camera. Premiere X Films 2016

DISCURSO AL HOMBRE EN LA OSCURIDAD DEL CINE NUEVO ALTAR Sound archive recorded by Oteiza. 11’ Velasco Broca. Spain. 2017.

Healing from Death was going to be the title of the collection of poems by Oteiza A parish without a priest. Another priest is temporarily tending the congregation. - God Exists to the North West, published in 1990. Jorge Oteiza left several He faces the Demon or even worse. notes with this title and we have also found this sound archive in this section, which has the air of some notes for this future book, but was finally a text that With the presence of Velasco Broca was never published. It is a brilliantly narrated declaration in which Jorge Oteiza directly addresses the man who flees, telling him about several of his film ideas, 22:30 Gola Room and his commitment to the moment and his lack of memory. Official Section - The Central Region

OPERACIÓN H EUROPE, SHE LOVES Nestor Basterretxea, with the participation of Jorge Oteiza. Spain. 1963. 12’ Jan Gassman. Switzerland. 2016. 97’

Film commissioned by Juan Huarte which served to promote his industry, More info on page 28 but which also gave Nestor Basterretxea and Jorge Oteiza the opportunity to experiment with cinematographic material as if it were sculptural. The final 22:30 Corona Room script of what was filmed is by Nestor Basterretxea, but it is known that Oteiza Hunter Hunted participated with various of the ideas (Jorge himself said the story of a screw should be told in this film) and he ended up in the credits as a sculptor in a O CINEMA, MANOEL DE OLIVEIRA E EU film that explores the metaphor of the industrial methods of production and João Botelho. Portugal. 2016. 81’ distribution..

A photograph is the starting point for this manifesto made through the deepest CÓMO FILMAR UNA ESCULTURA admiration for Manoel de Oliveira (1908-2015), the most important figure in Filmed testimony by Jorge Oteiza. Spain. 1989. 3’ the history of Portuguese film. His filmography crossed the 20th century and entered into the 21st century accompanied by a timeless breath of extraordinary In front of a camera, Oteiza records a series of corrections explaining his modernity, whether adapting to the great writers of his country or reviewing the dissatisfaction with the filming of his sculptures. Seen today, the testimony is History of Portugal. a gift to understand the sculptor-filmmaker’s idea of how to film a sculptural work and which music should accompany it in the subsequent editing, how the camera should pan in and out in a journey of shapes and how Anton Webern is the musician that is above all the notes. It is a small lesson that will serve us to watch the last of his films in which Oteiza preaches by example, filming his own sculptures in Aranzazu.

32 33 17:00 Gola Room SATURDAY, MARCH 11TH Heterodocsias: Oteiza, the man who flees

11:00 - Sala Bulevar URBIA (SUPER 8 FILM SHOOT BY OTEIZA) X Films Jorge Oteiza. (1960 aprox) Spain. 8’

PRESENTATION OF PROJECT X FILMS DISCURSO AL HOMBRE EN LA OSCURIDAD DEL CINE Sound archive recorded by Oteiza. 11’ María Cañas, Pilar Monsell and Omar A. Razzak will present their submissions for the X Films project to the selection committee. OPERACIÓN H Nestor Basterretxea, with the participation of Jorge Oteiza. Spain. 1963. 12’ 17:00 Cámara Auditorium Special sessions: Chez les basques CÓMO FILMAR UNA ESCULTURA Filmed testimony by Jorge Oteiza. Spain. 1989. 3’ EUSKADI ARANZAZU (SUPER 8 FILM SHOOT BY OTEIZA) René le Henaff. Francia. 1936. 22’ Jorge Oteiza. España. (1969 aprox). 2’

Three-dimensional films existed 80 years ago. Louis Lumière, at that time the More info on pages 32 y 33 creator of the cinematograph, patented a new invention in 1935: 3-D film. For several years, dozens of productions were made using this system, but finally it 17:00 Corona Room did not take off. Interestingly enough, one of the first films made with Lumière’s Luciano Emmer 3: Essay 3-D process was “Chez les Basques”, or in other words, in the Basque lands to the north of the Pyrenees. This is another film milestone to add to the series NOSTALGIE of documentaries we covered at Punto de Vista 2015 under this heading. On Luciano Emmer. Italy. 2001. 9’ this occasion, it is a cinematographic poem called Euskadi, filmed by René Le Henaff (René Clair and Marcel Carné’s editor), where the Basque landscapes BELLA DI NOTTE and cultural practices highlight the strength of the recently premiered third Luciano Emmer. Italy. 1997. 28’ dimension on the screen. CON AURA…SENZ’AURA: VIAGGIO AI CONFINI DEL ARTE BASKER: A FILM ON THE NORTH OF SPAIN Luciano Emmer. Italy. 2003. 58’ Dan Grenholm, Lennart Olson. Sweden. 1963. 24’ More info on page 16

Filmed in the winter of 1963, Basker is an ethnographic documentary film in 20:00 Cámara Auditorium which scenes of the Basque culture and landscape is brought to the Swedish Closing ceremony audience with masterly cinematographic skill. The document begins in Navarra with the Ituren and Zubieta carnival and observes the procession of its joaldunak OTEIZA AND THE MOON (60’) (cowbell carriers). The folklore is followed by sport with a pelota game in Bergara and the rural sports of stone dragging with oxen and ram fighting, both filmed An audiovisual theatre performance created by the festival rounds off the edition in Aia. The film also captures magical moments, such as an aurreskus (dance) and its leading themes. Jorge Oteiza in the flesh and blood invites on a stroll competition in Abadiño, the beautiful sound of the txalaparta (wooden percussion through his ideas on flight to discover the cave in Isturitz where a magical txistu instrument) at the Bilandegi farmhouse in Martutene and the priceless bickering made out of a vulture’s wing bone by prehistoric man will fill the sky and the between the bertsolaris (verse singers), Uztapide and Basarri. An open window gala with magic or his project on a cemetery in Ametzaga, where his idea for to Sweden in the 1960s and a treasure for our audience today. an empty airport will put us in communication with a final flight. Written by Oskar Alegria and staged by Ion Martinez, the scenes will be interspersed with BONDE I BASKERLAND: A FIML ON THE PYRENEES the presentation of the Festival awards and will precede another guest on this Dan Grenholm, Lennart Olson. Sweden. 1963. 17’ journey towards the moon: the film,Our Century by Artavazd Pelechian.

Inseparable from Basker, Bonde i Baskerland rounds off the unique joint portrait OUR CENTURY Artavazd Pelechian. Armenia. 1983. 49’ of the Basque Country by Grenholm and Olson. Focusing on rural life, the film brings out the more ethnographic side and shows, in addition to beautiful “Our Century is a film about us, about me, about what I‘m striving for, what we‘re images of the landscape and some towns in the north of Navarra. The document all striving for every person, humanity. And this desire to ascend, to transcend, concludes with golden images only for Basquologists: the great musician, is literally embodied in the cosmonauts“, says Pelechian of his longest and un- Maurizia Aldeiturriaga on the pandereta (tambourine), alongside her husband, doubtedly most vertical film, a geometric definition that he himself defends for Vancio Bernaola, playing a jota in Spanish in the kitchen of their farmhouse in all of his films. The Armenian director’s distance montage fulfils an ecstasy in Elixabiti (Artea-Bizkaia). this festival of propellers and wings, where biplanes and zeppelins, parachutists and aviators, crowds and triumphant marches through showers of confetti are repeated with those that the film re-veals in its space race.

34 35 Closing ceremony. Oteiza and the moon, Saturday, March 11th, 20h.

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Colaboran / Laguntzaileak / Collaborate

Acción Cultural Española

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