Tick, tick, tick... The twenty-first edition of Curtocircuito is just around the corner, and we have lots to tell you. We want to introduce our Official Section Jury, an interdisciplinary team with profiles ranging from film programming to the performing arts. This year, we are dedicating our artistic residency to photographer and freelance writer Rocío Madrid, and Galician cinema will have a strong presence at the festival!
The Terra Section is dedicated to the filmmaker Alberto Gracia from Ferrol. He will give a masterclass in which he will reflect on the role of observation, poetry, and theory in emancipating the territory of dreams from audiovisual media.
Curtocircuíto x Cineclube de Compostela: We are organising a session around Equipo 64 to recover Galician amateur film heritage.
Make sure you don’t miss out on anything!
This edition features an interdisciplinary program with high international representation and an offer ranging from film to sound art, visual arts, science, and thought. Our team reflects all this. We are proud to present our jury!
Sección Oficial Cosmos
Sección Planeta GZ and Supernova
The jury of the Sección Oficial Cosmos will be integrated by:
Caroline Maleville, programmer of the Quinzaine des cinéastes at the Cannes Film Festival and the Cinémathèque française; curator and teacher Guilherme Blanc, director of the Centro Batalha in Porto; journalist and film critic Jara Yañez, director of the magazine 'Caimán Cuadernos de Cine'; curator and programmer Peter Taylor, director of the Berwick Film Festival, one of our reference festivals in experimental cinema, and social anthropologist, researcher and writer Valeria Mata, who will also guide the Metaturistic Expedition that is part of the Special Sessions.
The Planeta GZ and Supernova sections will also have an interdisciplinary jury made up of three profiles ranging from the arts to programming:
The Galician composer, singer and producer Belén Vidal, known artistically as BFlecha and a pioneer in Spanish electronic music and avant-garde sound; independent producer, curator and programmer Catarina Boieiro; and creator and poet Nuria Vil, whose eminently oral artistic work involves the spoken word and dialogue between different arts to take poetry beyond writing.
We want to continue to be a place for the confluence of different disciplines, maintaining the main focus on auteur cinema and the commitment to new contemporary languages. This year’s proposal (organised again with the support of the University of Santiago and Cafés Candelas) focuses on the intersection of the visual arts through an artistic residency that will host the photographer and visual artist Rocío Madrid.
Faced with a situation of change marked by tourist exploitation during a health crisis, this artistic residency aims to provide the city with images that uncover the origins of a historic centre buried under a digital avalanche of topical and superficial photos.
That is why we propose revisiting its spaces, architecture, and streets. Under this premise, our proposal will be based on the invitation of photographer Rocío Madrid.
Her artistic residency will take place during the Festival to capture her vision of the city. The artist will work on representing realities that go unnoticed, observing the most emblematic places or the most familiar images from new points of view, always with absolute creative freedom in both form and content.
CINEMA NOWADAYS: WASTE MANAGEMENT AND THE COUCH
This year, we dedicate Terra, the non-competitive section devoted to Galician filmmakers who produce consistent and personal work, to filmmaker Alberto Gracia.
"At a time when the world has become an image and simulacrum is more believable than reality and, therefore, meaningless, how can we make sense of what we perceive without falling into a stupid search for truth that seems to have no end since the avant-garde? What is the place of cinema today, and why do we want to be, in a certain sense, filmmakers possessed by documentary rage? Is there a place for poetry and theory (understood as pure observation) in this irrepressible and literal passion we have for the virtual, or on the contrary, is it only consumption and technology that allow us to participate, with discomfort and at the mercy of accidents, in an eminently visual world that no longer admits reality beyond itself —except that of extraterrestrial metaphors or diabolical possessions? Finally, where do images come from, and where do they go once they have replaced history as the material for constructing reality, thus emancipating themselves from any subject, from that territory so severely threatened: the territory of dreams? Cinema as I see it: Welcome to waste management. Have a seat on the couch. Welcome to someone else’s dream", says Gracia.
The filmmaker will give the masterclass CINEMA NOWADAYS: WASTE MANAGEMENT AND THE COUCH, in which he will reflect on how he understands cinema: someone else’s dream.
We want to recover the Galician amateur film heritage, and this year, we are doing it through the work of Equipo 64.
Gonzalo Anaya, Enrique Banet and Ezequiel Méndez himself (responsible for the legendary Cine-Club Universitario) founded Equipo 64.
In 1964, Anaya, Banet, and Méndez, with a portable film camera, a good dose of inexperience, and boundless determination, made an unforgettable journey to Roncesvalles to film the pilgrims. They set up scaffolding in front of the Pórtico da Gloria (ceded by the Cine Metropol after being used to install a Todd-AO format screen). They plunged into the heart of the Costa da Morte.
From Equipo 64, they co-directed the following 16mm documentaries with the sponsorship of the Caja de Ahorros de Santiago: El Camino de Santiago; Malpica; El Pórtico de Compostela, Cuatro plazas and Compostela. They also elaborated a script of Castelao that was never produced and several unpublished scripts, all in the Filmoteca de Galicia. The copies of these films have also been deposited in the Filmoteca and have not been screened publicly for over 50 years.
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