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Jury

 

Carolina Martínez Urbina

With a degree in Audio-visual Communication from the University of the Basque Country (UPV-EHU) and a diploma in Primary School Teaching with a Foreign Language from the University of Alcalá de Henares (UAH), practically all of her career has been in the field of film editing and post-production. She started out in the industry as an unpaid trainee and then became helper and assistant to well-known editors such as Julia Juániz, Laurent Dufreche and Nacho Ruiz Capillas. She currently works as an editor on fictional TV series, commercial films and experimental cinema.

Her television titles feature the series Crematorio – Ondas Award for Best Series 2011, and La zona – Feroz Award for Best Drama Series in 2018. With regard to commercial films, her work with directors of the standing of Alejandro Amenábar (Regression, 2015; Mientras dure la guerra, 2018 – in post-production), Borja Cobeaga (Negociador, 2014) and Oskar Santos (Zipi y Zape y el club de la canica, 2014; Zipi y Zape y la isla del capitán, 2016) deserves a special mention. In the experimental field, her collaboration with the Señora Polaroiska group is worthy of note. 


Concha Barquero

The teacher and director Concha Barquero combines her work on television programmes of a cultural and informative nature—such as Tesis, produced and broadcast by Canal Sur (2001–2011)—with producing and directing documentary films. She is one half of a creative professional partnership with Alejandro Alvarado, with whom she has written and directed the documentary short films on social matters El reverso de la realidad (2007) and Warmi. Algunos apuntes sobre La Paz y sus mujeres (2014) and also the feature-length documentary Pepe el andaluz (2012), which received 10 national and international awards including Best Spanish Documentary at Documenta Madrid and the Andalusian Award for Journalism.

She is a teacher with the Department of Advertising and Audio-visual Communications at the University of Málaga and on the Diploma in Documentary Film course at the Madrid Film School (ECAM). She has also written many articles and essays in publications relating to documentary cinema. Since 2013, she has collaborated at the Festival de Málaga. Cine en Español, where she is on the selection committee for the Official Documentaries Section and she coordinated the documentary cinema events Málaga Docs (2016–2018).


Ghasideh Golmakani

Ghasideh Golmakani was born in Tehran (Iran), into a family of journalist and artists. At age 18, she moved to Paris to follow her studies in “Art history” and “Cultural studies”. Her PHD studies subject at Sorbonne University is focused on “The Influence of Masters on New Generation of Iranian Filmmakers” emerged in her country around the 80s of the last century.

In her fiction films, Ghasideh mainly treats taboos in the deeply traditional Iran; thematics such “fetichism”, “child abuse”, “street harassment” and generally daily violence on women. «Even if you try to forget your gender and do your job, the society reminds it to you violently in everyday life. I try to reminds back the destructive effects of this violence on women to the society.» She says about her work. Among his most recent works, which include fictions, documentaries and also some experimental pieces, we should mention Limbo (2017. 14 min.), Online Shopping (2017, 15 min.) y Horn (2018, 8 min.).


Jodie Mack

Jodie Mack is a British experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.

Mack’s 16mm films have screened at a variety of venues including the Ann Arbor Film Festival (Michigan,USA.), Edinburgh International Film Festival (Scotland,UK), New York Film Festival (USA), and the Viennale (Vienna, Austria). She has presented solo programs at BFI London Film Festival (UK), Harvard Film Archive (Massachusetts, USA) and International Film Festival Rotterdam (Netherlands). Her work has been featured in publications including Artforum (Berlin, Germany), The New York Times (USA), and Senses of Cinema (California, USA).


Zsuzsanna Kiràly

The Austrian film editor and producer Zsuzsanna Kiràly studied Journalism and Audio-visual Communication in Vienna and Berlin and did her Master’s on a research grant for women from the Dr Maya Schaumayer Grant Foundation in Vienna. She has published different articles, essays and research work on cultural programmes for film festivals such as the Viennale, the VIS (Vienna Independent Shorts), the Berlinale, etc. and also on film production for the German production company X Film Creative Pool. She has been working on scripts and film project coordination training for the German company Komplizen Film since 2009. In 2011, she started work as an editor for the film magazine Revolver. She has also been the editor of the TorinoFilmLab programme Script&Pitch and a member of the Selection Committee reading projects for this festival since 2013.

In 2015, she produced the experimental short film Take what you can carry (Matt Porterfield, 2015), which premiered at the Berlinale that same year. Her other productions include the feature films Sleeping Sickness (Ulrich Köhlers, 2011), Superegos (Benjamin Heisenberg, 2014), Arabian Nights Tabu (Miguel Gomes, 2015), Toni Erdman (Maren Ade, 2016), Muito romántico (Melissa Dulius, Gustavo Jahn, 2016) and Western (Valeschka Grisebach, 2017).

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Agnès Wildenstein

Born in France, the veteran film programmer Agnès Wildenstein has lived in Lisbon (Portugal) for many years now. Previously, in the same professional capacity, she worked for a decade for the Cinémathèque Française in Paris—the legendary institution founded by the director Georges Franju and the film archivist and restorer Henri Langlois in 1936—and, for twelve years, with the organisers of the prestigious Locarno International Film Festival (Switzerland), one of the main auteur cinema events worldwide. For ten years, she was also a member of the jury for the Jean Vigo Award – the award created by French cinema in 1951 to honour the memory of the great film-maker who died prematurely by acknowledging the talent of young or new directors from his country and from the francophone cultural arena.

She was also a member of the selection committee for ARTE France Cinéma from 2012 to 2015 and she has been in charge of the programming for the DocLisboa international festival—dedicated exclusively to documentary film—since 2014.


Eulàlia Iglesias

Eulália Iglesias is a journalist and critic who specialises in film and audio-visual pieces. She has been an associate teacher at the Universitat Rovira i Virgili (Tarragona), where she taught Analysis and Theory for Film and Television and Contemporary Aesthetic Trends in Communication. She is a member of the editorial board of the magazine Caimán. Cuadernos de Cine and she is a frequent contributor to diverse media. She has also worked as programming advisor for the D’A-International Auteur Film Festival in Barcelona.

She has collaborated on numerous publications, including: Femenino Plural. Mujeres cineastas del siglo XXI (Seminci. Valladolid, 2017), Joseph Losey (San Sebastián Festival, 2017), Bong Joon-ho, la revolución de los géneros (Seminci. Valladolid, 2014), Paul Schrader. El cineasta frente a los tiempos (Seminci. Valladolid, 2013), Max Ophüls: Carné de baile (Donostia Kultura, 2013), El director desnudo por sus pretendientes. El cine de Hong Sang-soo (Bafici. Buenos Aires, 2013), Territorios y Fronteras. Experiencias documentales contemporáneas (UPV/EHU, 2012), George Franju (San Sebastián Festival, 2012), Claude Chabrol: la mirada del entomólogo (Seminci. Valladolid, 2010)


NeleWohlatz

Born in Hannover (Germany), Nele Wohlatz studied Scenography and Philosophy in Karlsruhe (Germany) and Film in Buenos Aires. Her films have been screened at important international festivals, including Locarno (Switzerland), Rotterdam (The Netherlands), Viennale (Austria), Oberhausen (Germany), FIDMarseille (France) and artistic and cultural institutions such as the MoMA and the Lincoln Center in NewvYork (USA). Her first solo-directed feature film, El futuro perfecto, won numerous awards, such as Best First Film at Locarno and ZINEBI and the Sichtwechsel Award at Filmfest Hamburg (Germany).

Her filmography to date includes the following titles: the short film Schneeränder (Germany, 2009), the feature film Ricardo Bär (Argentina, 2013. Co-direction), the short La mochila perfecta (Argentina-Germany, 2014), the short Tres oraciones sobre la Argentina (for the collective film Archivos intervenidos:Cine Escuela, by the Buenos Aires Film Museum. Argentina, 2016) and the feature-length El futuro perfecto (Argentina, 2016).

Carolina Martínez Urbina

With a degree in Audio-visual Communication from the University of the Basque Country (UPV-EHU) and a diploma in Primary School Teaching with a Foreign Language from the University of Alcalá de Henares (UAH), practically all of her career has been in the field of film editing and post-production. She started out in the industry as an unpaid trainee and then became helper and assistant to well-known editors such as Julia Juániz, Laurent Dufreche and Nacho Ruiz Capillas. She currently works as an editor on fictional TV series, commercial films and experimental cinema.

Her television titles feature the series Crematorio – Ondas Award for Best Series 2011, and La zona – Feroz Award for Best Drama Series in 2018. With regard to commercial films, her work with directors of the standing of Alejandro Amenábar (Regression, 2015; Mientras dure la guerra, 2018 – in post-production), Borja Cobeaga (Negociador, 2014) and Oskar Santos (Zipi y Zape y el club de la canica, 2014; Zipi y Zape y la isla del capitán, 2016) deserves a special mention. In the experimental field, her collaboration with the Señora Polaroiska group is worthy of note. 


Concha Barquero

The teacher and director Concha Barquero combines her work on television programmes of a cultural and informative nature—such as Tesis, produced and broadcast by Canal Sur (2001–2011)—with producing and directing documentary films. She is one half of a creative professional partnership with Alejandro Alvarado, with whom she has written and directed the documentary short films on social matters El reverso de la realidad (2007) and Warmi. Algunos apuntes sobre La Paz y sus mujeres (2014) and also the feature-length documentary Pepe el andaluz (2012), which received 10 national and international awards including Best Spanish Documentary at Documenta Madrid and the Andalusian Award for Journalism.

She is a teacher with the Department of Advertising and Audio-visual Communications at the University of Málaga and on the Diploma in Documentary Film course at the Madrid Film School (ECAM). She has also written many articles and essays in publications relating to documentary cinema. Since 2013, she has collaborated at the Festival de Málaga. Cine en Español, where she is on the selection committee for the Official Documentaries Section and she coordinated the documentary cinema events Málaga Docs (2016–2018).


Ghasideh Golmakani

Ghasideh Golmakani was born in Tehran (Iran), into a family of journalist and artists. At age 18, she moved to Paris to follow her studies in “Art history” and “Cultural studies”. Her PHD studies subject at Sorbonne University is focused on “The Influence of Masters on New Generation of Iranian Filmmakers” emerged in her country around the 80s of the last century.

In her fiction films, Ghasideh mainly treats taboos in the deeply traditional Iran; thematics such “fetichism”, “child abuse”, “street harassment” and generally daily violence on women. «Even if you try to forget your gender and do your job, the society reminds it to you violently in everyday life. I try to reminds back the destructive effects of this violence on women to the society.» She says about her work. Among his most recent works, which include fictions, documentaries and also some experimental pieces, we should mention Limbo (2017. 14 min.), Online Shopping (2017, 15 min.) y Horn (2018, 8 min.).


Jodie Mack

Jodie Mack is a British experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.

Mack’s 16mm films have screened at a variety of venues including the Ann Arbor Film Festival (Michigan,USA.), Edinburgh International Film Festival (Scotland,UK), New York Film Festival (USA), and the Viennale (Vienna, Austria). She has presented solo programs at BFI London Film Festival (UK), Harvard Film Archive (Massachusetts, USA) and International Film Festival Rotterdam (Netherlands). Her work has been featured in publications including Artforum (Berlin, Germany), The New York Times (USA), and Senses of Cinema (California, USA).


Zsuzsanna Kiràly

The Austrian film editor and producer Zsuzsanna Kiràly studied Journalism and Audio-visual Communication in Vienna and Berlin and did her Master’s on a research grant for women from the Dr Maya Schaumayer Grant Foundation in Vienna. She has published different articles, essays and research work on cultural programmes for film festivals such as the Viennale, the VIS (Vienna Independent Shorts), the Berlinale, etc. and also on film production for the German production company X Film Creative Pool. She has been working on scripts and film project coordination training for the German company Komplizen Film since 2009. In 2011, she started work as an editor for the film magazine Revolver. She has also been the editor of the TorinoFilmLab programme Script&Pitch and a member of the Selection Committee reading projects for this festival since 2013.

In 2015, she produced the experimental short film Take what you can carry (Matt Porterfield, 2015), which premiered at the Berlinale that same year. Her other productions include the feature films Sleeping Sickness (Ulrich Köhlers, 2011), Superegos (Benjamin Heisenberg, 2014), Arabian Nights Tabu (Miguel Gomes, 2015), Toni Erdman (Maren Ade, 2016), Muito romántico (Melissa Dulius, Gustavo Jahn, 2016) and Western (Valeschka Grisebach, 2017).

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Ana Hormaetxea

With a degree in Audio-visual Communications from UPV/EHU, she has worked as a television screenwriter at several production companies, almost always for Euskal Telebista (ETB) and frequently on programmes of a comic nature, on fiction productions such as Go!azen, Vaya semanita, Esto no es serio, Balbemendi and Ni un pelo de tontas, and also in other television formats, such as Vuelta de tuerca (game show), Cuida tu vida (lifestyle), Tú al norte y yo al sur (reality TV), etc. She has also worked on content development for advertising brands.

Among the different work that she has performed as a professional screenwriter in the audio-visual sector, Ana Hormaetxea has been telling stories on different platforms for more than twenty years. She has been on the Board of Directors of the Federation of Audio-visual Screenwriters’ Associations (FAGA) since 2010 and has been the chairman of the same since 2016.


Lara Izagirre

Having obtained a degree in Audio-visual Communications from UPV/EHU in 2007, she specialised in Film Directing at New York Film Academy (NYFA). On her return to the Basque Country, she created the production company Gariza Films. From 2010 to 2014, she wrote and directed four short films: Bicycle Poem (2010), KEA (2012), Next Stop: Greenland (2012), Sormenaren Bide Ezkutuak (2013) and Larroxa (2013), some of which have been awarded at international festivals.

In 2015, at the San Sebastián Film Festival, she released Un otoño sin Berlín, her first feature-length as a director, which has been screened at more than twenty international festivals and obtained four prizes. She has co-produced another two feature films since 2016: Errementari (Paul Urkijo, 2017) and Vitoria, 3 de Marzo (Víctor Cabaco, 2018), at postproduction stage. She is currently writing the script for Ane y Peio, una historia de amor entre pimientos, her next project.


Norma Vila

The Bilbao producer and director Norma Vila was a student of the Basque Film School (ECPV) and started work in the cinema as a photography director. In 2016, she directed the short film Jules D., produced by Haritz Zubillaga for the independent production company Demeter Films, which the two had founded not long beforehand. This work, an incursion into the genre of horror and fantasy for the film-maker, won numerous prizes at festivals including ZINEBI and another two festivals that specialise in this area: theSan Sebastián Horror and Fantasy Film Festival and the FilmQuest Festival (Utah, USA).

She is currently putting the final touches to writing, producing and directing her next short film, a psychological thriller entitled El fin de todas las cosas.

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