He holds a master’s degree in Audiovisual Communication and a primary degree in Montage from ECAM (the Madrid School of Cinematography and Audiovisual Studies). He has edited feature films such as Blancanieves, Que Dios nos perdone and Viaje al cuarto de una madre, for which he was nominated for the Goya Awards. He wrote and directed La herida (2013), Special Jury Prize at San Sebastián and Goya for the Best New Director, and Morir (2017), which premiered at San Sebastián. He also coordinates the Diploma in Montage at ECAM and collaborates with training centres such as EICTV in Cuba and Pompeu Fabra, ESCAC and the Autonomous University of Barcelona in Spain.
Founder of Sayaka PC with Nacho Vigalondo, Borja Cobeaga, Koldo Serra and Borja Crespo, Nahikari Ipiña from Bilbao has taken part in the production of short films that include 7:35 de la mañana (Vigalondo, 2005) and Éramos pocos (Cobeaga, 2007), which were both nominated for Oscars. Her first feature-length was Los cronocrímenes (Vigalondo, 2007), which was followed by Pagafantas (Cobeaga, 2009) and Gernika (Serra, 2016), and the international productions Open Windows and Colossal, directed by Vigalondo. As regards television and platforms, it is worth nothing the series El fin de la comedia and El vecino.
Marcel Jean is the director of the Cinémathèque Québécoise (Canada), director of the Annecy International Animation Film Festival (France) and president of the Fantasia International Film Festival (Canada), in addition to being the author of several books on animated film. In 1999, he was the head of the Canadian National Film Board’s animation studio, where he produced numerous films that went on to receive international awards. He also taught History and Aesthetics of Animation Film at the University of Montreal and was head of the documentary programme run at INIS (the Canadian National Institute of Sound and Image).
Susana S. Rodrigues
The Portuguese programmer Susana S. Rodrigues works with the project development, distribution and screening of auteur cinema. She is the Latin American delegate at the Karlovy Vary Festival (Czech Republic) and the Réel Cinema Festival (France). She is a member of the selection committee for the Río de Janeiro International Film Festival and the Hubert Bals Fund in Rotterdam, and also an international consultant for the Doha Film Institute. She is a co-founder of Vaivem, a Portuguese production and distribution company with presence in Argentina, Brazil, Colombia, Chile, Ecuador, Mexico and Uruguay.
The Palestinian researcher and writer Reem Shilleh works on projects that critically analyse the historic production of images in her country, whether photographic or cinematographic. In 2011, with Mohanad Yaqubi and Nick Denes, she founded Subversive Films, a cinematographic research initiative that aims to shed light on historic works relating to Palestine and the Middle East in order to gain international support for their conservation, cataloguing and archiving, and also for the digital re-editing and subtitling of films previously ignored or recently rediscovered.
The Lithuanian filmmaker, theatre director and multidisciplinary artist Rugilė Barzdžiukaitė explores the gap between objective or imagined realities and the anthropocentric manner of thinking in a playful way. Her latest feature-length documentary, Acid Forest, was acknowledged with the ZIFF Award at ZINEBI last year and was awarded at the Locarno Festival. This year, she was one of the three authors who represented Lithuania at the Venice Art Biennale with ‘Sun and Sea (Marina)’, performance-installation which received the Golden Lion for Best national pavilion. Rugilė is a co-founder of film and live arts production company Neon Realism.
Chiara Marañón is Director of Programming for the global online cinematheque MUBI, looking after the curation for the platform as well as for theatrical distribution in the UK. In addition, she runs MUBI GO, an innovative new scheme designed to encourage cinema attendance by applying MUBI’s curatorial voice to the theatrical landscape. Chiara has served as jury member at various international film festivals like Mar del Plata or Sheffield Doc/Fest, and curated special programs for FICCI—or the Cartagena Film Festival—(Colombia) and Tabakalera in San Sebastián. As a filmmaker she has worked with Iranian master Abbas Kiarostami on The Girl in the Lemon Factory.
The Australian art critic and audiovisual essayist Adrian Martin is an associate lecturer in Film and Television Studies at Monash University (Australia). He is the author of books on film and popular culture, such as ‘Mysteries of Cinema: Reflections on Film Theory’, ‘History and Culture 1982-2016’ (Amsterdam, 2018) and ‘Mise en Scène y Film Style: From Classical Hollywood to New Media Art’ (Palgrave, 2014). He has written articles for magazines such as ‘Sight and Sound’, ‘Film Comment’, ‘Cahiers du cinéma’ and ‘Caimán’. He has also been a film critic for the newspaper ‘The Age de Melbourne’ and for Radio National in Australia.
I love communicating, whether verbally or through images. Collaborating with the Communications Team for Getxophoto and Mendi Film Festival was a source of knowledge exchange, as was teaching at the Bilbao Script and Film School and at the Maison de l’Image in Tunisia. My passion is the art of observing. I work actively on fiction and documentary projects. Al Borde Films, Izaskun Arandia, David Ontoria and Maru Solores are my travelling companions. Even so, I don’t rule out creating personal projects. At the moment, I am developing the script for two very special projects, aiming for genuine, real cinema, as the great Jonas Mekas would say.
Scriptwriter, film director and photography director. Her passion for telling stories led her to get involved with theatre from a very young age and to experiment with all kinds of arts. The vehicle changed but the end was the same. After studying Scenic Arts at the Centre for Scenic Training (Bizkaiko Antzerki Ikastegian – BAI) in Baracaldo, Biscay, and starting to study Philosophy at the University of Deusto, she studied Photography Direction and discovered the fullest form of narration in cinema. She has been teaching Film since 2014 and divides her time between classes and filming.
Director and scriptwriter, she started her relationship with cinema with a moviola, in other words, in a 35 mm cutting room where she did some work experience. She trained at the Andoáin Film and Video School, Gipuzkoa, and then took a higher-level course in the German Film and Television Academy Berlin (Deutsche Film- und Fernsehakademie Berlin – DFFB). Her most outstanding works include the short film Dortoka uhartea (2002), awarded at several world festivals, the short film Camera obscura (2011), and the web series Puntu Koma (2019) for ETB (Basque TV). She is currently filming the creative documentary Aztarnak-Huellas.