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    Captura de pantalla 2022-10-02 a las 10.43.48

    A LA VUELTA DEL GRITO

    Helena Lumbreras, Mariano Lisa (Colectivo Cine de Clase)

    Mid-crisis, the employees of MEGESA (Sevilla), Battenfeld, Fisam, Eursotil, Roselson (Barcelona) and Babcock & Wilcox (Bizkaia) give their testimony. The economic crisis leads to redundancies, closure of factories, and layoffs. The trade unions emerge, but the agreements they reach with the Spanish government do not satisfy the workers. Assemblies, marches, traffic-stops and calls for solidarity assail the country, and the first general strike since the death of France is organised in the Basque Country.

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    HANDSWORTH SONGS

    John Akomfrah (Black Audio Film Collective)

    A film essay on race and civil disorder in 1980s Britain and the inner city riots of 1985, as point of departure the civil disturbances of September and October 1985 in the Birmingham district of Handsworth and in the urban centres of London. Running throughout the film is the idea that the riots were the outcome of a protracted suppression by British society of black presence. The film portrays civil disorder as an opening onto a secret history of dissatisfaction that is connected to the national drama of industrial decline.

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    EURITAN

    Irati Gorostidi, Arantza Santesteban

    A new critical look at the militant cinema of the 1960s in Europe, that focusses on the disruptive potential of women in the film genre. The structure of the film is based on a reassessment of the story “Klara eta biok” (Klara and Me, 1985) by the Basque writer Itxaro Borda. Confronting the author with her words from the past, it aims to provide an updated critical perspective on the Basque militant identity.

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    SERPENT RAIN

    Arjuna Neuman, Denise Ferreira da Silva

    An experiment in working together and a film about the future. The collaboration began with the discovery of a sunken slave ship, and an artist asking a philosopher — how do we get to the post-human without technology? And the philosopher replying — maybe we can make a film without time. The result is a video that speaks from inside the cut between slavery and resource extraction, between Black Lives Matter and the matter of life, between the state changes of elements, timelessness and tarot. Together we ask: what becomes of the human if expressed by the elements?

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    TERRITORIES

    Isaac Julien (Sankofa Collective, Video Collective)

    The film uses experimental forms to look at life in Britain in 1984, focusing on the experience of the Black British. It recognises that the different power dynamics that determine this experience are difficult to reduce to straightforward explanations and instead uses the term “territories” to reflect the multiple agendas and experiences at work. These agendas — or territories — involve race, class and sexuality.

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    ARALKUM

    Mila Zhluktenko, Daniel Asadi Faezi

    A desert landscape, as if from another planet. A few lonely, rusty shipwrecks. Low desert scrub grows around them to hold the sand together during the merciless storms. Aralkum, the Aral Desert, is the bare seabed, the last thing left of the Aral Sea. By weaving together different cinematic textures, this essay re-imagines the dried-up Aral Sea, allowing an old fisherman to set sail one last time.

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    ARNASA

    Raúl Barreras

    Sitting on a hill, Inaxio mourns the death of his wife through a bertso [Basque verse]. His grandson Ekaitz seems to have been invoked by his song and returns to the farmhouse to take care of his grandfather and the animals that provide them food and company. The two, with different visions of the environment, will unite again to face the complications of the future together.

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    ERRO BI

    Nagore Muriel Letamendia

    A year has passed since the death of Ainhoa's father. Since then, mother and daughter live in the farmhouse where they use to live together. As everything around reminds her of her father, Ainhoa will want to leave. Her mother, however, will try to keep her around her. With the excuse of the death of a cow in the farmhouse, the mother will try to prevent Ainhoa from leaving.

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    FE FAITH

    Maider Fernández Iriarte

    The Virgin appeared to Sofía. Then she travelled to the Sanctuary of Our Lady of Lourdes and was cured of something incurable. In another time and another place, a group of doctors meet to discuss her case. What happens when science and religion meet?

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    HIRUGARREN KOADERNOA THIRD NOTEBOOK

    Lur Olaizola

    An actress and a filmmaker rehearse a film screenplay. The screenplay includes excerpts from the diary written by María Dolores González Katarain “Yoyes” during her exile in Mexico between 1980 - 1985, after leaving ETA, the armed organisation she used to lead.

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    OIHARTZUNAK

    Carmen Echeverria

    A hot midsummer night. The young couple, Maia and Txema, finally relaxes after a long day. Suddenly they get anxious because of some screaming. Maia tries to convince her partner that something bad is going on. The evening out then turns into a fight that questions their relationship.

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    SOLIDARITY SOLIDARIEDADE

    Fernanda Pessoa

    In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland's 1973 film of the same name, this film portrays these manifestations by focusing on the expressiveness of human hands rather than Wieland's feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in super 8mm ektachrome.

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    SON OF THE SUN ATASININ BALASI

    Dastan Madalbekov

    10-year-old Bakyt lives with his father. They go to the baths together and eat together. Their relationship is not verbose, the father tries to bring up independence in the child. Thus, the father does not come home at night. Bakyt, hiding his anxieties, continues his daily routine. He goes to school, cooks for himself, but every night without his father it becomes harder and harder for him to endure.

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    TODAS MIS CICATRICES SE DESVANECEN EN EL VIENTO
    ALL MY SCARS VANISH IN THE WIND

    Angélica Restrepo, Carlos Velandia

    Among intrusive and sought-after memories, a woman hears a disconcerting call from the depths of her being. A cryptic cry for help that becomes intelligible guides her to the original wound, to her inner child, becoming her own protector.

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    16 Nov · Sala BBK
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    BIGARREN EKITALDIA SECOND ACT

    Ainhoa Urgoitia, Enrique Rey

    Ten years have passed since the creation of the Pabellón Nº6 space. The founders as well as actors and actresses linked to it talk about what the reconversion of an old sawmill into a pole of cultural attraction has meant.

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    TETUÁN – Iratxe Fresneda

    TETUÁN TETOUAN

    Iratxe Fresneda

    Magnificent landscapes, gorgeous nature and swarming cities laying beyond the sea. The life and tribulations of communities sharing their destiny with the desert: what the camera doesn’t capture live, archival materials provide, blending past and present punctuating them by the rhythm of Iratxe Fresneda's flow of thoughts, through her voice over.

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    CASA SUSANNA

    Sébastien Lifshitz

    In the 50s and 60s, deep in the American countryside at the foot of the Catskills, a small wooden house with a barn behind it was home to the first clandestine network of cross-dressers. Diane and Kate are now 80 years old. At the time, they were men and part of this secret organization. Today, they relate this forgotten but essential chapter of the early days of trans-identity.

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    GEOGRAPHIES OF SOLITUDE

    Jacquelyn Mills

    Sable uharteko ekosistema aberatsean murgilduko gara Zoe Lucas naturalista eta ekologistaren eskutik, zeinak 40 urtetik gora baitarama Ozeano Atlantikoaren ipar mendebaldeko urruneko lur eremu honetan. 16mm tan filmatuta eta teknika zinematografiko ekologiko eta berritzaileekin egina, saiakera hau mundu naturalarekiko lankidetza ludiko eta begirunetsu bat da. Zoek zaldi basatien, foken eta zomorroen artean eramango gaitu, tontor, haran, sustrai, harea, eguraldi, urtaro eta izarren artean.

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    SeeYouFridayRobinson_Still_02_Ebrahim GOLESTAN_Jean-Luc GODARD_copyright Ecran noir productions

    SEE YOU FRIDAY, ROBINSON
    À VENDREDI, ROBINSON

    Mitra Farahani

    “We should start with a correspondence, maybe we will not correspond to one another. Ebrahim can send me a letter this Friday, and I’ll answer him next Friday. So, see you Friday, Robinson! " And so, Jean-Luc Godard stages himself in his daily thought, wisely desperate, and sends images and words from Switzerland to the other side of the Channel. In his mansion in Sussex, Ebrahim Golestan tries to decode these UFO-messages and skilfully seeks to bring them back to the appearance of reason. And so on, until the day a veil falls over the two Gods on the run. Does the existence of poets still have any meaning in these times of distress?

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    HAVE YOU SEEN THIS WOMAN?
    DA LI STE VIDELI OVU ŽENU?

    Dušan Zorić, Matija Gluščević

    In the heat of a summer day, Draginja discovers a dead body that resembles her. In the heat of a summer day, Draginja hires a fake husband to show off in front of her friends. In the cold of a winter night, Draginja roams the streets hoping to recover her lost memory. Through three different life possibilities, a middle-aged woman tries to get out of her skin.

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    HOW TO SAVE A DEAD FRIEND

    Marusya Syroechkovskaya

    Muzzled by the increasingly autocratic regime of the Depression Federation, 16-year-old Marusya decides to join her generations’ suicide statistics by year’s end. Then she meets Kimi and a love story begins between the two millennials caught in the undertow of their oppressive government. Together, Marusya and Kimi film the euphoria, anxiety and misery of their youth, burning the candle at both ends, fuelled by drugs and music.

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    NUESTRA PELÍCULA OUR FILM

    Diana Bustamante

    This work is a collage of images, repetitions, and memories, built through the intervention of the Colombian news archive during the 80s and 90s. It also reconstructs a story linked to a generation — my generation, that grew up by normalizing violence through these same senseless images.

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