Short Film International Competition Jury
Film programmer at Ecozine Film Festival. As a film professional, she has collaborated with several film festivals such as Les Films de Cannes à Bucarest, Bucharest International Experimental Film Festival (BIEFF), NexT Film Festival. Her interest for cinema as an instrument for change has been the driving force of a long collaboration with Pelicam – International Film Festival about Environment and People, both as a programmer and a festival coordinator. Her other professional area revolves around the role films can play as educational resources, so she has worked extensively with various film education programmes (CinEd, Éducation à l’image, CineKids, Kinoteca Bloc Zero). She studied Anthropology and Sociology at the University of Bucharest and has a Masters in Film Studies from the University of East Anglia.
Born in 1966, raised in Germany and Switzerland. She studied Sociology in Bielefeld and Paris, and did research on Visual Sociology and Ethnography. She has been with the International Short Film Festival Oberhausen since 1995 as Head of the international competition and international festival relations. In this context, she has been a member of the board of the European Coordination of Film Festivals from 1996 to 2000, and has been president of the International Short Film Conference from 1998 to 2003, as well as founding member of the European Short Film Network (ESFN) in 2018. She has been jury member at numerous international film festivals and has curated film programmes worldwide.
Juan Soto Taborda
He is a film editor, director and archivist. He studied Documentary Directing at the San Antonio de los Baños International Film and TV School (EICTV) in Cuba. He is currently heading up a project for Filmoteca de Catalunya and the Catalonia Higher Film and Audiovisual School (ESCAC), curated by Ferrán Alberich. In 2020 he won the Best Edited Film award at the Black Canvas Festival for Intimate Distances, by Philip Warnell. He has been nominated twice as Best Editor for the Colombian Film Academy’s Macondo Awards. His work as an editor includes, among others: Ladefensa del dragón, by Natalia Santa; Agosto, by Armando Capó; Pornomelancolía, by Manuel Abramovich, and El Father PlaysHimself, by Mo Scarpelli. As director he has filmed Revelaciones (2020), Parábola del retorno (2016), Estudio de reflejos (2013), Nieve (2012), 19º sur 65º oeste (2010), El bombillo (2009) and Elena dio a luz un hermoso niño (codir.: Chiara Marañón; prod.: LaCima), funded by the Institute of Cinematography and Audiovisual Arts (ICAA), and currently at the production stage.
Writer, editor and journalist. Born in the Basque Country, she grew up in Tenerife, and has lived in Madrid for over twenty years. She holds a degree in Audiovisual Communication from Madrid’s Complutense University, and a Script diploma from the Madrid Community’s School of Cinematography and Audiovisual (ECAM). She has worked as a scriptwriter, television creative, waitress, insurance salesperson and marijuana cutter. She writes in several Spanish media (El País, El Cultural, Vice, Cinemanía, Eldiario.es). She is the author of the novel Las niñas prodigio (Fulgencio Pimentel, 2017), which won the Javier Morote Award, and also Soñó con la chica que robaba un caballo (Lengua de trapo, 2021). She is the editor of Panza de burro, by Andrea Abreu (Barrett, 2020) and runs writing workshops at a number of cultural institutions. In 2020 she was awarded the University of Iowa’s Arts Fellowship grant.
Doctor of Fine Arts and lecturer in Animation. She coordinates the Hauazkena animation group and conducts research work with the Akmeka Contemporary Art Research Group: www.akmeka.org. Her individual work as film director includes Pregunta por mí (1997) and Haragia / Carne humana (2000), alongside joint projects such as Beti bezperako koplak (2015), Areka (2016), Ehiza (2020) and Hirian ibiltzekojarraibideak (Instrucciones para andar por la ciudad, 2021), all of which won awards at international festivals, including a Goya and the Grand Award of Basque Cinema ZINEBI 59 (2017). She has written a number of books on animated films, among which: Breve historia del cine de animación experimental vasco (1998, Semana de Cine Experimental de Madrid), Sistiaga, el trazo vibrante (2008 Animadrid) and Cortometraje de animación realizado por mujeres en el Estado Español (Cineastas emergentes. Mujeres en el cine del siglo XXI. Madrid: Iberoamericana, 2018).
ZIFF – ZINEBI First Film International Competition Jury
Profesora de Estudios Cinematográficos en la Universidad Sorbona Nueva, directora del Departamento de Análisis y Cultura de la Fundación Europea para las Profesiones de la Imagen y el Sonido (Femis) desde 2017 y comisaria del ciclo de cine de vanguardia de la Cinemateca Francesa desde 1996. Junto con el cineasta Philippe Grandrieux, produce la colección de películas It May Be That Beauty Has Strengthened Our Resolve, dedicada a las y los cineastas revolucionarios olvidados o ignorados por las historiografías del cine. Ha trabajado con Chantal Akerman (La folie Almayer, 2011), Jocelyne Saab, Marylène Negro, Jean-Gabriel Périot, Jean-Luc Godard (Le Livre d’Image, 2018) y Jacques Kebadian. Asimismo, entre sus publicaciones podemos encontrar: Cinéma d’avant-garde Mode d’emploi (Tokio, editorial Gendaishicho-shinsha, 2012); We Support Everything Since the Dawn of Time That Has Struggled and Still Struggles. Introduction to Lettrist Cinema (Estocolmo, Moderna Museet / Sternberg Press, 2015); Jean-Luc Godard théoricien des images (Roma, La Camera Verde, 2015); Manifestations.Écrits politiques sur le cinéma et autres arts filmiques (Réville, De l’Incidence, 2020).
Carlos Marañón Canal
Film critic and journalist with more than twenty-five years’ experience. He has been director of Cinemanía since 2008. He holds a degree in Law from the University of Barcelona, and a degree in Journalism from the University of Navarra. He works with the Cadena SER radio station (La ventana,Carrusel deportivo) as a film and football commentator, and is also a Movistar+ commentator on the Oscars and Spain’s La Liga football league. A former footballer and columnist in AS, he has also written in El País, La Vanguardia, 20 minutos, Cinco Días, Rolling Stone and Gentleman. He authored the books Fútbol y cine. El balompié en la gran pantalla and Un partido de leyenda. Historias de ‘Evasión o victoria’. He has worked on monographic projects and co-authored books on films and football, and also was co-author along with Galder Reguera of the epistolary Quedará la ilusión: Una correspondencia durante el Mundial de Rusia.
Filmmaker, artist, and researcher living and working between Belgrade and Berlin. The main concerns in her work are the tensions between memory, history, and ideology, as well as the relations between collective and individual bodies. Popivoda approaches them from a feminist and queer perspective. Her first feature documentary, Yugoslavia, How Ideology Moved Our Collective Body, premiered at the 63rd Berlin International Film Festival – Berlinale and was later screened at many international film festivals. It is also part of the film collection of MoMA New York. Her work has been featured in major art galleries, such as Tate Modern London, MoMA New York, and MAXXI Rome. She received the prestigious Berlin Art Prize for the visual arts by Akademie der Künste Berlin and Edith-Russ-Haus Award for Emerging Media Artist. Her latest documentary, Landscapes of Resistance, premiered in the Tiger Competition of the 50th International Film Festival Rotterdam (IFFR) and won many awards worldwide. In 2022 her work was presented at the 12th Berlin Biennale, Manifesta 14 Biennal, and Belgrade Biennale. She regularly teaches film at SNDO, AHK in Amsterdam, and Oslo National Academy of the Arts.
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