Play-Doc 2015

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«O que me interesa non é a perfección, senón máis ben a idea de estar ao fronte, alí onde todo é incerto, onde o mundo se move.»“What interests me is not perfection, but rather the idea of taking the lead, of being where everything is uncertain, where the world is in flux.”

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8 SECCIÓN OFICIAL / COMPETITION12 XURADO INTERNACIONAL & CAMIRA / INTERNATIONAL & CAMIRA JURY14 CLAIRE SIMON20 ESPECIAL ALBERT MAYSLES / ALBERT MAYSLES SPECIAL21 ESPECIAL MANUEL MOZOS / MANUEL MOZOS SPECIAL22 CINEMA GALEGO / GALICIAN CINEMA26 PLAY-DOC WORKSHOPS

29 RESONANCIAS40 SEMINARIO / SEMINAR42 PLAY-DOC LIVE 190644 ORGANIZACIÓN / CREDITS45 COLABORADORES / SPONSORS46 TUI47 HORARIO / SCHEDULE

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NICOLÁS PEREDA,DIRECTOR.

a pasou case un ano dende que estiven en Play-Doc. Recórdoo moi ben e con moitísimo agarimo. Probablemente se teña converti-do nun festival de importancia debido á estupenda selección de

películas, pero o que me namorou do festival foi que, ao meu parecer, Play-Doc é un punto de encontro da comunidade cinematográfica máis interesante de Galicia. É un espazo único, un faladoiro para a cinema-tografía local que non vira nunca antes nun festival. Durante a miña es-tancia estiven comendo os polbos máis exquisitos rodeado de mozos cineastas da Nouvelle Vigo. Nun mundo no que a xente se comunica por teléfonos e computadoras, no que os grupos artísticos son cada día máis escasos e no que os eventos culturais son cada vez máis impersoais, Play-Doc é un respiro, un modelo a seguir para outros festivais no mundo.Play-Doc é un festival feito como as películas que proxectan. Para os ci-neastas que traballan fóra da industria, este tipo de espazos son esen-ciais. O festival dá tempo e espazo para reflexionar sobre as películas, para coñecer os convidados, para falar, para comer ben. Precísanse máis espazos como Play-Doc no mundo.

Mil gracias Sara e Ángel. Deséxolles o mellor para esta nova edición.

Nicolás Pereda

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lmost a year has gone by since I was at Play-Doc. I remember it very well and with a lot of affection. It has probably become an important festival because of the fantastic selection of films, but what I loved about the festival was that, for

me, Play-Doc is a place where the most interesting people from the cinema community in Galicia can come together. It is a unique kind of local cinematographic discussion forum, something which I had not seen at a festival before. During my stay, I was able to eat the most exquisite octopus dishes while surrounded by the young filmmakers who make up the Nouvelle Vigo. In a world in which people communicate with each other by phone and computer, in which artistic collectives are becoming ever thinner on the ground and cultural events are becoming more and more impersonal, Playdoc is a breath of fresh air, a model for other festivals across the world to follow.

Play-Doc is a festival made in the same way as the films which it screens. For those film-makers working outside the industry, events of this type are essential. The festival gives attendees time and space to reflect on the films, to meet the special guests, to talk and to have a fine meal. The world needs more events like Play-Doc.

Many thanks to Sara and Ángel. I wish you the very best of luck with this new edition.

Nicolás Pereda

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SECCIÓN OFICIAL

Sala 1 venres Friday ás 18:30h

APPROACHING THE ELEPHANTAmanda Rose Wilder / 89’ / 2014 / EUA

Approaching The Elephant mergúllase no ano inaugural da Teddy McArdle School Free School en Nova Jersey, escola onde todas as clases son voluntarias e as regras decididas por voto —os dos adultos e nenos valen o mesmo. Wilder está aí dende o inicio á fin do ano escolar, documentando e observando o fundador Alex Khost e a un indeleble elenco de francas novas personalidades a construír relacións, explorar a súa contorna e debater intensamente as violacións das normas, ata que todo chega a un punto crítico. Approaching The Elephant é un raro, inspirado retrato da mocidade sen trabas.

Approaching The Elephant dives head first into the inaugural year of the Teddy McArdle Free School in New Jersey, where all classes are voluntary and rules are determined by vote – adults and children have an equal say. Wilder is there from the beginning to end of the school year, documenting and observing founder Alex Khost and an indelible cast of outspoken young personalities as they form relationships, explore their surroundings and intensely debate rule violations, until it all comes to a head. Approaching The Elephant is a rare, inspired portrait of unfettered childhood.

Dirección, fotografía, son: Amanda Rose WilderProdución: Jay Craven, Robert Greene, Amanda Rose WilderEdición: Robert GreenCoprodución: Caitlin MaeBurkeContacto: http://approachingtheelephant.com

/competition

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L’ABRIFernand Melgar / 101’ / 2014 / Suíza

Un inverno no corazón dun refuxio de emerxencia para xente sen fogar en Lausanne, Suíza. Ás portas deste búnker agochado ten lugar cada noite o mesmo ritual dramático que leva a enfrontamentos ás veces violentos. Os vixiantes teñen a difícil tarefa de «clasificar os pobres»; mulleres e nenos primeiro, despois, se queda lugar, os homes. A pesar de que o refuxio pode acoller a 100 persoas, só a 50 «elixidos» se lles permitirá pasar e se lles dará unha comida quente e unha cama. O resto sabe que a noite vai ser longa.

A winter spent in the heart of an emergency shelter for homeless people in Lausanne. At the entrance to this hidden bunker there unfolds every night the same dramatic ritual, leading to occasionally violent confrontations. The watchmen have the difficult task of “sorting the poor”: women and children first, men later if there is room. Even if the shelter can hold 100 people, only 50 “chosen ones” will be allowed inside to receive a hot meal and a bed. The others know that the night will be a long one.

Imaxe, dirección: Fernand MelgarSon: Elise ShubsProdución: Fernand Melgar, Elise ShubsEdición: Karine SudanContacto: CLIMAGE http://climage.ch

CONCERNING VIOLENCEGöran Hugo Olsson / 85’ / 2014 / Suecia-EUA-Dinamarca-Finlandia

Concerning Violence é o novo documental de Göran Hugo Olsson, baseado en poderoso material de arquivo recentemente descuberto, que cobre os momentos máis ousados da loita pola liberación do Terceiro Mundo, acompañado dun texto do libro de Frantz Fanon Os condenados da terra, narrado por Lauryn Hill.Este texto, escrito hai máis de 50 anos, é aínda unha poderosa ferramenta para comprender o neocolonialismo hoxe en día.

Concerning Violence is new documentary film by Göran Hugo Olsson, based on newly discovered, powerful archive material covering the most daring moments in the struggle for liberation in the Third World, accompanied by the text from The Wretched of the Earth by Franz Fanon.This text, written 50 years ago, is still a major tool in understanding and illuminating the neocolonialism happening today. Narrated by Lauryn Hill.

Un documental de Göran Hugo OlssonProdución: Annika Rogell, Tobias Janson, Story ABEdición: Michael Aaglund, Dino Jonsäter, Gorän Hugo Olsson, Sophie VukovicSon: Micke NyströmMúsica: Neo MuyangaNarrado por: Lauryn HillContacto: Films Boutique www.filmsboutique.com

Sala 1 xoves Thursday ás 23:00h


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LIAHONA

THE IRON MINISTRY

Talena Sanders / 70’ / 2013 / EUA

J.P. Sniadecki / 82’ / 2014 / China-EUA

Liahona é un documental experimental que examina a cultura, a historia e a experiencia vivida da Igrexa de Xesucristo dos Santos dos Últimos Días, comunmente coñecida como a fe mormoa. Liahona analiza como o misticismo se converte en algo mundano, o equilibrio e a tensión da experiencia da vida mormoa entre o ilóxico e o ordinario, a cara pública do mormonismo e a súa falta de accesibilidade. Que fai aos mormóns tan caracteristicamente diferentes? Rodado en 16 mm, Liahona atravesa Utah, Illinois e Missouri para compor a historia desta fe.

Liahona is an experimental documentary examining the culture, history, and lived experience of the Church of Jesus Christ of Latter-day Saints, often referred to as the Mormon faith. Liahona is an examination of how mysticism becomes mundane, the balance and the tension in Mormon life experience between the illogical and the pedestrian, the public face of Mormonism and gaps in accessibility. What is it about the Mormons that make them so distinctively different? Recorded on 16 mm film, Liahona traverses Utah, Nauvoo and Carthage, Illinois and Independence, Missouri to piece together this story of a faith.

Filmada ao longo de tres anos en ferrocarrís chineses, The Iron Ministry traza os vastos interiores dun país en movemento: carne e metal, ruídos e berros, luz e escuridade, lingua e xesto. Partituras de viaxes en ferrocarril mestúranse, capturando as emocións e preocupacións da transformación social e tecnolóxica. The Iron Ministry mergulla o público en relacións fugaces e encontros incómodos entre humanos e máquinas na que será en breve a liña de ferrocarril máis longa do mundo.

Filmed over three years on China’s railways, The Iron Ministry traces the vast interiors of a country on the move: flesh and metal, clangs and squeals, light and dark, language and gesture. Scores of rail journeys come together into one, capturing the thrills and anxieties of social and technological transformation. The Iron Ministry immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world’s largest railway network.

Imaxe, son, edición, dirección: Talena SandersProdución: Talena Sanders, Kate SchlauchContacto: Talena [email protected]

Imaxe, son, montaxe: J.P. SniadeckiCoprodución: Joshua Neves, J.P. SniadeckiDeseño de son, mestura: Ernst Karel Tradución: J.P. Sniadecki, Xu Man, Mo Yunxuan, Li Jie, Zhu RikunContacto: http://www.theironministry.com


Sala 1 sábado Saturday ás 16:30h

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MOTU MAEVAMaureen Fazendeiro / 43’ / 2014 / Francia-Portugal

Un retrato de Sonjia, aventureira do século XX, que vive nunha illa construída por ela propia: Motu Maeva.

A portrait of Sonja, adventurer of the twentieth century, living on an island that she built by herself: Motu Maeva

Guión, realización, imaxe: Maureen FazendeiroEdición: Catherine LibertSon: François AbdelnourContacto: GREC [email protected]

SONGS FROM THE NORTHSoon-Mi Yoo/ 72’ / 2014 / EUA-Corea do Sur

Songs From The North é unha película-ensaio que busca unha perspectiva distinta sobre o enigma de Corea do Norte, un país cuxa representación ou está tomada pola propaganda nacionalista ou pola ridiculización esaxerada. Cruzando imaxes das súas tres visitas a Corea do Norte con cancións, espectáculos, cinema popular e imaxes de arquivo, Songs From The North intenta comprender, usando as súas mesmas expresións, a psicoloxía e imaxinario popular dos norcoreanos e a súa ideoloxía política de amor absoluto que segue conducindo o país cara un futuro incerto. Unha ollada próxima e obxectiva sobre Corea do Norte, esa nación que desafía as nosas nocións fundamentais sobre a condición humana e nos leva á reflexión sobre o real sentido de liberdade, amor e patriotismo.

Songs From The North is an essay film which looks differently at the enigma of North Korea, a country typically seen only through the distorted lens of jingoistic propaganda and derisive satire. Interweaving footage from my three visits to North Korea, together with songs, spectacle, popular cinema and archival footage, Songs From The North tries to understand, on their own terms, the phychology and popular imaginary of the North Korean people and the political ideology of absolute love which continues to drive the nation towards its uncertain future. To look closely and objectively at North Korea, a country that challenges our most fundamental assumptions about the human condition, is ultimately to question the meaning of freedom, love and patriotism.

Guión, dirección, imaxe, edición: Soon-Mi YooProdución: Soon-Mi Yoo, Haden GuestCoprodución: Rui Alexandre Santos (Rosa Filmes)Son: Nuno HenriqueContacto: ROSA FILMESwww.rosafilmes.com



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XURADO INTERNACIONAL INTERNATIONAL JURY

JOSÉ LUIS CIENFUEGOSDirector de Sevilla Festival de Cine Europeo dende 2012, é asesor da Academia de Cinema Europeo para o premio Discovery e do comité de selección dos Premios LUX, que outorga o Parlamento Europeo. Entre 1995 e 2011 foi director do Festival Internacional de Cinema de Xixón. Dende sempre apostou polo cinema máis radical e inconformista, realizando ciclos e contando coa presenza de autores como Agnès Varda, Tsai Ming-Liang, Aki Kaurismäki, Abbas Kiarostami, Paul Schrader, Victor Erice ou Todd Haynes. Melómano, foi responsable tamén das doce edicións do festival Intersecciones, onde actuaron prestixiosos grupos musicais independentes como Dominique A, Diamond Dogs, Matt Elliot ou The Cynics.The Director of the Seville European Film Festival since 2012, he is a consultant

for the European Film Academy for the Discovery Award and is a member of the selection panel for the LUX Prize, awarded by the European Parliament. Between 1995 and 2011 he was the Director of the Gijón International Film Festival. He has always shown his support for the most radical and original cinema, organizing film seasons and inviting filmmakers such as Agnès Varda, Tsai Ming-Liang, Aki Kaurismäki, Abbas Kiarostami, Paul Schrader, Victor Erice and Todd Haynes. A great music-lover, he was also responsible for twelve editions of the festival Intersecciones, at which prestigious independent musicians such as Dominique A, Diamond Dogs, Matt Elliot and The Cynics performed.

CÍNTIA GILCíntia Gil graduouse en Filosofía pola Universidade de Porto tras asistir ao Curso de Cinema na Escola de Cinema e Teatro Portuguesa. É investigadora no grupo «Estética, Política e Artes» do Instituto de Filosofía da Universidade de Porto, para o que escribe e publica. Entre 2001 e 2007 Cíntia traballou na produción de varios filmes. Tamén deu clases de estruturas narrativas, cinema e contemporaneidade na Escola de Vídeo e Documental de Abrantes. Membro do comité de Apordoc – Asociación do Documental Portugués (2013/14). Tras ter sido membro do comité de selección do festival de curtametraxes de Vila do Conde e Doclisboa, dende 2012 é co-directora deste último.Cíntia Gil graduated in Philosophy in the University of Porto after attending the Cinema course at the Portuguese School of Cinema and Theatre . She is

a researcher at the «Aesthetics, Politics and Arts» Research Group of the Philosophy Institute of Porto University, for which she writes and publishes. Between 2001 and 2007 Cíntia worked on the production of several films. She also has taught the courses of narratives structures and cinema and contemporaneity at the Video and Documentary Cinema School of Abrantes. Member of the board of Apordoc - Portuguese Documentary Association (2013/14). After being a member of selection committee of the Vila do Conde Short Film Festival and Doclisboa, since 2012 she’s co-director of the Doclisboa International Film Festival.

GABE KLINGERGabe Klinger é un galardoado cineasta, profesor de cinema e escritor. O seu aclamado documental Double Play: James Benning and Richard Linklater (2013), gañou o León ao mellor documental en Venecia. Os seus artigos apareceron en revistas de cinema como Sight & Sound, Film Comment, e Cinema Scope. Foi profesor na Universidade de Illinois e no Columbia College e foi tamén programador e asesor para o Festival Internacional de Róterdam e o Museo de Arte Moderna de Nova York. Klinger é co-editor de Joe Dante (Filmmuseum Synema Publikationen/Columbia University Press). Actualmente traballa na súa última película, Porto mon amour, producida por Jim Jarmusch.Gabe Klinger is an award-winning filmmaker, film studies professor, and author.

His acclaimed documentary Double Play: James Benning and Richard Linklater (2013) won a Lion for Best Documentary in Venice. Klinger’s articles have appeared in Sight & Sound, Film Comment, and Cinema Scope. He has taught film studies courses at University of Illinois and Columbia College and curated retrospectives and consulted for the International Film Festival Rotterdam and Museum of Modern Art in New York. Klinger is co-editor of Joe Dante (Filmmuseum Synema Publikationen/Columbia University Press). He is currently working on his latest film Porto mon amour, produced by Jim Jarmusch.

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XURADO CAMIRA CAMIRA JURY

PAMELA COHNOrixinal de Los Angeles, California, Cohn traballou durante dúas décadas como produtora independente e directora de proxectos para artistas e cineastas independentes. En 2010 coproduciu a primeira cerimonia do Cinema Eye Honors (o equivalente aos Oscars para o documental). Pamela traballou para a plataforma de distribución online do Tribeca Film Institute (NYC) e tamén como consultora de proxectos para as bolsas e subvencións da institución. Escribe habitualmente para revistas de cinema e publicacións online como FILMMAKER Magazine, DOX Magazine, International Documentary Association, BOMB Magazine’s arts blog, Guernica, Senses of Cinema e La Furia Umana. Actualmente traballa para a asociación DOX BOX, e dirixe o seu primeiro filme en Kósovo e Albania.

Originally from Los Angeles, California, Pamela worked for two decades as an independent media producer and project director on behalf of independent artists and filmmakers. In New York in 2010, she co-produced the first Cinema Eye Honors ceremony. Pamela has worked as a contributing editor on new media and online distribution for the Tribeca Film Institute and has worked for TFI consulting on projects for the organization’s documentary funds and grants. She is a contributing writer for several arts and film publications and websites such as FILMMAKER Magazine, DOX Magazine, International Documentary Association, BOMB Magazine’s arts blog, Guernica, Senses of Cinema and La Furia Umana. She currently works for The DOX BOX Association, a platform for Arab World filmmakers, and is directing her first feature film in Kosovo and Albania.

TONI D’ANGELAFundador e editor xefe de La Furia Umana, revista multilingüe de teoría e historia do cinema (dispoñible online e impresa). Autor de diversos libros e artigos, especialmente sobre cinema americano, clásico e underground. Presidente de CAMIRA (Cinema and Moving Images Research Assembly). Director artístico do programa internacional en Fronteira Documentary & Experimental International Film Festival. Programador de Las Palmas de Gran Canaria International Film Festival.Founder and editor-in-chief of La Furia Umana, a multilingual journal of theory and history of cinema (available online and in print). Author of several books and articles, especially on American Cinema, classic and underground. President of

CAMIRA (Cinema and Moving Images Research Assembly). International Artistic Programming at Fronteira Documentary & Experimental International Film Festival. Programmer at Las Palmas de Gran Canaria International Film Festival.

CLARA MARTÍNEZ MALAGELADALicenciada en Filosofía pola Universidad de Granada. Terminando os seus estudos na Escuela de Cinematografía y Audiovisuales de Madrid (ECAM), na especialidade de Montaxe. Directora de Sala 1, Revista Digital de Cine, que funda en 2012. Ten colaborado en varias publicacións cinematográficas, como Caimán Cuadernos de Cine (España) ou El Gran Vidrio (México); e participado como membro do Comité de Selección do Festival Internacional de Cine de Murcia, IBAFF. Delegada en España de CAMIRA. Traballa como axudante de montaxe na produtora KiloVivo Post. A graduate in philosophy from the Universidad de Granada, she completed her studies at the Escuela de Cinematografía y Audiovisuales de Madrid (ECAM),

specialising in editing. She is the editor of the digital magazine Sala 1, Revista Digital de Cine, which she founded in 2012. She has contributed to several cinema publications, such as Caimán Cuadernos de Cine (Spain) and El Gran Vidrio (Mexico); she has also been a member of the jury at the International Film Festival of Murcia, IBAFF, and is the CAMIRA delegate for Spain. She works as an assistant editor at the KiloVivo Post production company.

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ando Claire Simon veu ao Bafici como xu-rado, en 2007, incluímola como integrante dunha mesa redonda sobre o documental

e a ficción. Mentres avanzaba o encontro, Simon ocupábase de indicar que non era «documenta-lista», deixando entrever que as súas películas se situaban nese punto de intersección entre am-bos os dous territorios. E ese modo de pensar a súa propia obra daba mil veces no branco.Sempre hai, no cinema de Claire Simon, un ma-terial que dun xeito ou outro provén do campo do real. Pode tratarse dun espazo excluínte que define o campo do fóra de campo (o patio de re-creos en Récréations, a estación vista dende as dúas perspectivas en Gare du Nord e Géographie humaine), xa dun personaxe arrasador (Mimi Chiola, en Mimi), xa persoas que volven narrar as súas vivencias (Les bureaux de dieu). Pero esa materialidade real é só o inicio, o punto que dis-para a curiosidade de Simon non é un fin en si mesmo senón a arxila para modelar unha ollada que procura as puntas dun ovillo que é ficcional,

CLAIRE SIMON

hen Claire Simon came to BAFICI to parti-cipate in the jury in 2007, we also invited her to take part in a roundtable session on

documentaries and fiction. During this session, Simon repeatedly made the point that she was not a “documentarian”, implicitly pointing to the fact that her films lie on the boundary between the two fields. And that way of thinking about her work hits the nail squarely on the head.In Claire Simon’s films, there is always some material which in some way or other originates from the field of the real. It may be a space which excludes and defines the area out of shot (the playground in Récréations, the station seen from two different perspectives in Gare du Nord and Géographie humaine), or an overwhelming cha-racter (Mimi Chiola, in Mimi), or people retelling their experiences (Les bureaux de dieu). But that material reality is just the beginning, the starting point which arouses Simon’s curiosity, not an end in itself: it is the clay she uses to model her gaze, searching for the thread of a fictional tale based

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a través de historias de mulleres apaixonadas ou de personaxes cuxa fraxilidade é só aparente —sexan nenos, inmigrantes, desposuídos— por-que o seu impulso consiste en sobrevivir, ante a lóxica desapiadada do capitalismo ou os límites e limitacións das así chamadas institucións. Pódese pensar, entón, que o propio título Ça brûle é unha crave da paixón aínda que entendamos que iso que queima é o amor que sente a quincea-neira de nome viscontiano, Livia, polo bombeiro Jean, que a axudou despois de caerse mentres cabalgaba o seu fermoso cabalo, nunhas vaca-cións no sur de Francia. E que iso que queima vaina incendiando de modo lento e permanente, aumentando a súa temperatura ata facela facer o máis incrible e irremediable, con tal de estar xunto a el. Pero iso que queima é a vontade de Claire Simon de facerse carne na súa intensa pro-tagonista e non é para menos ao ver que Livia é —como adoita acontecer coas mulleres de Claire Simon, incluídas as niñas simulando actitudes adultas de Récréations— máis que unha protago-nista unha forza da natureza. Mais ese potencial aluvional inscrito nas súas mulleres está feito de impulsos e desexos e é a que adoita delimitar os territorios narrativos que elixe Simon. Aínda que as aparencias suxiran que Simon se desprazou do documental ao filme de ficción como se foran as etapas da súa filmografía ese camiño foi di-namitando esas fronteiras, como se a súa obra fora o resultado da incomodidade de pararse nun lado ou noutro. O real prove unha materia que a ficción expande e libera. Non só porque, en Mimi, a propia Mimi Chiola é unha narradora que ningún guionista tivera podido imaxinar senón porque a espera das situacións que protagonizan os nenos de Récréations revelan o potencial ficcional que eles mesmos escenifican en cada un dos recreos estruturantes dun dispositivo rigoroso. Pode tra-tarse de sistemas coma os de Ça brûle, que frag-mentan información pero saben chegar a cumios dramáticas que amaría a Adèle H. de Truffaut. Ou ben pode adoptar a lóxica do desdobramen-to, contemplando esa relación entre real-ficción case como se fora o tema mesmo das súas películas, como se Simon tivera logrado non xa ilustrar un problema teórico do cinema contem-poráneo senón converter ese problema teórico no punto de vista que selecciona as súas histo-rias e define o seu xeito de poñelas en escena. Non é casual que teña recorrido varias veces ao ensamble ou o desdobramento como procede-mentos para moverse dun campo ao outro. Ese desdobramento volveuse literal cando Simon eli-xiu unha diversidade de casos reais vinculados coa anti-concepción enunciados ante as actrices máis recoñecidas de Francia —Nathalie Baye, Ni-

on the stories of passionate women or charac-ters whose fragility is only apparent – be they children, immigrants or the dispossessed – be-cause they are determined to survive in the face of the pitiless logic of capitalism, or the limits and limitations of so-called institutions. One might think then that the very title Ça brûle is a reference to a particular passion, even if we understand that that which burns is the love which the fifteen year-old with the Viscontian name, Li-via, feels for the fireman, Jean, who helped her after she had fallen while riding her beautiful hor-se, while on holiday in the south of France. And that that which burns keeps on doing so, slowly but continually, raising her temperature until it makes her do the most unbelievable and most final of things, just so that she can be with him. But that which burns is the desire of Claire Simon to portray herself in her intense protagonist, and not for nothing do we see that Livia is more than just a character but a force of nature – as often happens with Claire Simon’s women, even the girls who imitate adult attitudes in Récréations. But that potential for the dam to break which is written into her women is made up of impulses and desires, and that is what sets the limits for the narrative fields Simon chooses. Although it might appear that Simon has moved from docu-mentary to fictional filmmaking, suggesting diffe-rent stages in her career, in fact the path she has chosen has obliterated those boundaries, almost as if her work were the result of feeling uncomfor-table in being on one side or the other. The real provides material which fiction expands on and liberates. We do not just see this in Mimi, where Mimi Chiola herself is a storyteller who no scriptwriter could have imagined, but also in Ré-créations, where the expectancy created by the si-tuations acted out by the children reveals the fic-tional power that the children themselves make use of in each of the regular breaks in their school day. This can also take the form of the systems used in Ça brûle, where information is provided only bit by bit, while still being able to reach the dramatic heights which Truffaut’s Adèle H. would have loved. Or it might also consist of the logic of dédoublement, of cinema doubling back on itself, reflecting on the relationship between the real and fiction – almost as if this relationship were the theme of her films, as if Simon has been able not just to illustrate a theoretical problem in con-temporary cinema but has made that theoretical problem into the standpoint from which she has selected her stories, and which defines her way of setting up each scene. It is no accident that she has often used ensemble and dédoublement as means of moving from one field to another. This dédoublement is tangible in Les bureaux de

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cole Garcia— facendo de traballadoras sociais, cumprindo o seu rol como actrices mais tamén como colaboradoras para problemas sociais, en Les bureaux de dieu. Mais ese desdobramento tamén se volveu literal noutro sentido, cando fixo dúas películas xemelgas e opostas como Gare du Nord e Géographie humaine, presentadas conxuntamente, como se o real da estación, que Gare du Nord é o transfundo ou o «escenario» que permite atopar a historia principal de Ismael e Mathilde, en Géographie humaine tornou eixo central, despregando todos os relatos que a pri-meira só deixaba asomar, como se esa ebulición narrativa que nunha era máis un murmurio, un son ambiente ou un mero potencial na outra se volvera central, son en primeiro plano, multipli-cidade. Se en Gare du Nord de todas as posibles historias dese enxame elexía unha principal e a volvía representar, a «actuaba», xa en Géographie humaine esa diversidade era incluída como tal pero incluíndo a Simon Merabet, inxectándolle ficción no acto mesmo de incorporalo, reencon-trándoo trinta anos logo de Mon cher Simon, unha das súas primeiras curtametraxes documentais.Que a Claire Simon a definición de «documenta-lista» lle resultara incómoda non debera sorpren-der porque a soa idea de «incomodidade» é o re-sultado de non estar a gusto nun só dos campos. O seu cinema é o que se volve incómodo cando é forzado a inscribirse nun único territorio sen-do o seu impulso natural o movemento, palabra crucial que explica a predilección da directora por espazos coma o recreo de tensión multicul-tural de Récréations, a populosa estación de tren nos dous films jumeaux, a vertixinosa oficina de Les bureaux de dieu. Moverse entre mundos e es-pazos —físicos ou teóricos— parece o antídoto máis provocador que a arte pode inventar para contrarrestar a catástrofe das clasificacións e os ghettos culturais e políticos.

dieu, for which Simon chose a variety of real-life cases concerned with the issue of contracep-tion. These were then recounted to some of the most recognizable actresses in France – Natha-lie Baye and Nicole Garcia – who played social workers, fulfilling their roles as both actresses but also as people concerned with social is-sues. But this dédoublement is also tangible in another sense, when she made the twin and yet contrasting films Gare du Nord and Géographie humaine, which were released together. The rea-lity of the station, which in Gare du Nord was the background or “stage” on which the main story about Ismael and Mathilde was set, becomes the centrepiece in Géographie humaine, revealing all the stories which the other film only allowed glimpses of. This mass of narratives, which is just a rumour, ambient noise or mere potential in one film, becomes central to the other, with attention turning to this multiplicity of sound. In Gare du Nord, out of all the stories that could have been chosen from the swarm possible, one was chosen to be the main focus and this was then played out again, it was “performed”, but, in Géographie humaine, that diversity was inclu-ded unfiltered, but this time with the inclusion of Simon Merabet, bringing fiction with him as he was brought into the process. Thus was Simon reunited with the protagonist of Mon cher Simon, one of her first documentary short films. The fact that Claire Simon is uncomfortable with being defined as a documentarian is not surpri-sing when one considers that this “discomfort” arises from not feeling at home in only one of her two fields. Her cinema is what becomes un-comfortable when it is pigeonholed in a single territory, when its natural impulse is movement – a crucial word which explains the director’s propensity for spaces such as the multicultural tension of break-time in Récréations, the bustling train station of the two films jumeaux, and the hectic office in Les bureaux de dieu. Moving bet-ween worlds and different spaces – physical or theoretical – seems to be the most provocative antidote that art can come up with to counteract the catastrophe of being labelled and the crea-tion of cultural and political ghettos.

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ESPECIALCLAIRE SIMON

Un día Livia sofre unha violenta caída de cabalo. Un bombeiro acode na súa axuda e ela namó-rase inmediatamente. No sur de Francia o verán é sufocante e voluptuoso e o lume está a pi-ques de desatarse.

ÇA BRÛLE/ 111’ / 2005 / Francia

Dirección: Claire SimonGuión: Jérôme Beaujour, Claire Simon, Nadège TrébalFotografía: Pascale GranelMontaxe: Julien LacherayMúsica: Martin WheelerProdución: Maïa Films / Promenade FilmsReparto: Camille Varenne, Gilbert Melki, Kader Mohamed, Marion Maintenay, Olivia Willaumez, Viviane Bonelli, Jean-Quentin Châtelain, Patrick Moutonnet, Edith Amsellem, Morgane Moré, Christophe Ballester, Pierre Gorris, Guillaume Barraud, Lionel Mazouillé, Mourad Boukebal

Sala 1 domingo Sunday ás 18:30h

One day Livia takes a violent spill from her horse. A fireman comes to the young girl’s aid, and she is immediately smitten. In the South of France, the sum-mer is sultry and the fire ready to blaze up.

Unha filma mentres a outra fala. Claire Simon e Mimi Chiola. Con todo Mimi non é ningunha es-trela. Paseando por Niza, con cancións italianas de fondo, convencémonos rapidamente de que toda vida é unha historia e de que toda historia pode ser unha vida. Mimi está conster-nada porque sente que ela é un pouco todo o mundo e ao mes-mo tempo ninguén. Ela é unha narradora chea de modestia e tenrura, un auténtico personaxe de ficción cuxo relato imprevisi-ble expresa un inesgotable des-exo de liberdade.

MIMI/ 100’ / 2002 / Francia

Dirección, montaxe: Claire Simon Fotografía: Michel DunandProdutora: Gémini Films / Maïa Films / Ognon Pictures Con: Mimi Chiola

One shoots, the other speaks: Claire Simon and Mimi Chiola. However, Mimi is not a star. Strolling through Nice, Italian songs all about her, we are quic-kly convinced that every life is a story, and that every story can be made into life. Mimi is dis-traught because she feels she is everyone and no one at the same time. A demure, loving narrator, she is an authentic fictional character, whose un-predictable tale expresses an inexhaustible longing for free-dom that knows no bounds.


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O doutor Jean-Marie Bouvier é un médico de familia nunha pe-quena cidade de provincias a pi-ques de xubilarse. Claire Simon ségueo coa súa cámara durante o seu último mes de consultas.

Doctor Jean-Marie Bouvier is a family doctor in a small provin-tial city nearing retirement. Clai-re Simon will follow him with her camera during his last month of consultations.

LES PATIENTS/ 75’ /1989 / Francia

Dirección, fotografía: Claire Simon Montaxe: Francine SandbergProdución: La Sept Música: Freddie Hubbard Con: Jean-Marie Bouvier

Sala 1 mércores Wednesday ás 20:30h

Cando soa a campá do recreo o patio dunha gardaría deixa de ser un lugar baleiro para trans-formarse nun escenario anima-do. Por fin libres, os nenos xo-gan a ser adultos. Unha película profunda e alegre. Un pequeno tratado filosófico sobre a vida en sociedade.

When the bell rings, the cour-tyard of a nursery school trans-forms from an empty space to an animated stage. Finally fre-ed, the little ones pretend to be adults. A small philosophical treatise about living together.

RÉCRÉATIONS/ 54’ / 1992 / Francia

Dirección, guión, fotografía: Claire Simon Montaxe: Suzanne KochProdución: Les Films d’Ici / La Sept Música: Pierre-Louis Garcia


Co diñeiro duns parentes Jihad abre unha pequena empresa de comidas. A pesar da entre-ga dos seus empregados e da abundancia de bos produtos, as cousas non acaban de ir ben. Pero Jihad non quere rendirse e xunto aos seus cociñeiros e a súa secretaria continúa cara adiante «custe o que custe».

COÛTE QUE COÛTE/ 100’ / 1994 / Francia

Dirección, guión: Claire SimonFotografía: Jérôme Peyrebrune, Claire Simon Montaxe: Catherine QuesemandProdución: La Sept-Arte / Les Films d’Ici Música: Arthur H.

With money from his in-laws, Jihad opens a small eatery. Despite the commitment of his employees and the abundance of good products, things aren’t going well. But Jihad does not give up; together with the cooks and his secretary, he forges ahead, “cost what it may.”


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París, a Gare du Nord, todo pode pasar, mesmo trens. Un quixese quedar pero hai présa. Como os miles de vidas que alí se cruzan, cruzaranse Ismäel e Matilde e namoraranse aos poucos. A estación é un mundo aparte fre-cuentado por todos: franceses, inmigrantes, emigrantes, viaxei-ros e pantasmas. Unha encru-cillada de camiños onde cada vida pasa rápido e desaparece.

Paris, the Gare du Nord, an-ything can come along, even trains. We’d like to stay but we have to hurry on. Like the thou-sands of lives that intersect at the station, Ismaël and Mathilde are going to meet there. Ismaél sees Mathilde for the first time on a suburban train platform. They gradually fall in love. The station is a world apart, frequen-ted by everyone: the French, im-migrants, emigrants, travellers, and ghosts. It’s an intersection where each life passes quickly and vanishes.

GARE DU NORD/ 119’ / 2013 / Francia-Canadá

Dirección: Claire SimonGuión: Claire Simon, Shirel Amitay, Olivier LorelleFotografía: Laurent Bourgeat, Richard CopansMontaxe: Julien LacherayMúsica: Marc RibotProdución: Les Films d’Ici / Productions Thalie / Cinémage 7 / France 3 Cinéma / K Films Amerique / Centre National de Cinématographie (CNC)Reparto: Nicole Garcia, Reda Kateb, François Damiens, Monia Chokri, Sophie Bredier, Ibrahim Koma, Lou Castel, Christophe Paou, Jacques Nolot


Innumerables persoas cruzan a Gare du Nord cada día, pro-venientes de París e os seus suburbios, do resto de Francia ou do estranxeiro. A película, do mesmo xeito que a estación, é o lugar para encontros fugaces, nos que cada persoa relata a súa vida nunhas poucas pala-bras antes de tomar o seu tren e desaparecer para sempre. A multitude de viaxeiros cobra vida a través de historias cru-zadas, mentres a globalización forxa destinos suxeitos á xeo-grafía e á economía.

GÉOGRAPHIE HUMAINE/ 105’ / 2013 / Francia

Dirección: Claire SimonMontaxe: Catherine Rascon, Luc ForveilleMúsica: Miles DavisProdutora: Film Factory / Les Films d’IciCon: Simon Mérabet

Countless people pass through the station and cross it, whether they come from the Paris subur-bs, provincial France or abroad. The film, like the station, is the locus of fleeting encounters in which each person relates his or her life in a few words before ta-king a train and vanishing. In it the crowd of travellers comes to life through intersecting stories, while globalisation forges des-tinies subjected to geography and the economy.


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Tivemos a inmensa sorte de coñecer o lendario cineasta Albert Maysles en 2013 co motivo da re-trospectiva que lle dedicamos a el e o seu irmán David en Play-Doc aquel ano. Pioneiros do cinema directo, os irmáns Maysles foron responsables dalgúns dos mellores documentais de toda a historia do cinema. Logo da morte do seu irmán David, Albert continuou facendo películas e inspirando a xeracións de cineastas ata a fin dos seus días. Este ano temos a honra de presentar a estrea en España de Iris, un dos seus últimos traballos. O seu recente falecemento deixounos a todos orfos. O seu legado permanecerá para sempre.

We had the immense privilege of meeting the legendary filmmaker Albert Maysles in 2013 when we organized a retrospective on his and his brother David’s work for Play-Doc that year. Pioneers of Direct Cinema, the Maysles brothers made some of the best documentaries in the history of cinema. After the death of his brother David, Albert continued to make films and to inspire generations of filmmakers right up to his death. This year, we have the honour of presenting the Spanish premiere of Iris, one of his last works. His recent passing has orphaned us all. His legacy will live on forever.

ESPECIAL SPECIALALBERT MAYSLES

IRISAlbert Maysles / 83’ / 2014 / EUA

Iris une o lendario documentarista Albert Maysles con Iris Apfel, a aguda e extravagante estilista de 93 anos, que durante décadas tivo unha enorme presenza na escena da moda neoyorkina. Máis que sobre a moda, esta película fala sobre a creatividade e de como a excesiva liberdade de espírito de Iris continúa a ser unha fonte de inspiración, a pesar da súa avanzada idade. Iris retrata a unha muller singular cuxo entusiasmo pola moda, a arte e as persoas son un sustento vital e lémbranos que vestir, do mesmo xeito que vivir, non é máis que un experimento.

Iris pairs legendary 87-year-old documentarian Albert Maysles with Iris Apfel, the quick-witted, flamboyantly dressed 93-year-old style maven who has had an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about creativity and how, even in Iris’ dotage, a soaring free spirit continues to inspire. Iris portrays a singular woman whose enthusiasm for fashion, art and people are life’s sustenance and reminds us that dressing, and indeed life, is nothing but an experiment.

Dirección, cámara: Albert MayslesProdución: Laura Coxson, Rebekah Maysles, Jennifer Ash RudickCámaras: Nelson Walker III, Sean Price WilliamsMontaxe: Paul LovelaceSon: Mike KarasMúsica: Steve Gunn, Justin Tripp


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Dúas películas para celebrar a Revolución dos Cravos, as dúas de Manuel Mozos. Referencia para moitos dos cineastas lusos das xeracións máis novas, durante anos traballou na Cinemateca Portuguesa, e de aí parten estas dúas propostas. A homenaxe é dobre, á súa figura e á do seu amigo João Bénard da Costa, director da filmoteca en tempos da democracia. Pero na época de Salazar, o traballo dos censores era o de agochar, non o de mostrar. Imaxes prohibidas que Mozos rescata na curta que aquí presentamos. Os dous filmes son un canto á liberdade, unha carta de amor ao cinema e as súas posibilidades como arma contra os espíritos malignos.

Two films to celebrate the Carnation Revolution, both by Manuel Mozos. An iconic figure for many of the younger generations of Portuguese filmmakers, he worked for many years at the Cinemateca Portuguesa, the starting point for these two films. This is a dual tribute, to Mozos and to his friend João Bénard da Costa, the director of the film museum in the post-dictatorship period. But during the Salazar era, the work of the censors was to hide rather than to show. These are the forbidden images which Mozos now shows in the short we are screening. The two films are a hymn to freedom, a love-letter to cinema and its potential as a weapon against evil minds.

ESPECIAL SPECIAL MANUEL MOZOS

JOÃO BÉNARD DA COSTA - OUTROS AMARÃO AS COISAS QUE EU AMEI

CINEMA – ALGUNS CORTES: CENSURA III

Manuel Mozos / 75’ / 2014 / Portugal

Manuel Mozos / 46’ / 2014 / Portugal

Este filme é unha homenaxe ao cinema a través da extraordinaria vida de João Bénard da Costa, director da Cinemateca Portuguesa durante 18 anos pero tamén actor, cinéfilo, inspirado escritor e lector creativo. Esta é unha inusual biografía na que a historia dun home é contada mediante as cousas que el máis amou, temeu e admirou. An homage to cinema under the pretext of the extraordinary life of João Bénard da Costa - director of the Portuguese Cinematheque for 18 years but also an actor, cinephile, an inspired writer and a creative reader. This is an unusual biography where the story of a man is told through the things he most loved, feared and contemplated.

Inclúe moitos dos cortes que a censura aplicou a unha cincuentena de películas, producidas entre 1944 e 1972, cando foron estreadas comercialmente en Portugal, durante a ditadura de Salazar. O terceiro capítulo desta serie céntrase no deliberado empeño do ditador en suprimir todo tipo de escenas que contivesen presenza feminina.Includes many of the censorship cuts that some of 50 films produced between 1944 and 1972 when they were theatrically released in Portugal, during the Authoritarian regime. Manuel Mozos’ third film on censorship focuses on the Dictatorship’s willful deletion of all manner of scenes containing a female presence.

Director: Manuel MozosAxudante de dirección e montaxe: Luis NunesProdutor: Rui Alexandre Santos (Rosa Filmes)Fotografía: Inês DuarteNarrador: João Pedro BénardContacto: www.rosafilmes.pt



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SOL MIHI SEMPER LUCET / O SOL SEMPRE BRILLA SOBRE MINÁlvaro Fernández-Pulpeiro / 16' / 2014 / Reino Unido-España

Que paraxe descansa nas profundidades do corazón do home? Un territorio onde durme a memoria entre soños, beleza e dor. Usando unha sonoridade lírica, este documental busca revelar os efémeros destelos dun mundo que se ilumina ao deixar que os relatos de emocións expresivas ligadas a memorias íntimas reverberen dentro de colosais imaxes do territorio texano mergulladas na máxica e delicada luz da Aurora e o Crepúsculo.

What kind of landscape rests in the depths of the heart of men? A landscape where the river of memory sleeps amid dreams of beauty and pain. Using a lyrical sonority, this documentary seeks to reveal the ephemeral bright gleams of a world which is illuminated once we let the tales of expressive emotions linked to intimate memories, reverberate within the colossally soft images of the Texan lands, which appear submerged into the magic and truly delicate light of the Aurora and Twilight.

Director, guión, fotografía: Álvaro Fernández-PulpeiroProdutores: Álvaro Fernández-Pulpeiro, Martín Amezaga, Hugo Fernández BalseiroSon, montaxe: Martín AmezagaMúsica: Richard StraussContacto: [email protected]


CINEMA GALEGO/galician cinema

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ANIMA URBISXisela Franco / 70' / 2014 / Canadá-España

Anima Urbis é unha exploración da vida cotiá nunha cidade posmoderna a través da ollada crítica dunha española en Toronto. Nos seus paseos a modo de flâneur, convídanos a deambular pola cidade de Toronto e os seus espazos públicos, pero tamén nos leva ao seu proceso creativo despregado no seu apartamento, onde está frustrada co proceso de montaxe da película que o espectador está vendo.

Anima Urbis explores everyday life in postmodern Toronto through the critical gaze of a Spanish woman. In her flâneur-like strolls she wanders the city streets, and eventually to her apartment, where her frustrating creative process unfolds.

Un filme de: Xisela FrancoFilmado e editado por: Xisela FrancoContacto: [email protected]


O DESCUBRIMENTO DE AMÉRICOMiguel Mariño / 30' / 2015 / España

A finais de 2012 recibo tres latas de película de 16 mm. A soas, aventúrome co meu proxector cara a travesía do primeiro visionado.Percorrín unha e mil veces aquel mundo, explorando a infinidade de posibilidades que me ofrecía. Pero fose cal fose a senda escollida, sempre chegaba ao mesmo lugar. Unhas imaxes que para min representan ao mesmo tempo o fin e o inicio dunha viaxe (Miguel Mariño).

Towards the end of 2012 I receive three 16 mm film cans. Alone with my projector I set off on the journey towards the first viewing.I went over that world time after time, exploring the endless possibilities I was offered. Yet, whatever the path chosen, I always ended up in the same place. The images which, to me, represent at the same time the end and the beginning of a journey (Miguel Mariño).

Guión, dirección, montaxe, narración: Miguel MariñoSon: Pablo Ramos, Rubén BermúdezEtalonaxe, posprodución: Juan Lesta (Esferobite)Imaxe: A. Álvarez Esteves, Miguel MariñoContacto: [email protected]


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JET LAGEloy Domínguez Serén / 52' / 2014 / España

Diego traballa na quenda de noite dunha gasolineira illada, na fronteira entre Galicia e Portugal. A súa labor é solitaria, silenciosa, monótona, insomne. Unha noite, a aparición de dous visitantes inesperados altera a rutina deste lugar.

Diego works the night shift in an isolated gas station close to the Galician-Portuguese border. His work is solitary, silent, monotonous, somniferous. One night, two unexpected visitors show up and unsettle the routine of the place.

Director e editor: Eloy Domínguez SerénProdutora: Beli MartínezReparto: Diego CastiñeiraContacto: [email protected], [email protected]


A VIAXE DE LESLIE Marcos Nine / 75' / 2014 / España

En xuño de 1943 un escuadrón de JU-88 alemáns derriban un avión comercial fronte á costa de Cedeira. Non hai superviventes. Entre os pasaxeiros aparece un nome ilustre, Leslie Howard. Era xudeu, era un propagandista antinazi, era un galán da industria de Hollywood. A miúdo, a historia escríbese con fragmentos do que xa foi esquecido. Este é o relato da historia que puido ser, ou quizáis non, a travesía da derradeira viaxe de Leslie Howard.

In June 1943, a German JU-88 squadron shot down a passenger airplane off the coast of Cedeira (Galicia, Spain). There were no survivors. Among the passengers there was a distinguished personality, Leslie Howard. He was a Jew, an anti-Nazi propagandist, a Hollywood dandy. History is frequently written with forgotten fragments. This is the tale of what may or may not have been the story of Leslie Howard’s last Journey.

Director e editor: Marcos NineGuión: Marcos Nine, Daniela Arias, Pepe CoiraProdutor: Alfonso BlancoFotografía: Jaime PérezVoz off: Lucía AldaoContacto: [email protected]


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MESA REDONDA «Not for screening purposes»

DOMINGO 26 17:00

Moitos filmes concíbense para non mostrarse no cinema. Os museos son lugares de proxección axeitados para filmes de vangarda e instalacións. Un diario filmado pode funcionar na Internet, os documentais web permítennos experimentar con novas narrativas... Hai moito máis aí fóra que a gran pantalla.

Moderador: Iván Villarmea.Participantes: Hugo Amoedo, Miguel Mariño, Francisco Moser, María Yáñez.A curtametraxe de Hugo Moser On n’a pas fait l’amour mostrarase ao final do debate.

ROUND-TABLE “Not for screening purposes”

SUNDAY 26th 17:00

Many films are not conceived for being shown in a theatre. Museums are suitable screening places for avant-garde films and installations. A film diary could work on the internet, web documentaries allow us to experiment with new narratives... There is much more out there than the big screen.

Moderator: Iván Villarmea.Participants: Hugo Amoedo, Miguel Mariño, Francisco Moser, María Yáñez.Hugo Moser ‘s short film On n’a pas fait l’amour will be shown by the end of this debate.

ON N'A PAS FAIT L'AMOUR / NON FIXEMOS O AMORHugo Moser / 7' / 2014 / Bélxica-España

Sonsoles dixo que viña dunha illa. Da illa de San Simón.

Sonsoles said she came from an island. From San Simon island.

Dirixida e montada por: Hugo Amoedo, Francisco MoserProdución: Papier Machine, Hugo MoserSon, imaxe: Hugo AmoedoContacto: [email protected]

SER E VOLTARXacio Baño / 13' / 2014 / España

Un novo (?) cineasta pasa unha fin de semana na casa dos seus avós para facerlles un vídeo retrato. Diso vai o cine, non si?A young (?) filmmaker comes back to his grandparents’ house to make them a video-portrait. That’s what cinema is about, isn’t it?

Un filme de: Xacio BañoAsistente de produción: María ZaragozaCámara en coche: Lucía C. PanPosprodución de son: Xoán EscuderoSon adicional: Amaro RúaContacto: [email protected]


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lay-Doc foi durante estes anos algo máis que un festival, soubo impulsar, acoller, acubillar e protexer un espazo de liberdade e procura,

onde a práctica e a reflexión puideron atoparse, onde puidemos experimentar, probar, pensar coa cámara e a montaxe sen deixar de traballar dende a intuición, poñernos retos, perdernos neles, esbozar solucións, transmitilas, trabucarnos, aprender, avanzar con todo ese proceso e medrar. Así, xuntos xeramos un espazo desexado, onde o que importaba era a forma vinculada ao cinema e á realidade, onde o que importaba era atopar unha voz propia e facelo sempre xunto e grazas ás voces dos demais, un espazo para acompañarse e compartir.E de compartir é do que agora se trata. Temos o privilexio, o orgullo e o pracer de presentarvos tres películas que dunha forma ou outra xorden ou están vinculadas ao que podería vir a ser unha sorte de escola da ollada, a que fixemos entre todos, a que dalgún xeito representou quere seguir a representar Play-Doc.O lugar dos avós de Víctor Hugo Seoane e Salóme de Yrsa Roca Fannberg participaron do obradoiro Docs in Progress, unha residencia de montaxe como reescritura que tivo lugar ao longo de dúas semanas no mes de dicembro de 2010. África 815 é a longametraxe de Pilar Monsell, quen foi integrante do grupo de traballo en Docs in Progress e foi unha das realizadoras do Laboratorio de retrato filmado desenvolvido en Tui desde 2009 hasta 2013.Alén de ter compartido camiño e ollada connosco nalgún momento do seu proceso, o que estas tres películas teñen en común podería expresarse así: Cur iosamente as t res const rúen unha aproximación a aquilo que nos precede e en certo modo nos determina: os nosos pais, os nosos avós, a nosa orixe, a nosa historia e a nosa Historia. «Somos tamén o que outros, antes ca nós, foron». Levamos esa marca, dunha ou outra forma ese é o noso legado, a nosa ganancia e a nosa perda ao tempo, a nosa herdanza e o noso peso.

PLAY-DOC WORKSHOPS

ver the course of its existence, Play-Doc has become something more than just a festival: it has found a way to open up, encourage,

foster, and protect a space for freedom and curiosity, where both practice and reflection can come together, where we have all been able to experiment, try things out and think with the help of the camera and the cutting room, while still working intuitively, setting challenges for ourselves, becoming absorbed by those challenges, sketching out solutions, communicating these, making mistakes, learning, moving forward by means of this process and being able to grow. This is how we have created this valuable space, where what is important is the link between cinema and reality, the discovery of one’s own voice together with, and thanks to, the voices of others. It is a space in which to enjoy the company of others and share with them.And sharing is what this is all about. We have the privilege, honour and pleasure to present to you three films which, in one way or another, derive from or are linked to what may become a kind of school of a certain gaze – the one which we have built together, the one which Play-Doc has represented and we hope it will continue to represent.O lugar dos avós by Victor Hugo Seoane and Salóme by Yrsa Roca Fannberg formed part of the “Docs in Progress” workshop, an editing and re-writing retreat which took place over two weeks in December 2010. Africa 815 is a film by Pilar Monsell, who formed part of the “Docs in Progress” workgroup and was one of the filmmakers participating in the Laboratory of the Filmed Portrait held in Tui between 2009 and 2013. Besides the fact that these filmmakers shared their journey and their gaze with us at one stage or another of the production process, what these three films have in common could be said to be the following.

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ÁFRICA 815Pilar Monsell / 66’ / 2014 / España

No arquivo fotográfico e as memorias escritas polo seu pai ao redor da experiencia do servizo militar na colonia española do Sahara en 1964, Pilar atopa o paraíso perdido ao que el sempre tentará regresar. Pero todas esas viaxes revelan moito máis do lugar do que se parte que sobre o lugar de destino.

Going in depth into her father’s photo archive and diaries about his experience during the military service at the Sahara spanish colony in 1964, Pilar spots the lost paradise where he always would try to come back. But all these trips reveal much more about the place of departure than about the place of destination.

Dirección, guión, imaxe, edición: Pilar MonsellTexto e fotos: Manuel MonsellProdución: Rita Dessinger, PROXÉMICASon: Jonathan DarchContacto: http://africa815.wordpress.com


Diante dilo as tres películas que imos ver propoñen tres olladas distintas entre elas, singulares, tres formas de cinema que se definen en nome propio, son persoais e polo tanto recoñecibles: dende unha certa serenidade porosa; dende a incisión do enfrontamento; dende a vontade dun achegamento por definición escorredizo. O cinema que sente, o que provoca e reacciona, o que pensa…E paradoxalmente estas singularidades en lugar de afastalas, vólvenas unir: as tres películas atoparon a súa forma xusta, son mostra dun compromiso absoluto entre quen mira e o que mira, entre a forma e o contido. Son tres obras que resultan dun proceso de traballo atravesado pola implicación, a elaboración constante, a esixencia, o cuestionamento incansable, a fraxilidade máis exposta e honesta. E ao ollar e darnos a ver o mundo dan conta de todo ilo con contundencia, rugosidade, beleza e enorme xenerosidade.

Marta Andreu

Strangely, all three reflect on the subject of that which precedes us and in a way determines who we are: our parents, our grandparents, our origins, our life-stories and our history. “We are that which others who came before us were.” This is the mark we bear, this is our legacy in one way or another, and it is our gain and our loss at the same time. It is both our inheritance and our burden to carry. The three films we are going to see put forward three different and original ways of approaching this. The three different ways of making films set out their own definition of themselves, are personal and therefore are easily recognizable: a certain evocative serenity; the incisiveness of conflict; and the tantalising desire to get to know someone better. A cinema which feels, provokes, reacts and thinks. Paradoxically, these peculiar features do not distance the films from each other but bring them together again: the three films have found their own way, but they are examples of a compromise struck between the one who sees and what is seen, between form and content. The three works are the result of a process in which commitment, ceaseless work, high standards, continual questioning and the most honest and stark fragility have all played a role. And when they look and show us the world, they do so in a way which is candid, unadorned, beautiful and enormously generous.

Marta Andreu

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O LUGAR DOS AVÓS (WORK IN PROGRESS)Victor Hugo Seoane / 60’ / Galicia

«Tras moitos anos buscando lonxe da casa, decidín regresar. Un día no salón, meu pai achegouse a min e puxo nas miñas mans unha cinta de vídeo que gravara vinte anos atrás». Así comeza unha viaxe ás raíces. Unha inmersión de cinco anos no cotián da vida de meus avós; no seu lugar, unha vila perdida na montaña que se baleira aos poucos. O lugar onde nace unha familia que segue crecendo e cambiando xeración tras xeración.

“After years of searching, far from home, I decided to return. Then, one day, in the living room, my father handed me a videotape he had recorded twenty years ago.” Thus begins a journey to my roots. For five years I was immersed in the daily life of my grandparents. They live in a lost, diminishing village in the mountains. Yet, this is home, where change is gradual, and time is counted generation by generation.

Dirección, imaxe, montaxe: Victor Hugo SeoaneProdución: Isabel Seoane Eiró, Grupo de Creación Vaivén (Iván Marcos, Jaione Camborda e Victor Hugo Seoane)Axudante de cámara: Iago SeoaneAxudante de montaxe: Diego SantoméContacto: [email protected]


SALÓMEYrsa Roca Fannberg / 59’ / 2014 / Islandia

A arte foi un factor importante durante a miña infancia, que pasei observando a mamá a través dos fíos do seu telar. Hoxe volvín a Islandia para observala de novo, esta vez a través da miña cámara. Non vivimos xuntas dende que eu era unha adolescente. Agora teño 35 anos, sen fillos e cun forte desexo de facer unha película sobre ela. A mamá non lle interesa ser filmada. Esta película non é só sobre a relación nai-filla, senón tamén sobre a relación dun cineasta cun suxeito con vontade propia.

Art was an important factor of my childhood, where I would spend time watching mama, through the threads. Today I am back in Iceland, watching her again - this time through the camera. We have not lived under the same roof since I was a teenager. I am 35, without children and a strong desire to make a film about her. Mum is not interested in being filmed. The film does not only deal with a mother- daughter relationship, but also a filmmaker and a subject with their own will.

Dirección, fotografía: Yrsa Roca FannbergProdución: Skarkali, Helga Rakel, Rafnsdóttir, Marta Andreu (Estudi Playtime)Editado coa axuda de: Cátia Salgueiro, Federico Delpero Béjar, Núria Esquerra, Stefania ThorsMúsica: Ólöf ArnaldsContacto: [email protected]

Sala 1 mércores Wednesday ás 23:00h

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idea de crear une en definitiva a descubrir títulos á marxe do circuíto comercial. A primeira vez que puidemos levar á práctica

estas ideas foi na pasada edición do Festival Internacional de Cinema de Xixón, onde programamos cinco propostas, apoiadas por outros tantos críticos, na sección Converxencias. O éxito desta experiencia animounos a propor un espazo similar nesta nova edición de Play-Doc, co engadido de traballar desta volta no campo da non-ficción. Así naceu Resonancias, unha sección que tivo unha acollida máis que notábel pola banda dos nosos colegas, que nos propuxeron unha trintena de títulos cada cal máis atractivo que o anterior. A nosa escolma tentou primar as propostas mellor argumentadas e os filmes máis relevantes dende o noso (falíbel) punto de vista, atendendo ademais ás relacións que se poden establecer entre eles.Double Happiness (Ella Raidel, 2014), por exemplo, a peza seleccionada por Hanna Hatzmann, cuestiona a conexión entre arquitectura e identidade nunha época, a nosa, na que calquera construción, mesmo unha vila enteira, pode ser reproducida en calquera lugar do mundo. Fronte a esta tendencia, a curtametraxe israelí proposta por Andrea Franco, The Policeman’s House (Mich’ael Zupraner, 2013), lembra a importancia do local. Neste filme, unha casa palestina, propiedade dun árabe e habitada por un xudeu, convértese nunha triste metáfora dun conflito baseado na oposición de dúas identidades. A quen pertence entón esa casa, aos árabes ou aos israelís? Mentres tanto, 1960 (Rodrigo Areias, 2012), a longametraxe que completa a dobre sesión programada por Andrea Franco, desenvolve unha reflexión máis abstracta, case ontolóxica, sobre o espazo e a

he idea of creating a space in which all of us whose job it is to write or talk about cinema could put together a film programme

at different festivals across Spain arose in these parts a little more than a year ago. A film critics’ association, the Asociación Convergencias de la Crítica Cinematográfica, was born, with the strongly-held belief that the task of analysing films, regardless of the medium in which it is undertaken, should not only be based on the creation of texts or radio or TV programmes – the classic task of the critic – but also about establishing a closer relationship with the audience, by selecting films for them, challenging them and, above all, inviting them to discover films outside of the commercial market. The first time we were able to put these ideas into practice was at the Gijón International Film Festival, where we put together a programme of five films, with the support of other critics, in the Convergencias (“Convergences”) section. The success of this experience encouraged us to put forward the idea of a similar space at this new edition of Play-Doc, with the added twist of choosing from the field of non-fiction. Thus Resonancias (“Resonances”) was born, a section which was very warmly welcomed by our colleagues, who proposed around thirty films, with each candidate being even more interesting than the previous one. In our choices, we have placed greater weight on the best-argued proposals and the most interesting films from our (fallible) point of view, while also thinking about the links between them. For example, Double Happiness (Ella Raidel, 2014), proposed by Hanna Hatzmann, questions the connection between architecture and identity in this era in which any structure, even a whole town, can be reproduced anywhere in the world.

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arquitectura: o cineasta Rodrigo Areias volve sobre os pasos do arquitecto Fernando Távora a través das páxinas do diario de viaxe que este último escribiu mentres daba a volta ao mundo. As imaxes de Areias datan de 2012, mais a decisión de filmar este traballo en Super 8, imitando a textura do cinema doméstico dos sesenta, crea a ilusión de que estamos vendo imaxes filmadas polo propio Távora. Do mesmo xeito, Quand je serai dictateur (Yaël André, 2013), o filme de metraxe atopado suxerido por Mari Carmen Fúnez, xoga cun efecto similar: a cineasta belga Yaël André crea unha nova lectura das imaxes do pasado a través da súa remontaxe, reivindicando así as posibilidades expresivas do celuloide e poñendo en valor o extenso arquivo do cinema doméstico. Todas estas cuestións conflúen en Double Play: James Benning and Richard Linklater (Gabe Klinger, 2013), o título que pecha esta sección. Neste documentário, o crítico xa non propón un filme, senón que o realiza persoalmente; non escribe sobre un cineasta, senón que vai ao seu encontro para filmar directamente o seu traballo; e non só analiza a obra dun cineasta, senón de dous, James Benning e Richard Linklater, establecendo unha serie de puntos en común entre eles que tamén aparecen nos traballos de Ella Raidel, Mich’ael Zupraner, Rodrigo Areias e Yaël André: o interese pola identidade dos lugares e, sobre todo, polo espírito do tempo.

Martín Cuesta e Iván Villarmea

In contrast with this latter trend, the short film from Israel proposed by Andrea Franco, The Policeman’s House (Mich’ael Zupraner, 2013), highlights the importance of the local. In this film, a Palestinian house, owned by an Arab and lived in by a Jew, becomes a sad metaphor for a conflict based on the antagonism between two identities. To whom does this house belong to, to the Arabs or the Jews? Meanwhile, 1960 (Rodrigo Areias, 2012), the feature film which completes Andrea Franco’s double session, undertakes a more abstract, more ontological reflection on space and architecture: the filmmaker Rodrigo Areias follows in the footsteps of the architect Fernando Távora by means of the travel diary that Távora wrote while he travelled the world. Areias’s footage was shot in 2012, but the decision to film in Super 8, imitating the texture of home movies from the 1970s, creates the illusion that we are seeing footage shot by Távora himself.In the same way, Quand je serai dictateur (Yaël André, 2013), the film made up of found footage and proposed by Mari Carmen Fúnez, uses a similar effect: the Belgian filmmaker Yaël André provides a new reading of these images of the past by re-editing them, thereby highlighting the expressive possibilities of celluloid and showcasing the potential value of the huge amount of home movies out there. All of these issues come together in Double Play: James Benning and Richard Linklater (Gabe Klinger, 2013), the final film in this section. In this documentary, the critic has not proposed a film, but has actually made it himself; he does not write about a filmmaker, but actually goes to meet a filmmaker in order to make his own film; and he does not analyse the work of one filmmaker, but that of two, James Benning and Richard Linklater, establishing a series of points in common between them, things which also appear in the films by Ella Raidel, Mich’ael Zupraner, Rodrigo Areias and Yaël André: the interest in the identity of places and, especially, the spirit of the time.

Martín Cuesta and Iván Villarmea

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Resulta unha desas coincidencias da vida que no mesmo momento no que abandono a miña cidade (Viena) e o meu país (Austria) para mudarme a Berlín, Resonancias me convide a reflexionar sobre a produción documental do meu país de orixe. Esta mestura entre preto e lonxe úneme a Ella Raidel (Gmunden, 1970), a autora de Double Happiness (2014), a película que me gustaría propor. Raidel é, coma min, un Stahlstadtkinder1 que mira o propio, o íntimo, dende a perspectiva dos que se foron, só para descubrir que o mundo se repite esencialmente en cada parte. Quizais por iso non me sorprenda que coa súa ollada distante, nunha especie de xogo de espellos, logre detectar estraños parentescos entre China e o país alpino de Sissi e Sonrisas y lágrimas, das Mozartkugeln («Bolas de Mozart») e as vilas pintorescos como Hallstatt, declarada Patrimonio da Humanidade pola UNESCO en 1997.Hallstatt é precisamente o escenario central de Double Happiness, primeira longametraxe de Ella Raidel. A película céntrase no estraño caso do roubo de identidade dunha vila enteira: a vítima, a mesma Hallstatt; o delincuente, unha multinacional chinesa que reconstruíu a vila austríaca case a escala 1:1 nun xigantesco proxecto inmobiliario ao borde dun lago artificial. Esta réplica da vila está rodeada de single homes ao estilo alpino, que pronto serán casas de novos ricos chineses desexosos de lucir o seu benestar cun estilo de vida europeo.Monika Wenger, a propietaria de Hotel Grüner Baum do centro de Hallstatt, deuse de conta por casualidade deste roubo mentres observaba unha das súas inquil inas facer debuxos detallados de frontóns e balcóns. A súa reacción, tal e como se mostra na película, combina á vez sentimentos de indignación e fascinación: «Ata onde chegamos se é posible reproducir unha vila enteira sen que ninguén se decate?». Na era do capitalismo globalizado, está claro que a hipermodernidade alcanzou dimensións dis/utópicas sen precedente na China actual.Esta indignación foi compartida por moitos habitantes de Hallstatt, orgullosos das súas orixes, e tamén polos medios de comunicación, pero non durou moito. De feito, o título da película, «Double Happiness», é unha expresión chinesa que fai alusión ao matrimonio: a felicidade duplícase cando se comparte. Así, o simulacro de Hallstatt agasallou ao Hallstatt

SOBRE COMO O MUNDO SE REPITE ESENCIALMENTE EN CADA PARTE / ON HOW THE WORLD ESSENTIALLY REPEATS ITSELF EVERYWHERE

por Hanna HatzmannIt is one of life’s coincidences that, at the very time at which I am leaving my city (Vienna) and my country (Austria) to move to Berlin, Resonancias has given me the opportunity to reflect on documentary making in my home country. It is this mixture between the near and the far which draws me to Ella Raidel (Gmunden, 1970), the maker of Double Happiness (2014), the film which I have proposed. Raidel is, like me, a Stahlstadtkinder1 who looks at what is our own, what is personal, from the perspective of those who have left, only to discover that the world essentially repeats itself everywhere. Perhaps that is why I am not surprised that, with her distant gaze and using a kind of game of mirrors, she manages to find a strange kinship between China and the alpine country of Sissi and The Sound of Music, of the Mozartkugeln (‘Mozart balls’) and of picturesque villages such as Hallstatt, which was declared a World Heritage Site by UNESCO in 1997.It is Hallstatt which takes centre stage in Double Happiness, Ella Raidel’s first feature-length film. It focuses on the strange case of the identity theft of an entire village: the victim, Hallstatt itself; the thief, a Chinese multinational which has reconstructed the Austrian village at almost 1:1 scale in a gigantic property development next to an artificial lake. This replica of the village is surrounded by alpine style houses, soon to be homes to those Chinese nouveaux riches who wish to show off their wealth with a European lifestyle.Monika Wenger, the owner of the Hotel Grüner Baum in the centre of Hallstatt, found out about this theft by coincidence while she was watching one of her guests making detailed sketches of gables and balconies. Her reaction, as can be seen in the film, is one of both indignation and fascination: “What is the world coming to if it is possible to reproduce an entire village without anyone realizing?”. In the era of globalized capitalism, it seems that hypermodernity has reached unprecedented dystopian/utopian levels in today’s China. Her indignation was shared by many Halstatt residents, proud of their origins, and also by the media, but it was short-lasting. In fact, the title of the film, Double Happiness, is a Chinese expression about marriage: happiness is doubled when it is shared. Thus, the mock-Halstatt brought to the real Halstatt an endless procession of Chinese

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auténtico cunha marea de turistas chineses sen fin que, a pesar da reconstrución, queren ver «a vila máis bela do mundo» cos seus propios ollos, de modo que fai tempo que ambas as dúas vilas se fixeron cidades irmandadas: como se pode ver na película, o alcalde de Hallstatt viaxa incluso a China, xunto á banda de música da vila e un equipo da televisión, para asistir á inauguración da súa réplica oriental.De forma moi estilizada, pensada e sen xulgar, Ella Raidel xoga coa percepción dos espectadores e convídaos a moverse por un labirinto de espellos que nos permite ver cada vez novos cruzamentos híbridos entre China e Austria: grilandas chinesas nunha terraza austríaca, carteis chineses nun hotel de estilo alpino, turistas chineses vestidos con traxes rexionais austríacos na praza da igrexa... Estamos en Hallstatt 1 ou en Hallstatt 2? Se unha vila vive do turismo de masas, segue sendo «auténtica» ou convértese na súa propia parodia, nun escenario apodrecido para proxeccións doutros? Estas mesmas preguntas son unha variación contemporánea das que facía no seu momento a Piefke2 Saga (1990-1993), unha miniserie moi popular da televisión pública austríaca na que o escritor Felix Mitterer nos mostra como o turismo de inverno masivo dos anos oitenta, procedente sobre todo de Alemaña, e a cobiza das elites locais acabou convertendo unha vila de montaña tirolesa nun simulacro absurdo de si mesmo, cos seus habitantes transformados en zombis vestidos con traxe rexional e cantando á tirolesa. Os efectos de cámara usados por Ella Raidel en Double Happiness subliñan claramente estas preguntas.A película, non obstante, non se limita a ser un cuestionamento irónico de termos rancios e remisos como patria, patrimonio ou identidade, sobre todo en relación ao pasado histórico austríaco. Ao longo dos seus 72 minutos, Double Happiness convértese nunha reflexión lúcida e experta sobre a China actual, onde a revolución cultural fixo tabula rasa da historia milenaria do país. Ella Raidel dá así palabra a unha urbanista crítica que explica que a perda da memoria colectiva dunha China rural espertou nos habitantes das grandes urbes chinesas un desexo enorme de autenticidade, de silencio e de aire limpo que os urbanistas agradan con proxeccións sobre o vello continente, entendido como salvage paradigm en plena hipermodernidade poscapitalista. Ao cabo, trátase dunha nostalxia que a nós, os «modernos» de Madrid, Barcelona, Viena ou Berlín, nos debería resultar moi familiar nos tempos da slow food, o do it yourself, o consumo sostible

tourists, who, despite there being a replica, want to see ‘the most beautiful village in the world’ at first hand. So, for some time now, the two villages have been twinned: as can be seen in the film, the mayor of Hallstatt even travelled to China, together with the village band and a television crew, for the inauguration of the oriental replica. In a very stylish, thoughtful and non-judgemental way, Ella Raidel plays with viewers’ perceptions and draws them into a labyrinth of mirrors which enables us to see ever more hybridization between China and Austria: Chinese garlands on an Austrian balcony, Chinese posters in an alpine-style hotel, Chinese tourists dressed in typical Austrian regional dress in the church square, and so on. Are we in Hallstatt 1 or Hallstatt 2? If a village lives off mass tourism, is it still ‘authentic’ or does it become a parody of itself, a debased canvas for the projections of others? This is a contemporary revisiting of issues that were explored in Piefke2 Saga (1990-1993), a very popular mini-series on Austrian public television, in which the writer Felix Mitterer showed how the mass winter tourism of the 1980s, particularly from Germany, and the greed of the local elites ended up turning a Tyrolean mountain village into an absurd mockery of itself, with its inhabitants transformed into yodelling zombies dressed up in regional garb. The camera effects used by Ella Raidel in Double Happiness clearly highlight these issues.However, the film is not limited to an ironic questioning of old and enduring concepts such as homeland, heritage or identity, with a focus on the Austrian past. Throughout its 72 minutes in length, Double Happiness is also a lucid and knowledgeable reflection on contemporary China, where the Cultural Revolution created a tabula rasa in the history of this ancient country. Ella Raidel gives a platform to a critical town planner who explains that the loss of collective memory in rural China has given rise to an enormous desire amongst the inhabitants of the great Chinese cities for authenticity, silence and clean air. Town planners fulfil this desire by projecting images of traditional Europe, a ‘salvage paradigm’ amidst post-capitalist hypermodernity. In the end, this is a kind of nostalgia and one which should be familiar to us ‘modern’ people from Madrid, Barcelona, Vienna or Berlin, in these times of slow food, DIY, sustainability and the cult of the authentic. The difference perhaps resides in the gigantic dimensions which such nostalgia can reach in China, stimulated by stubborn memories and utopias projected onto the past. Because, you see, Hallstatt is not the only example of ‘duplitecture’: around the Chinese

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e o culto ao auténtico. A diferencia atópase se cadra nas dimensións xigantescas que alcanzan en China estas nostalxias producidas por memorias obstinadas e utopías proxectadas ao pasado. Porque, dito sexa de paso, Hallstatt non é o único exemplo de duplitecture: ao redor das metrópoles chinesas xorden varios parises, florencias, londres ou escocias cada ano. O logro da película é que a fascinación que nos produce este fenómeno alleo remítenos ao noso propio universo, de forma que o que parece exótico vólvese, de súpeto, moi familiar.

1 Stahlstadtkinder («Fillos da cidade de aceiro») é o título dunha canción emblemática dos anos oitenta: Stahlstadt («cidade de aceiro») é o alcume de Linz, a terceira cidade máis grande de Austria, que durante moitos anos tivo moi mala sona pola alta contaminación que causou a produción de aceiro, e fai referencia á tradición obreira da capital de Alta Austria. Ao contrario que Salzburgo ou Viena, Linz é unha cidade que non atrae moitos turistas, dado que durante a guerra foi destruída case por completo, aínda que ten unha escena cultural moi viva, sobre todo a nivel da arte dixital (Ars Electronica Festival).2 «Piefke» é unha palabra despectiva que utilizan os austríacos para referirse aos alemáns e que dá proba da complexa relación entre ambos os dous países.

DOUBLE HAPPINESSElla Raidel / 74’ / 2014 / Austria-China

Entre os chineses o termo «felicidade dobre» refírese á felicidade que se duplica cando unha parella decide casar e pasar o resto das súas vidas xuntos. A directora Ella Raidel elixiu este concepto fermoso e optimista para titular a súa primeira longametraxe documental. Pero chamar a esta película documental se cadra non sexa axeitado, e non é, certamente, a típica reportaxe convencional sobre a globalización. Ao contrario, Double Happiness, é un filme-ensaio de extremada agudeza e sensibilidade.

Among the Chinese double happiness refers to the happiness that’s increased twofold when a couple decides to spend the rest of their lives together. Ella Raidel chose this beautiful and optimistic concept as the title of her first full-length documentary. But, calling it a documentary possibly isn’t fitting, and it’s certainly not like the conventional kind of report on globalization. On the contrary, this is an extremely pointed film essay made with a great deal of sensitivity and a fine touch.

Directora: Ella RaidelFotografía: Martin PutzMontaxe: Karina ResslerProdución: Peter JanecekSon: Wong Ka HoMúsica: Rudi FischerlehnerContacto: [email protected]


metropolises new versions of Paris, Florence, London or Scotland rise up every year. The achievement of the film is that the fascination that this alien phenomenon induces in us also takes us to our own world, so that the exotic becomes all at once very familiar.

1 Stahlstadtkinder (‘children of the steel city’) is the title of an iconic song from the 1980s: Stahlstadt (‘the steel city’) is a nickname for Linz, the third biggest city in Austria, which for many years had a very poor reputation due to the high levels of pollution from the steelworks, and so it is a reference to this traditional industry of the capital of Upper Austria. Unlike Salzburg or Vienna, Linz does not attract many tourists, as it was almost destroyed during the war, but it has a very lively cultural scene, especially with regard to digital art (Ars Electronica Festival).2 ‘Piefke’ is a pejorative word used by the Austrians to refer to the Germans, a reflection of the complex relationship between the two countries.

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The policeman’s house é un filme-instalación que divide o espazo visual en tres planos. Tres monitores opostos, complementarios, alternos ou simultáneos. Acéndense uns, apáganse outros. Á esquerda, unha panorámica; no centro, un plano fixo do exterior; á dereita, unha gravación a punto de comezar. Logo a orde invértese; ou céntrase nunha soa imaxe que pasa a ocupar o centro. Ás veces os tres xuntos forman unha única imaxe dividida, como a cidade na que se sitúa, Hebrón, a única localidade palestina con poboación xudía. Para observar este lugar en litixio, ocupado polas tropas israelís e minado de postos de control militar, o autor propón un choque de visións; un triplo punto de vista realizado con ángulos enfrontados. Mich’ael Zupraner, xudeu israelí, instálase nunha casa no alto da cidade, no barrio xudeu de Tel Rumeida, na que foi a antiga morada dun policía durante a ocupación da zona por parte de Xordania. O artista preséntase como un visitante neutral que chega para recuperar ese espazo abandonado e convertelo nun centro de creación aberto a todos; conciliador, mesmo, entre as dúas comunidades, árabe e xudía, que conviven nunha tensión insoportable.Pero Zupraner leva unha cámara, un ollo sempre vixiante, e enseguida empeza a ser obxecto de sospeitas por parte dos veciños, que temen que poda ser un espía do goberno de Israel. Sobre esas imaxes que nos chegan en forma de rexistro de cámaras de seguridade, escoitamos a voz en off do autor, que relata os rumores sobre a súa presenza na casa e na poboación. Mentres se enfoca fronte o espello, afirma sentirse observado; e decide demostrar que é xudeu e mimetizarse coa comunidade que o acolle. Zupraner disfrázase. Estamos ante un documento aparentemente real, no que o autor devén un elemento de ficción no interior das súas propias imaxes. O artista convive amistosamente con árabes e xudeus —tamén cos soldados, pois dende os seus postos pode ver a súa propia casa «dende o ángulo dende o que ten prohibido filmar»—. Pero

The Policeman’s House is a film installation which divides the visual space up into three different planes: three opposing, complementary, alternating or simultaneous monitors. Some come on, some go off. On the left, a panoramic view; in the centre, a fixed view of the exterior; on the right, a recording which is about to begin showing. Then the order is inverted; or the focus is on a single image which comes to occupy the centre. Sometimes the three show a single divided image together – just like the city in which the action takes place, Hebron, the only Palestinian town with Jewish inhabitants. In order to observe this disputed place, occupied by Israeli troops and riddled with military control posts, the author puts forwards a clash of visions: a triple point of view from conflicting angles. Mich’ael Zupraner, a Jewish Israeli, moves to the Jewish quarter of Tel Rumeida, on a hillside, and specifically into a house which had been home to a policeman during the Jordanian occupation of the area. The artist presents himself as a neutral visitor who is just coming back to revive this abandoned space and turn it into a artistic centre open to all; it is done in the spirit of conciliation between the two communities, Arab and Jewish, between which there is unbearable tension.But Zupraner carries a camera, an ever-vigilant eye, and he is soon the object of suspicion for the neighbours, who fear he is a spy for the Israeli government. Over footage which seems as if it had been taken by security cameras, we hear the filmmaker’s voice telling us of the rumours circulating about his presence in the house and in the town. While filming himself in a mirror, he says that he feels like he is being watched; and he decides to show that he is Jewish and to try and fit in with the community surrounding him. So Zupraner disguises himself. This film records something which is apparently real, but the filmmaker adds an element of fiction within the footage that we see. The artist lives amicably alongside Arabs and Jews – and also with the soldiers, as he can see

THE POLICEMAN’S HOUSE / 1960 por Andrea Franco

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dende a súa atalaia adquire de facto, un rol de policía. Quen é o policía da casa do título? Quen son? Porque tamén nós, ao outro lado, exercemos de policías, situados nunha posición, xa no voyeurística senón espía, pois esa montaxe en multipantalla fai da sala de cinema unha sala de realización dende onde buscamos culpables pero sen intervir. Podería ser o reflexo da actitude acomodaticia da comunidade internacional, testemuño do conflito dende a distancia, sen tomar partido. Hebrón vive baixo a ollada atenta dos soldados israelís, e este traballo utiliza a súa estrutura para falar da paranoia, a sospeita e a perda de identidade dun territorio. De aí a ambigüidade en torno á propia identidade de Zupraner, que emprega máscaras e falsas barbas de xudeu. Todo suxire un estado do noso tempo; olladas que chegan de aquí e alá, a miúdo sen contexto, pero nas que laten conflitos pasados e presentes. O observador atópase no punto de mira, consciente da atención que suscita ao seu redor. Cara o final, pregúntase —pregúntanos—: «Que pasará se me matan? Que pasará se fico? Que pasará se me vou?». En realidade está aludindo ao problema de fondo.Tamén a partir de fragmentos, constrúese a película de Rodrigo Areias, un falso mapa da arquitectura mundial.En 1960 o arquitecto portugués Fernando Távora realizou unha viaxe ao redor do mundo durante a cal foi tomando notas sobre as obras, as paisaxes e os habitantes dunha serie de cidades a miúdo fundadas sobre o mito. O caderno de bitácora foi o punto de partida, pero as impresións de Távora pronto se revelan como unha mera escusa para que o autor realice a súa propio viaxe e a súa propia película.1960 é un filme patchwork, ensamblado ao ritmo da ruta. Comezamos no centro histórico de Guimarães e saltamos a Ámsterdam en contraplano; e de aí a algún país nórdico. O fío: as agullas das igrexas, que todas xuntas conforman unha imaxe da arquitectura relixiosa medieval. Así é a nosa visión do mundo, incompleta e reducionista; fragmentos de realidade —apenas un eco dela. En off escoitamos o pensamento de Távora: «as revistas réxense por dous factores terriblemente enganosos: en primeiro lugar, o fotógrafo, o home que escolle os cachiños máis belos do edificio á hora máis propicia. En segundo lugar, o mellor edificio, o máis coidado, o do arquitecto de maior renome… como se se tratase dun prototipo… cando en realidade se trata dunha excepción».

his own house “from the angle at which he’s not allowed to film”. But in his own watchtower he takes on the de facto role of the policeman. But who is the policeman the title speaks of? Who are they? Because, we, on the other side, act like police officers: from our position, we are not voyeurs but spies; putting the film onto multiple screens turns the cinema into the cutting room, from where we seek out the guilty but without intervening. This might well be a reflection of the obliging attitude of the international community, which is a witness to the conflict from afar, but does not take sides. Life goes on in Hebron under the watchful eyes of the Israeli soldiers, and this film uses the city’s structure to talk about paranoia, suspicion and a land’s loss of identity. This feeds into the ambiguity of Zupraner’s own identity, who uses masks and false Jewish beards. Everything is suggestive of a state of our time: we see faces looking here and there, often without any other context, but in which conflicts of past and present can be glimpsed. The observer is observed, aware of the attention paid to him by those around him. Towards the end he asks himself, and us: “What will happen if they kill me? What will happen if I stay? What will happen if I go?” In fact, he is alluding to the deeper problem.Also made up fragments is the film by Rodrigo Areias, a false map of world architecture.In 1960, the Portuguese architect Fernando Távora undertook a journey around the world, taking notes on the different buildings, landscapes and inhabitants of a range of cities often founded on myth. This travel diary was the starting point, but Távora’s impressions are soon revealed to be just an excuse for the filmmaker to undertake his own journey and make his own film. 1960 is a patchwork film, with the route taken defining its rhythm. We start out in the old town of Guimarães and the camera then moves to Amsterdam; and from there to somewhere in Scandinavia. The connection between them? Church spires, which together come together to form an image of medieval religious architecture in our minds. Such is our vision of the world: incomplete and reductionist, fragments of reality – barely an echo of the real thing. A disembodied voice tell us of Távora’s thoughts: “magazines operate on the basis of two terribly deceptive factors. First of all, the photographer, the man who chooses the most beautiful little parts of a building at the right time. Secondly, the best building, the best looked-after, the one

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Nun principio, Rodrigo Areias pretendía incorporar o material da viaxe de Távora, enteiramente filmada en Súper 8 mm, e concibido como un documental independente, no interior dunha ficción ambientada en escenarios construídos polo arquitecto, e onde un mozo cineasta é asasinado. Pero ocorreu que a produción estancouse, e a parte documental do proxecto empezou a perfilarse como un traballo autónomo, como ocorre con moitos works in progress nos que o bosquexo se impón á propia película. É a beleza do apuntamento, da nota espontánea, do material bruto. Da viaxe do arquitecto xa só queda o relato, pois a imaxe agora pertence ao cineasta. O seu documental converteuse nun ensaio fílmico, coa particularidade de que non hai unha soa voz, senón dúas, a que fala e a que ve. Unha película feita de capas, sobre cidades ás que Areias volve unha e outra vez, mesturadas con material de arquivo de aquel 1960… A voz irónica que guía o periplo recorda a Balnearios (Mariano Llinás, 2001) ou a Los Angeles Plays itself (Thom Andersen, 2003). Saltamos do Guggenheim de Nova York ás pirámides de Teotihuacán; do Kremlin ao edificio Copan, en São Paulo; do Partenón ao Pompidou; de Ámsterdam a Taliesin…Taliesin é a casa de Frank Lloyd Wright. Areias chega alí nun frío día de inverno; todo o conxunto está cuberto pola neve. Foi a gran experiencia de Fernando Távora, que alí por fin comprendeu o sentido da arquitectura. A casa integrada na paisaxe, as proporcións, o material. «É difícil distinguir a obra de Deus da obra do home. Estaba emocionalmente extenuado», escribiu. Dende aí voamos a Hawai, paraíso artificial no que Távora non atopou nada do que se supuña que alí debía haber. Areias recorre entón á típica estampa hawaiana: surf, cocktails, danzas del Pacífico… Idílico found footage para ilustrar a decepción do arquitecto. E de alí a Tokio, unha cidade-collage, como Times Square; un conglomerado de símbolos que se encamiñan cara o baleiro de significado. É curioso ver como as palabras de Távora teñen hoxe o mesmo aspecto que entón.

whose architect has the biggest reputation… as if it were a prototype... when in fact it’s just an exception.” Originally, Rodrigo Areias wanted to incorporate the material from Távora’s journey – filmed in its entirety in Super 8mm and conceived of as an independent documentary – into a fictional story set around the buildings designed by the architect, in which a young filmmaker would be murdered. But then production hit a hitch and the documentary part of the project started to move towards being a free-standing film, as happens with many such works in progress, in which a feature sketched out within the film becomes the feature film itself. Such is the beauty of the quick sketch, the spontaneous note in the margin, the raw material. The story is all that remains of the architect’s journey, as the images now belong to the filmmaker. His documentary has become an essay on film, with the peculiar fact of there being not one voice, but two: the one who speaks and the one who sees. It is a film of layers, about cities Areias returns to again and again, mixed up which archive material from 1960… The ironic voice of our guide on this journey is reminiscent of Balnearios (Mariano Llinás, 2001) and Los Angeles Plays Itself (Thom Andersen, 2003). We jump from the Guggenheim in New York to the pyramids of Teotihuacan; from the Kremlin to the Copan building in Sao Paulo; from the Parthenon to the Pompidou; from Amsterdam to Taliesin…Taliesin was the house of Frank Lloyd Wright. Areias arrives there on a cold day in the winter; everything is covered in snow. This was Fernando Távora’s greatest experience, as it was there that he finally understood the meaning of architecture. The house, integrated into the landscape, its proportions, the material used. “It is difficult to tell God’s work from man’s work. I was emotionally exhausted”, he wrote. From there we fly to Hawaii, the artificial paradise in which Távora found nothing of what was supposed to be there. Areias therefore uses some typical Hawaiian stereotypes - surf, cocktails, and Pacific dance. Idyllic found footage to represent the architect’s disappointment. And from there to Tokyo, a city in collage, like Times Square; an aggregation of symbols which lead towards meaninglessness. It is strange to see how Távora’s words seem just as appropriate now as they were then.

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THE POLICEMAN’S HOUSE

1960

Mich’ael Zupraner / 25’ / 2013 / Israel-Palestina

Rodrigo Areias / 70’ / 2013 / Portugal

The Policeman’s House constrúese dun xeito provocador ao redor da posición precaria dun xudeu israelí asentado na cidade palestina de Hebrón. A película combina tres pantallas con material do seu propio arquivo de vídeo caseiro, alternando unha ollada que observa o exterior e outra que mira cara dentro da casa que xestiona e comparte coma un centro artístico aberto a todos. Zupraner relata, mediante unha voz en off ambivalente e continua, unha serie de rumores, mentiras e medias verdades sobre a súa presenza alí, e que circulan entre os seus veciños árabes e xudeus, reforzando así a complexidade da súa experiencia nunha zona fronteiriza entre as dúas comunidades en conflito.

The Policeman’s house is provocatively constructed around Mich’ael Zupraner’s precarious position as an Israeli Jew living in the Palestinian city of Hebron. The film shuffles three screens of video footage from Zupraner’s personal home-movie archive, alternating a gaze looking out of and one looking into the house he co-shares and runs as an artist’s centre open to all. In a continuous, ambivalent voice over, Zupraner relates a series of rumours, lies, and half-truths about his presence that circulate among his Arab and Jewish neighbours, reinforcing the multiplicity of his experience in a border zone between two communities in conflict.

1960 é unha película caseira en rexistro diario de viaxe filmada en super 8 mm, que pretende, a través da arquitectura e a partir do «Diario de Bordo» de Fernando Távora, revisitar a viaxe que o arquitecto realizou en 1960.

1960 is a home movie in the form of a travel diary in Super 8mm. Intending, through architecture and with Fernando Tavora’s Travel Diary as its starting point, to depict the journey which the architect made in 1960.

Dirección, fotografía, edición: Mich’ael ZupranerProdución: Studio ZupranerSon: Binya RechesContacto: Studio Zupraner [email protected]

Director, produtor, imaxe: Rodrigo AreiasSon: Pedro Ribeiro, Pedro MarinhoMontaxe: Tomás BaltazarVoz off: Marcos BarbosaContacto: Bando a [email protected]



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Pódense contar os recordos que temos do tempo que pasamos xunto a unha persoa de moitas maneiras. Podemos recrealos a partir de fotografías ou vídeos da persoa en cuestión, dos nosos propios recordos de como sucederon os feitos que aínda seguen na nosa memoria, ou da visión que terceiros aportan obxectivamente sobre o sucedido. A directora belga Yaël André, porén, optou por recordar a quen fora o seu mellor amigo da adolescencia George, realizando un documental de corte experimental co que fundir os seus sentimentos cara el dunha maneira tan orixinal como bela. André, quen menciona como referentes para a súa obra xenios da narrativa cinematográfica máis centrada no visual e no son que no diálogo como Jacques Tati ou Buster Keaton, basea a súa obra na combinación da improvisación á hora de ficcionar as súas historias e a realidade das imaxes que mostra.En Quand je serai dictateur, por un lado toma os recordos que ten de George e os convirte nun conto no que se atreve a imaxinar outras vidas, outros universos nos que ambos os dous escapaban dunha vida ás veces aburrida, outras veces demasiado hostil, para ser por un momento quen quixeran ser. Puideron ser psicópatas ou aventureiros antes de que a realidade deixara que Yaël tivera que seguir imaxinando outras vidas en solitario. Por outro lado a directora recompila centos de gravacións anónimas en Súper 8, abandonadas por quen as gravaron, e con elas realiza unha montaxe que serve de fondo á historia de George sen necesidade de que esas imaxes formen parte dos seus recordos e nin sequera sexan reflexo deles. Sobre estas imaxes acompañadas de temas musicais que casan á perfección con elas e co que se vai contando, unha voz en off vai construíndo unha serie de realidades paralelas á vida de George e Yaël que pouco a pouco van derivando en posibilidades alternativas ao que verdadeiramente foi. Nunha desas vidas paralelas, Yaël será Deus. Poderá manexar o tempo ao seu antollo. Poderá rebobinar unha e outra vez os momentos nos que a xente cre ser feliz e pasar a maior velocidade a infelicidade da que nunca pode escapar.

There are many ways to relate the memories of times we have spent with another person. We can recreate these moments using photographs or videos of the person in question, we can use our own recollections of how the events unfolded, or use the objective views of the events as seen by third parties. The Belgian director Yaël André, however, has opted to recall her best friend from her teenage years, a boy called George, by making an experimental short documentary in which she expresses her feelings towards him in a manner which is as original as it is beautiful. André says that some of the inspiration for her work came from those masters of cinematic narrative who focused on the visual and on sound, rather than on dialogue, such as Jacques Tati or Buster Keaton, and in this film she blends improvisation in imagining her stories with the reality which the images display. In Quand je serai dictateur, on the one hand she takes her memories of George and transforms them into a story in which she dares to imagine other lives and other universes in which they could be who they wanted to be for a time, and escape from their sometimes boring, sometimes hostile, real lives. They were able to be psychopaths and adventurers before reality intervened and Yaël had to continue imagining other lives on her own. On the other hand, the director has also collected hundreds of anonymous Super 8 recordings, abandoned by those who filmed them, and she has edited them so that they form the background to the story about George, without these images needing to form part of her memories or even serving to reflect them. The images are perfectly complemented by the musical soundtrack and the stories told by the invisible narrator, who weaves together a series of realities running in parallel to the real lives of George and Yaël, which slowly become alternative possibilities to what really happened. In one of those parallel lives, Yaël is God. She can bend time to her will. She can rewind again and again those moments in which people believe themselves to be happy and fast-forward through the unhappiness from which one can never escape.

QUAND JE SERAI DICTATEUR por M.ª Carmen Fúnez

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André combina no seu relato a metafísica, o amor, a filosofía e a ciencia ficción como base do que sucede dentro da mente de quen soñan espertos con outra realidade á marxe da que lles tocou vivir. Quand je serai dictateur é un canto á amizade, unha reflexión sobre a vida e a morte, sobre as consecuencias de non saber ver noutros a necesidade que teñen de ser amados, de ser comprendidos; unha avaliación das potenciais existencias que poden ter lugar nun mesmo plano segundo nos crucemos na nosa vida cunhas persoas ou con outras, e un ensaio sobre a busca infrutuosa da felicidade xunto a persoas que non poden experimentala. E tamén é un exercicio de imaxinación con respecto a esas imaxes de vidas anónimas e abandonadas en calquera mercado ou rocho, que nalgún momento pertenceron e significaron algo importante para alguén. Pero por enriba de todo, o documental é pura poesía audiovisual; unha poesía libre, desprovista de regras e patróns comúns pero non exenta da capacidade de emocionar con cada un dos elementos de que se compón.

QUAND JE SERAI DICTATEURYaël André / 90’ / 2013 / Bélxica

Cando eu sexa dictador é un «documental de ciencia ficción» construído a partir de miles de bobinas amateur en Super 8 mm. E se estivésemos vivindo outras vidas noutros universos? O universo encheríase de súpeto de posibilidades, en troques de ser unha inmensidade de espazo sen aproveitar. Alí eu sería unha aventureira, unha psicópata, unha nai exemplar, unha contable ou un home invisible… que serías ti?

When I will be a dictator is a “science fiction documentary” constructed from thousands of reels of amateur super 8 film. And if we were living other lives in other universes? Rather than being an inmensity of wasted space, the universe would suddenly be peopled with possibilities. There, I would be an adventurer, a psychopath, a perfect mother, an accountant or an invisible man… And you?

Director, guión: Yaël AndréImaxe: Didier GuillainProdución: Yaël André (Morituri)Música: Hughes MaréchalMontaxe: Luc Plantier, Yaël AndréVoz off: Laurence VielleContacto: Morituri [email protected]


André combines what she has to relate with metaphysics, love, philosophy and science fiction, as the basis for an exploration into what goes on in the minds of those who dream of a reality different from the one which fate has dictated they must live in. Quand je serai dictateur is a hymn to friendship, a reflection on life and death, and on the consequences of not being able to see the need of others to be loved and to be understood; it is an evaluation of the potential kinds of existence that could occur, with the ultimate reality being determined by whether we come across certain people rather than others; and it is an essay on the unsuccessful search for happiness alongside other people who are unable to experience it. And it is also an exercise of the imagination in the use of those images of anonymous lives, abandoned in jumble sales and attics, but which at some time belonged to someone and meant something important to them. But above all, the documentary is pure audiovisual poetry: free-form poetry, unshackled by rules and clichéd patterns, while retaining the capacity to stir the heart of the viewer with every part of its composition.

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SEMINARIOCRÍTICA E PROGRAMACIÓN

traballo da crítica consiste en elaborar un discurso sobre o mundo a través do cinema, mais hai moitos xeitos de facelo. A primeira

edición deste seminario, por exemplo, estaba adicada á relación entre a crítica académica e a crítica xornalista. Neste ano, pola contra, que-remos ir alén da palabra escrita para abordar a relación entre a crítica e a programación, dúas actividades complementarias, xa que para es-cribir sobre un filme cómpre que alguén antes o programase nalgures. Ás veces, ademais, a figura do crítico e a figura do programador coin-ciden nunha mesma persoa, como é o caso dos participantes deste ano no seminario. Coa súa axuda, Play-Doc volverá ser un lugar de encontro para tódolos críticos: para aqueles que escriben e para aqueles que programan, para aqueles que participan en xurados internacionais, como os representantes da Cinema and Moving Image Research Assembly (CAMIRA), que terá un xu-rado propio no festival, e mesmo para aqueles que filman, como Gabe Klinger, que presentará na sección Resonancias o seu documentário Double Play: James Benning and Richard Linklater. A idea, en todo caso, é pensar o mundo a través do cinema. Para iso, a fin de contas, é para o que estamos en Tui.

Os poñentes do seminario son:Jaime Pena (Programador en CGAI-Filmoteca de Galicia). Cíntia Gil (Directora de Doclisboa). Miquel Martí Freixas (Crítico e programador in-dependente). José Luis Cienfuegos (Director de Sevilla Festival de Cine Europeo).

Ademais terá lugar un obradorio de crítica im-partido por Iván Villarmea (co-director de www.acuartaparede.com) e unha charla aberta ao pú-blico a cargo de Gabe Klinger (Crítico e cineasta, director de Double Play: James Benning & Richard Linklater).

he work of the critic consists of creating a discourse about the world through cine-ma, but there are many ways to do this. For

example, the first edition of this seminar was devoted to the relationship between academic and press criticism. This year, however, we want to move beyond the written word and consider the relationship between criticism and program-ming, two complementary activities, as before one can write about a film, it is necessary for someone to programme it somewhere first. Also, sometimes, the critic and the programmer may be the same person, as is the case with this year’s participants in the seminar. With their help, Play-Doc will once more be a meeting place for all critics: for those who write, for those who programme, for those who participate in interna-tional juries – such as the representatives of the Cinema and Moving Image Research Assembly (CAMIRA), which will have its own jury at the fes-tival – and even for those who make their own films, such as Gabe Klinger, who will present in the Resonancias section his documentary Dou-ble Play: James Benning and Richard Linklater. Yet thinking about the world through cinema rema-ins the objective. After all, that is why we are here in Tui.

The speakers at the seminar will be:Jaime Pena (programmer at CGAI-Filmoteca in Galicia), Cíntia Gil (director of Doclisboa), Miquel Martí Freixas (independent critic and program-mer), and José Luis Cienfuegos (director of the Seville European Film Festival)

There will also be a criticism workshop given by Iván Villarmea (co-director of www.acuartapare-de.com) and a talk which is open to the public given by Gabe Klinger (critic, filmmaker, and di-rector of Double Play: James Benning & Richard Linklater).

SEMINARCRITICISM AND PROGRAMMING

O T

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DOUBLE PLAY: JAMES BENNING AND RICHARD LINKLATERGabe Klinger / 70’ / 2013 / Portugal-Francia-EUA

Documental que retrata a amizade de dous recoñecidos realizadores, James Benning e Richard Linklater, combinando conversacións filmadas con extenso material de arquivo, para explorar as converxencias e diverxencias que existen nas súas respectivas maneiras de abordar a vida e o cinema.

A documentary portrait of the friendship between the renowned filmmakers James Benning and Richard Linklater that combines filmed conversations and extensive archival material to explore connections and divergences in their respective approaches to life and cinema.

Dirección e montaxe: Gabe KlingerProdutores: Daniel Chung, Rick Curnutte, Berndt Mader, Sonia Buchman, Rodrigo AreiasGuión: Gabe Klinger, Eugenio RenziCámara: Eduard GrauSon: Vasco CarvalhoContact: Gladys Glover [email protected]


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A música en directo foi sempre un elemento esencial para Play-Doc.Para este ano e acompañando o documental True (Paulo Segadães, 2014) teremos o privilexio de contar con Paulo Furtado, The Legendary Tigerman, o artista máis relevante a día de hoxe en Portu-gal e un dos músicos europeos máis sobresalientes dos últimos anos en todo o mundo.No século XXI, Pablo Furtado convirtiuse en The Legendary Tigerman. Seguindo a tradición dos vellos blues-men, este one-man band deu literalmente o salto de Coimbra (Portugal) ao mundo enteiro.A música de Tigerman bebe das raíces máis profundas do blues-rock norteamericano, pero combi-nadas con novas tecnoloxías —samples, beats, loops— aínda que sempre mantendo a autenticidade de tocar os instrumentos en vivo e en directo. Esta explosiva e irresistible combinación levouno a escenarios de toda Europa, Estados Unidos, América do Sur e Xapón.The Legendary Tigerman é, por enriba de todo, música, pero ten moito que ver tamén co cinema e a fotografía facendo dos shows toda unha experiencia cinematográfica e musical.

SÁBADO 25 DE ABRIL 00:30h / SATURDAY 25th APRIL 00:30hSALA METROPOL 8 €Entrada de balde con pase especial supporter.Free entrance with supporter special pass.

THE LEGENDARY TIGERMAN

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TRUEPaulo Segadães / 43’ / 2014 / Portugal

Ao longo de case un ano, todo o proceso de creación de True (2014), o último álbum de Paulo Furtado, The Legendary Tigerman. Dende os primeiros acordes na guitarra, pasando polos ensaios no seu soto, ata a gravación en estudio das cancións finais.

This film follows the almost year-long creative process behind True (2014), the latest album by Paulo Furtado, aka The Legendary Tigerman. It moves from the very first chords on the guitar, to the rehearsals in his basement and on to the recording of the final songs in the studio.

Dirección, fotografía: Paulo SegadãesProdución: Paulo Ventura, Paulo FurtadoMontaxe: Sérgio PedroSon: Toni LourençoDeseño gráfico: Frederico MancellosContacto: www.paulosegadaes.com


Music has always been essential to Play-Doc.In this edition, along with the documentary True (Paulo Segadães, 2014), we have the privilege to present you The legendary Ti-german, one of the coolest emerging artists coming out from Europe.In the 21st century Paulo Furtado became The Legendary Tigerman. Following the tradi-tion of the old blues-men, this one-man band literally jumped from Coimbra, Portugal, to the world.The Tigerman is all about roots but he also combines it with the new technologies –sam-ples, beats, loops– always keeping it real, pla-ying the instruments live. The consequences of this blend are explosive and brought him exposure all acorss Europe, USA, South Ame-rica and Japan.The Legendary Tigerman is all about music. But it’s also about cinema and photography. His live shows have a smooth cinematogra-phy trough Tigerman’s music, as a sound-track played in real time.

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DirecciónSara García e Ángel Sánchez

ProgramaciónSara García, Víctor Paz

Produción Ángel Sánchez

Coordinación de produciónPablo Comesaña e María Cortegoso

Teatro Municipal deTuiMiguel Alfaya, Melchor Ordóñez, Diego Leirós, Monse Nogueira

Equipo de produciónAna Rodríguez, Ariadna Rodríguez, Charlie Hermida, Diana Balboa, Elena Cuiña, Fran García, Funkente, Gonzalo Lomba, José Álvarez, Juan Serodio, Lorena Rodríguez, Lucía Estévez, María Rodríguez, María Sánchez, Marta Gómez, Pablo Dorado, Patri Alfaya, Paula Alfaya, Sandra Méndez, Sara Fernández, Sara Iglesias, Víctor Franco

Responsable de comunicaciónVíctor Paz [email protected]

Deseño, imaxe e cabeceiraCalpurnio Pisónwww.calpurnio.com

AGRADECEMENTOSA Paul Sturtz, Chirs Boeckmann, Bruno Sousa, Marta Andreu, Sean Farnel, Miguel Palma, Mercedes Martín, Comunidade de Montes de Pexegueiro, Paulino Pérez, Productora Faro, María Alonso, Ser-gio Wolf, Sérgio Gomes, Daniel Ribas, Pablo Cayuela, a Moisés Rodríguez, e moi especialmente a Xabier Añoveros. Ó equipo da RMT, a José Font por estar sempre aí. Grazas tamén ao persoal do Teatro Municipal de Tui, aos voluntarios e ao equipo de produción polo seu traballo e dedicación. A todas as empresas, entidades e particulares que colaboran co festival e por suposto á xenerosi-dade dos nosos supporters.GRAZAS! THANK YOU!

Aplicación da imaxeMaría Rodríguez M A R R R I [email protected]

Técnico e vídeoGus [email protected]

[email protected]

SubtítulosVose Traducciones Audiovisuales, [email protected]

Fotógrafa Tamara de La [email protected]

Son Javier Abreuwww.oceanoestudio.com

MerchandisingArlequí[email protected]

ResonanciasMartín Cuesta, Iván Villarmea

SeminarioVíctor Paz Morandeira, Iván Villarmea

Trofeos obra do escultor Juan Vázquez

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