point of view mikel zatarain
Each person's way of looking, a film for each way of looking.
Not all ways of looking are the same. There are ironic looks, poetic looks, harsh and hidden looks, looks that look at other people's way of looking, intimate looks, thoughtful looks, looks which the spectators have to complete for themselves. And so on, and so on ... Ways of looking are the most important things at Iruña's Punto de Vista cinema festival.
The main challenge offered to the spectators there is atypical films. Cinema becomes a search. Film-makers looking for a place in the world by themselves, each one looking, wanting to become invisible. Using personal cameras and points of view, these film-makers may offer us the chance to see things we might otherwise never see.
Films whose form of expression breaks the barriers between fiction, documentaries and experimental films and mixes them together. Forward-looking directors who widen cinema language for us.
The adjectives to describe these films are that they are impossible to classify and that they are daring. In these closed scripts fiction and everything else fits in: disturbing reflections about prejudices and ideas that we thought to be almost laboratory proven; essays about image; daily intimacy; rediscovered footage; putting collective memories, combined with each person's deeply held hegemonic views, in doubt; exposing any particular society's characteristics ...
Like jumping into a chasm. Eye-drop cinema to clear up our way of looking.
These films never reach main cinemas or television. You have to see them in alternative cinemas, above all in today's uniformed images of reality.
So this is a good place and opportunity to see this type of cinema. A chance to talk with the film-makers whose works are shown, sharing out their points of view and, this year, there's a surprise: Mursego live.
Will you dare to look? Iruña. February 22nd - 27th.
http://www.puntodevistafestival.com
mist
Part of la region central section*
The horizon is in our eyes and not in reality.
Angel Gavinet
Unlike our eyes, our hearing is deep and creative.
A train's whistle makes us see a whole train station.
Robert Bresson
I wanted to film our countryside. And, at the same time, I needed to pay tribute to our farmers. When I was a small child I read a a poem about that culture, including its disappearance. Bringing those two needs together, I came out with a poetic viewpoint of a political reflexion. I had a close look at it as the work I'd done was on the frontier between fiction and documentary.
It has to be said that when we talk about the cinema, we tend to pay a lot of attention to the images and sight and we leave aside sound our sense of hearing, they're forgotten. And sound is incredibly important;.
By using the way that sound is written down, showing the artificiality of cinema and the listener-spectators, an act of resistance that makes us reflect on the relationship between the viewers' and reality's imagination. A text against hegemony, a Monoforma that does not think.
Images and sounds are not as harmless or innocent as we think; in the context the oblivion that sounds and images force us into in the contemporary world, remembering things has turned into a political gesture. Films have to be made to remember things. So that our personal, individual memory is not erased.
*Part of the Punto de Vista festival, a point of view about today's avant-garde cinema.
Not all ways of looking are the same. There are ironic looks, poetic looks, harsh and hidden looks, looks that look at other people's way of looking, intimate looks, thoughtful looks, looks which the spectators have to complete for themselves. And so on, and so on ... Ways of looking are the most important things at Iruña's Punto de Vista cinema festival.
The main challenge offered to the spectators there is atypical films. Cinema becomes a search. Film-makers looking for a place in the world by themselves, each one looking, wanting to become invisible. Using personal cameras and points of view, these film-makers may offer us the chance to see things we might otherwise never see.
Films whose form of expression breaks the barriers between fiction, documentaries and experimental films and mixes them together. Forward-looking directors who widen cinema language for us.
The adjectives to describe these films are that they are impossible to classify and that they are daring. In these closed scripts fiction and everything else fits in: disturbing reflections about prejudices and ideas that we thought to be almost laboratory proven; essays about image; daily intimacy; rediscovered footage; putting collective memories, combined with each person's deeply held hegemonic views, in doubt; exposing any particular society's characteristics ...
Like jumping into a chasm. Eye-drop cinema to clear up our way of looking.
These films never reach main cinemas or television. You have to see them in alternative cinemas, above all in today's uniformed images of reality.
So this is a good place and opportunity to see this type of cinema. A chance to talk with the film-makers whose works are shown, sharing out their points of view and, this year, there's a surprise: Mursego live.
Will you dare to look? Iruña. February 22nd - 27th.
http://www.puntodevistafestival.com
mist
Part of la region central section*
The horizon is in our eyes and not in reality.
Angel Gavinet
Unlike our eyes, our hearing is deep and creative.
A train's whistle makes us see a whole train station.
Robert Bresson
I wanted to film our countryside. And, at the same time, I needed to pay tribute to our farmers. When I was a small child I read a a poem about that culture, including its disappearance. Bringing those two needs together, I came out with a poetic viewpoint of a political reflexion. I had a close look at it as the work I'd done was on the frontier between fiction and documentary.
It has to be said that when we talk about the cinema, we tend to pay a lot of attention to the images and sight and we leave aside sound our sense of hearing, they're forgotten. And sound is incredibly important;.
By using the way that sound is written down, showing the artificiality of cinema and the listener-spectators, an act of resistance that makes us reflect on the relationship between the viewers' and reality's imagination. A text against hegemony, a Monoforma that does not think.
Images and sounds are not as harmless or innocent as we think; in the context the oblivion that sounds and images force us into in the contemporary world, remembering things has turned into a political gesture. Films have to be made to remember things. So that our personal, individual memory is not erased.
*Part of the Punto de Vista festival, a point of view about today's avant-garde cinema.
