Schedule (S8) Mostra de Cinema Periférico 2018
It’s coming, it’s almost here: the schedule with all programmes and paralell activities of this ninth edition is already available. Take your agendas and make notes, (S8) is around the corner!
Lux Algebra
Side/Walk/Shuttle, Ernie Gehr
Algebra is the branch of mathematics that studies the combination of elements of abstract structures according to certain rules. In this edition we appropriate a word that evokes science to play within programming with the different expressions that the algebra of light -that is, the algebra of cinema- can have. For cinema is a temporary art, in which montage and structure (and its combinatorial rules) are basic pillars. info
Interview to Richard Einhorn, composer of Voices of Light/ The passion of Joan of Arc
Richard Einhorn
Richard Einhorn (1952) is one of the great composers of contemporary classical music. He studied with teachers such as Jack Beeson, Vladimir Ussachevsky or Mario Davidovsky. He has composed operas, ballets, and even soundtracks for horror films. Today he premieres Voices of Light / The passion of Joan of Arc, an opera/oratorio that accompanies the masterpiece by Danish filmmaker Carl Theodor Dreyer (1928), as the opening of the (S8) 9th Mostra Internacional de Cinema Periférico of A Coruña, the film festival devoted to avant-garde cinema that runs until June 3. The film and the composition deal with the judicial process of the French heroine in which visions, fantasies and reflections are interwoven from different sources, above all from mystical female medieval texts. This overwhelming score is directed by Fernando Briones and is performed by the Gaos Choir and Orchestra. info
Sinais en curto
Galicia is one, but it seems to unfold in many due to the multiple voices and areas that its cinematographic panorama offers. In the review offered by Sinais in curto this year, we travel from formal experiments with found footage, to portrait, hallucinated fiction, and the registers of reality from unusual points of view, bordering on the surreal.
Friedl vom Gröller: Close up
The life and time observed in close-up. Not only or not necessarily as a reference to the close-up, but to the closeness with the observed subject and the nature of the portrait that comes out of it. The films of Friedl vom Gröller let us see of what is composed human existence. What is the time of someone’s life about, what is a face (and a body) and how to look at it, what is made of any given day.