Alehop! The countdown starts

Dziga Vertov salta

Eleven months ago, the second edition of (S8) ended. In the corridors of the Ancient Prison of A Coruña, a ghostly 3D performance of the unique Zoe Beloff took us to another dimension, placing us in an impossible land trapped between the present and the past, in a visual psychophone. A singular way of putting an end to a handful of days that gave us no little supernatural experiences. We could, for instance, experience Nathaniel Dorsky’s devotional cinema: a sensation that pierced us deeply. Also, in a magical night, Guy Sherwin and Lynn Loo were the protagonists of an unforgettable encounter between performative cinema and nature. Metropolis, by Fritz Lang, was reborn with twenty extra minutes of re-found lost footage, and with the emotion of a live soundtrack played by the Orquesta Filarmónica Ciudad de Pontevedra. info

Ilustrated Atlas of Peripheral Part 1

·You are here·

The periphery of cinema is a territory seldom explored, traversed only by a handful of fearless individuals who attempt to forge new and daring paths to the heart. The Peripheral Film Festival, in its first edition, started an indispensable cartography work, which is shown in these two presentations that we offer you today. Putting the edges on the map, making them sharp and visible. That is a purpose of this Ilustrated Atlas of Periphery. A little guide book just made to invite all those who are ready for an adventure by the most surprising and risky side of cinema. This Atlas has been designed by a chosen team of experts and people who investigate on this field work, and we were so lucky as to have them with us in the first edition of (S8).

Complete text in Spanish info

Ándres Duque: My Outburst with Iván

In this issue, Andrés Duque, speaks in first person, about his relationship with Iván Zulueta, and the steps taken to record his documentary IVÁN Z

My Outburst with Iván

I saw “Arrebato” (Iván Zulueta) for first time in a retrospective offered by the Cinemática of Caracas about the best of Spanish cinema; it was around 1991. As well as much other people who had previously seeing the movie, I had the feeling I had just participated in a hypnotic and bloodsucker experience. The film addressed me, or better said, it arouse some of my childhood memories with an exciting faithfulness. The pleasure of watching picture card albums and letting yourself getting lost in those sceneries, all the erotic load that Betty Boop or Peter Pan can awake, the sticky textures of some objects, the light sparkles bouncing out when the sun comes into the window, well, a world full of memories started resettling my mind to right after lead me to the outburst. From that moment, I could not take this movie out of my mind. info

amalgama: iván zulueta

On this  occasion, Andrés Duque (programmer of Opera Prima for (S8), points out the creative relation between drugs-use and filmmaking in the cinema of Iván Zulueta.

VIDEO: AMALGAMA, 1976, Super 8
AUTHOR: IVÁN ZULUETA

In the 60’s people took acids to make the world weird; now the world is weird, and people takes Prozac to make it normal. Legal drugs are there to change our perception of time, from Kairos to Cronos. Zulueta’s films work the other way around to show us potential time, timeless and eternal. As Pedro P. states in the film Arrebato: “The mirror opens its doors to show me… (pause accompanied by a sneeze) … the other.”
“The other”, i. e., is like the shameless and not alienating decision that complements with “the one” and whose function is to oppose the latter representing the unclassifiable, the reprehensible, the censurable. It is this other side of the coin that Zulueta dared to explore with honesty and untill it’s ultimate consequences.

– Andrés Duque –