Galician Cinema


Marcos Nine | 75' | 2014 | Spain

Director, Editor: Marcos Nine
Writers: Marcos Nine, Daniela Arias, Pepe Coira
Producer: Alfonso Blanco
Cinematography: Jaime Pérez
Voice off: Lucía Aldao

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 dis-tinguished personality, Leslie Howard. He was a Jew, an anti-Nazi propagandist, a Holly-wood 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.



Xisela Franco | 65' | 2014 | Canada-Spain

A film by: Xisela Franco
Filmed and edited by: Xisela Franco

Anima Urbis is an exploration of the everyday life in postmodern Toronto through the critic eyes of a Spanish woman. In her flâneur-like walks, she invites us to wander in the streets of the city but also to enter in her apartment, where the frustrating creative process is unfolded.



Eloy Domínguez Serén | 55' | 2014 | Spain

Director, editor: Eloy Domínguez Serén
Producer: Beli Martínez
Cast: Diego Castiñeira

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.



Miguel Mariño | 29' | 2015 | Spain

Script, direction, edition, narration: Miguel Mariño
Sound: Pablo Ramos e Rubén Bermúdez
Colour grading & postproduction: Juan Lesta (Esferobite)
Cinematography: A. Álvarez Esteves e Miguel Mariño

Towards the end of 2012 I receive three 16mm 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)


SOL MIHI SEMPER LUCET | the sunne always shineth upon me

Álvaro Fernández-Pulpeiro | 29' | 2014 | UK-Spain

Director, script, cinematography: Álvaro Fernández-Pulpeiro
Producers: Álvaro Fernández-Pulpeiro, Martín Amezaga, Hugo Fernández Balseiro
Sound, editing: Martín Amezaga
Music: Richard Strauss

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.



Hugo Moser | 7' | 2014 | Belgium-Spain

Directed and edited by: Hugo Amoedo & Francisco Moser
Production: Papier Machine & Hugo Moser
Sound, image: Hugo Amoedo

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



Xacio Baño | 14' | 2014 | Spain

A film by: Xacio Baño
Assistant Producer: María Zaragoza
Camera in car: Lucía C. Pan
Sound postproduction: Xoán Escudero
Additional Sound: Amaro Rúa

A young (?) filmmaker comes back to his grandparents' house to make them a video-portrait. That's what cinema is about, isn't it?



The time in which film was only seen in the cinema is long gone. But it is quite another thing to think about the way in which a film is intended to be seen. Lovers of avant-garde cinema often go to see expanded cinema, performed live and usually in adapted spaces in venues traditionally reserved for contemporary art, such as museums or galleries. That barrier has now been broken and there are some good examples of this in Galicia, such as the work by Miguel Mariño, one of our most illustrious filmmaker-performers. For him, cinema is certainly not about sitting down to watch a film.

María Yáñez would say that cinema can be constructed to everyone’s taste. Her preferred language is that of the interface, something which offers new horizons when brought together with the different cinematographic codes. The web documentary is now widely known in the USA, with festivals such as South by Southwest even devoting sections to it every year. Lech Kowalski showed us its potential in 2011 with his work entitled Camera War. How things have moved on since then! In Spain, our use of these methods is still rather tentative. We hope that Yáñez, fluent in this language, will be able to pass on her enthusiasm for this format, one which is still in its early infancy, even still to be invented.

Then, there is cinema and its metalinguistic potential. The latest short films by Hugo Moser (the alias of the filmmaker duo, Hugo Amoedo and Francisco Moser) can only be seen on the Internet and they enter into direct dialogue with an art magazine, Papier Machine, as part of a wider artistic project.

None of these films were created for screening in a traditional cinema. How does that affect the way the films were made? Are films made with a particular space in mind and does this change the language used? But most especially, what new horizons do these practices open up? The debate is unlikely to come up with definitive answers, but if we can find new questions, then coming together again one year on will have been worth it. Galician cinema will continue its expansion in every direction.

SUNDAY 26th – 5:30 pm
Chair: Iván Villarmea
Participants: Hugo Amoedo, Miguel Mariño, Francisco Moser, María Yáñez
The debate will end with the showing of Hugo Moser’s On n'a pas fait l'amour