We have all had to change the way we greet each other and understand and look at one another. So it is hardly surprising that we are watching films differently as well.
In fact, we have been changing the way we access films ever since cinema was invented. Current technology for creating and reproducing films is a far cry from the rudimentary contraptions that ushered in the early days of filmmaking—in fact, today’s technology looks very different to what we were using just twenty years ago.
And, in the meantime, we have changed too. Such as in the way we consume films and interact with screens, for instance. One of the great attractions of film festivals was always the frisson of putting ourselves in the hands of the festival programmers and looking forward to the events and activities they put on. And who can forget the thrill of meeting up with friends to go and see an eagerly awaited film at the cinema, film club or cultural institution?
Today there are more ways of watching films online than ever, but does that always translate into greater opportunities for discovering new things? Do films launched online live longer? Is independent filmmaking suffering more than mainstream cinema?
- Why do we still need the big screen when we can access what we want from the comfort of our own living room?
- What impact do new ways of watching films have on distribution mechanisms?
- Is it harder to reach people with the amount of existing content online, or do people already know where to find what they want?
- Are spectators being offered a wide enough range of perspectives by new forms of programming rooted in the present?
- Might this be a way of approaching close-up filmmaking and getting society to take a close look at itself?
- We will continue to focus so intensely on premieres or will we opt to let programmers and anthropologists change the story and set the canon? A number of leading festivals have not been held under normal circumstances this year: what effect has this had?
- Is now a good time to look back on our possibly unnecessary environmental impact?
- Will low-budget films be better placed to make the most of online access to audiovisual content?
- Is joining an association the way to get ahead? Why do associations emerge at times of crisis?
- Will international coproductions still exist or will we start thinking more about films shot closer to home?
In one way or another, we have already explored all these issues over the years. Opportunities come and go. We are now (once again) in a time of flux. We won’t be repeating ourselves. We’ll be changing. We already know that creativity is our magic wand.
Wednesday 18 November, 11 am to 11.30 am
Audience Trends and Their Impact on Festivals
For the last ten years, Arancha Bailo has worked as both assistant director and director of production at Sónar+D while also coordinating In-Edit Festival. She is currently director of operations and international affairs at In-Edit Producciones and executive director at All In, the company’s new technological division.
Francisco García is CEO at Pixel Research Lab. He has worked in the design industry for companies such as RAPP Collins, Ogilvy, eDreams ODIGEO and a wide range of startups. He is also an expert in UX and UI design as well as user and product-testing research.
Wednesday 18 November, 11.30 am to 1 pm
The Space Odyssey
MARÍA PALACIOS CRUZ
Curating against the Canon
María Palacios programmes, writes and teaches about filmmaking. She coordinates curating at Elías Querejeta Zine Eskola film school (San Sebastián) and programmes for Punto de Vista (Pamplona) and Courtisane (Gante) festivals. She lives and works in London, where she programmes the The Machine That Kills Bad People film club at ICA.
Building a Platform
In 2009, a year after joining Cameo as content editor, Joan Sala moved to Filmin, the leading indie film portal in Spain and the winner of the City of Barcelona Award, the Sant Jordi Award and the Time Out Award as the country’s most innovative company. He now curates and edits content there. In 2010, Filmin set up the Atlàntida Film Festival, where he works as a programmer. He also covers the main European film festivals, including Berlin, Cannes, Locarno, Venice and San Sebastián.
The Double Screen
Ramiro Ledo is director of DUPLEX Cinema, where is also programmes films. He is also cofounder of NUMAX cooperative and director of NUMAX Distribución, as well as . He is also cofounder and president of Promio, red de cines independientes, and vice-president of Próxima, asociación de distribuidoras de cine independiente y en V.O.
Friday 20 November, 11 am to 11.15 am
Àlex Navarro is in charge of the Creative Europe Desk–Media Catalonia, which informs, promotes and represents both MEDIA and Culture subprogrammes, as well as other programmes providing European funding for cultural industries. He is also closely involved with other audiovisual programmes such as Eurimages and Ibermedia.
Friday 20 November, 11.15 am to 1 pm
Xavier García Puerto
Moderating from a Parallel Perspective
Xavier García Puerto is a film and video curator. He runs REC Festival, which seeks out new talent, and programmes for Tallin Black Nights FF, which showcases Hispanic cinema. He cofounded El Sur Films, which has close ties to Próxima - Asociación de distribuidoras de cine independiente y en VO.
Less Is Sometimes More
Mercedes Martínez-Abarca is a programmer at the International Film Festival Rotterdam and Hubert Bals Fund. She works closely with the Acció Curts initiative at Cinema Pendent and forms part of the selection committee for Marché du Film at Cannes and Primer Corte and Copia Final at Ventana Sur.
Leave for Tomorrow What You Can’t Do Today
CÍntia Gil studied at the Escola Superior de Teatro e Cinema in Lisbon and holds a degree in philosophy from the University of Porto, where she has also taught seminars on aesthetics. From 2012 to 2019 she served as codirector of Doclisboa and is currently director of Sheffield Doc/Fest. She is a member of the Portuguese Documentary Film Association (Apordoc) and has curated a number of contemporary and historical film series, retrospectives and exhibitions.
Stepping in the Same River Twice
Ángel Rueda is a trailblazer for performative cinema, as well as a festival programmer and active researcher in the field of reclaiming and analysing amateur and nonprofessional filmmaking. He is codirector of (S8) Mostra Internacional de Cinema Periférico in A Coruña, a founding member of Proxecta–Cooordinadora Galega de Festivais de Cinema and a member of Pantalla–Federación Estatal de Coordinadoras de Festivales de Cine.
Verena von Stackelberg
The Probability of Possible Success
Verena von Stackelberg is the founder and managing director of Wolf Kino, a Berlin cinema that also distributes films and hosts special educational programmes for children and young people. She is also a member of the selection committee for the Berlinale, where she helps select films for the Competition and Encounters section.