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L’Alternativa Parallel

“Weaving numerous influences into a rich emotional tapestry, Alain Guiraudie’s Le Roi de l’evasion skillfully absorbs and updates its assertive cinematic forebears. Part Pierrot Le Fou, part Mauvais Sang, it features an expressionistic narrative punctuated with stylized proclamations on sex, death, and other French obsessions.” The Village Voice – Read on

Le Roi de l’evasion screens at L’Alternativa as part of the section dedicated to Les Films du Worso and the producer Sylvie Pialat.

Sylvie Pialat founded the Paris-based production company Les Films du Worso and has since produced over 30 feature films, working with filmmakers such as Abderrahmane Sissako, Alain Guiraudie, Corneliu Porumboiu, Laurent Achard, Guillaume Nicloux and Lisandro Alonso, among many others. She is a two-time winner of the French Film Academy’s Prix Daniel Toscan du Plantier, was nominated for an Oscar for L’inconnu du lac and won a César as producer for Timbuktu.

“I’ve lived two lives, in every sense of the expression. Two private lives, two cinematographic lives. I started out in this industry when you could produce a film by making a few phone calls. Now, twenty years later, I have to persuade myself it’s the same profession. It really has changed a lot, but luckily convincing certain people to get involved still works. It’s harder, but still possible.” Sylvie Pialat

Sylvie Pialat will present the Maurice Pialat retrospective at L’Alternativa this year, together with a series of films produced by Les Films du Worso.

El “Cinématon” n°236 de Maurice Pialat realizado por Gérard Courant el 17 de julio 1982 a Neuilly-sur-Seine, France. (Mudo) – Maurice Pialat’s portrait by Gérard Courant (1982. Silent)

Maurice Pialat (Puy-de-Dôme, 1925 – París, 2003) director, guionista y actor. Los films de Pialat son rompedores y desorientadores, llenos de saltos temporales e improvisaciones, sobre dilemas irresolubles y personalidades imposibles -hombres y mujeres que no pueden o no se permiten ser domados, y la tensión entre el deseo y la responsabilidad. Rueda nueve largometrajes, premiados con el César (À NOS AMOURS) y la Palma de Oro en el Festival de Cannes (SOUS LE SOLEIL DE SATAN). Trabajó con Sandrine Bonnaire, Gerard Depardieu, Nathalie Baye, Jacques Dutronc, Néstor Almendros e Isabelle Huppert, entre otros.

La retrospectiva en el marco de l’Alternativa, en colaboración con la Filmoteca de Catalunya, presentará todos sus largometrajes, además del corto L’AMOUR EXISTE y el documental biográfico MAURICE PIALAT, L’AMOUR EXISTE.

L’Alternativa 2016, Festival de Cine Independiente de Barcelona
14-20 Nov. 2016
CCCB, Filmoteca de Catalunya, Institut Francés de Barcelona

La retrospectiva que l’Alternativa dedica a la cineasta Lucrecia Martel contará con varios cortos, además de sus tres largometrajes, proyectados en 35 mm.

“I’m inclined to say that La mujer sin cabeza is the the work of a genius, or at the very least one of the most talented film-makers in the world.” Philip Bradshaw (The Guardian)

“Cuando vi La ciénaga experimenté esa emoción inequívoca, cada vez menos frecuente, de encontrarme ante una película distinta, no la podía relacionar con ninguna otra, ni argentina ni de ningún otro lugar. La impactante primera película de Lucrecia Martel le pertenece por entero a ella misma.” Pedro Almodóvar (Sugerir sin mostrar, El País)

“I want Lucrecia Martel to be as famous as her producer Pedro Almodóvar.” B. Ruby Rich (Journal of Lesbian and Gay Studies)

“It’s heartening that this one particular artist, using the same basic tools that film directors have had at their disposal for the past 80 years, is making movies like La mujer sin cabeza, that feel defiantly her own, radically specific, and thrillingly new. Chris Wisniewski (Reverse Shot)

“Desde su debut en el año 2001 con la excelente La ciénaga, Lucrecia Martel se ha hecho con una aureola de cineasta arriesgada, combativa e innovadora” Javier Ocaña (El País)

“El cine de Lucrecia Martel está al fondo de un cambio de paisaje en el cine latinoamericano de los últimos diez años y sin su nombre es imposible comprender que significó el fenómeno del Nuevo Cine argentino.” La fuga

“Una sola película, La ciénaga, bastó para situar en el panorama internacional a una cineasta superdotada, la argentina Lucrecia MartelCasimiro Torreiro (El País)

“Lucrecia Martel has established herself as one of the most observant, powerful and urgent filmmakers working today. That opening of La ciénaga would be memorable coming from any filmmaker. But, in this case, given that it accompanies a debut effort, it is nothing short of astonishing.” SF360

“Like a tale by Nabokov or perhaps an early short story by Ian McEwan – La niña santa and its elusive strangeness reverberates in the mind long after the credits have rolled.” Philip Bradshaw (The Guardian)

L’Alternativa 2015
16-22 Nov. 2015
CCCB, Filmoteca de Catalunya,
IFB, Crater-Lab, Zumzeig Cinema
Barcelona. ES

En colaboración con la Filmoteca, l’Alternativa dedicará un monográfico al cineasta Hubert Sauper. Se proyectará Darwin’s Nightmare, We Come As Friends, y sus primeros mediometrajes. Además Sauper impartirá una masterclass de 3 horas el viernes 20 Nov. 2015 en el CCCB.

“The 10 year gap between Darwin’s Nightmare and We Come As Friends is extreme because, first of all it’s a way of life and it’s a long haul – the thinking process and money and financing … But this gap was extreme because I had to get rid of many very threatening forces against me after Darwin’s Nightmare. I couldn’t really believe what was happening to my life. The film became very successful after it won a bunch of awards and got nominated for an Oscar and all that. It was the worst thing that ever happened to me. I suddenly I got this exposure so all these wrong people saw my film. These are powerful people- gun runners in Africa and so on. They decide to go after not only me but also people in the film. They were persecuted and imprisoned and had death threats and lawsuits from very dubious groups of people who had a lot of money. So my life was literally upside down – I had to get people out of the county.” (Hubert Sauper @ Twitch Film)

“I think what you really search for, as an artist, is to produce a piece of art or film that makes you experience life. It’s life experience—two hours of pure life. And in life you see a lot of things that don’t have subtitles, and don’t have explanations. You just see them and you don’t see the context, and the whole parcel of it makes you grow up and not be a child anymore, gives you a whole picture of the world. If it does that kind of thing in a concentrated way, in a movie, then I think that is what I’m looking for.” (Hubert Sauper @ Film Comment)

“First of all, I am European and not many Europeans go to Africa unless they bring the word of God and want to rape the country and steal the land – this is the unilateral kind of relationship of the last hundreds of years. My latest film is about that: how do you decide to destroy, dominate and possess other lands and cultures. The psychology of it is the theme of We Come as Friends – and this is the most profound lie in our civilisation.” (Hubert Sauper @ Senses of Cinema)

“I am a bit anarchist-like getting to places, and a joker, striking up relationships with people and getting close to situations. In We Come as Friends the key questions were: “How to get to Chinese oilfield? How to get to the Libyan airbase?” There is no way to get there, unless you fall from the sky. So I had to build this airplane to get there. But, of course, apart from being a mode of transportation, it is like a Trojan Horse, like a bluff.” (Hubert Sauper @ Senses of Cinema)

Darwin’s Nightmare and We Come as Friends are very conceptual films. People may think it is just this guy who travels with the camera and just switches it on when things happen. But alot of what is shown is premeditated – in the sense that I know from many years of experience that if I find myself in a radio studio with a corrupt politician, he is going to say something that is going to be great for the film.” (Hubert Sauper @ Senses of Cinema)

Hubert Sauper clase magistral El arte de dominar la realización de documentales.
Viernes 20 Nov. 2015 / 16-19h

Sala Raval, CCCB (Montalegre, 5)
20€ Inscripción previa
Aforo limitado

L’Alternativa 2015 comptarà amb un nou premi per als films de la seva secció paral·lela Panorama, dedicada als llargmetratges i curtmetratges de producció nacional.

En col·laboració amb el Patronat de Turisme de Costa Brava Girona i el municipi de Castell-Platja d’Aro les pel·lícules de la secció Panorama podran optar, primera vegada, a obtenir el Premi Panorama Platja d’Aro – Costa Brava, que consistirà en una residència d’una setmana per a un cineasta escollit pels organitzadors de l’Alternativa, Festival de Cinema Independent de Barcelona, d’entre els seleccionats per a la seva secció Panorama.

La residència es podrà desenvolupar des de l’1 de març i fins el 30 de maig de 2015 a l’inspirador hotel Costa Brava a Platja d’Aro, ubicat davant del mar al Camí de Ronda. Aquesta residència inclourà l’allotjament, els àpats i una dotació econòmica de 300 € per cobrir les despeses de desplaçament i personals del guanyador. L’objectiu principal és que el cineasta seleccionat desenvolupi projectes i, fins i tot, dugui a terme un rodatge.

Els films de Panorama també competiran pel Premi GAC al millor guió de llargmetratge i al millor guió de curtmetratge, tots dos premis honorífics i atorgats per un jurat format per tres membres del GAC (Guionistes Associats de Catalunya).

L’Alternativa atorga també diversos premis en les seves seccions oficials: dos premis en metàl·lic per al millor llargmetratge i millor curtmetratge de L’Alternativa Oficials, el premi honorífic de la crítica al millor llargmetratge de L’Alternativa Oficials atorgat per l’ACCEC (l’Associació Catalana de Crítics i Escriptors Cinematogràfics) i el premi del públic al millor curtmetratge de L’Alternativa Oficials, també honorífic.

L’Alternativa, 22 Festival de Cinema Independent de Barcelona
16-22 Nov. 2015
CCCB, Filmoteca de Catalunya,
IFB, Crater-Lab,
Zumzeig