18 NOV - 4 DEC 2022
ONSITE & ONLINE

2many Films? Artefact, Climax and Outcome

Industry Days

© Kamila Kuc
Onsite

2many films? Artefact, Climax and Outcome

Filmmaking finds itself in choppy waters, buffeted by a series of far-reaching developments that call established ways of creating, producing and distributing films into question. The tantalising leaps in artificial intelligence, the boom in platforms and the need to connect with new generations are just some of the challenges thrown up by this paradigm shift. In these three panels we shall debate these and other issues as we imagine what shape tomorrow’s filmmaking might take.


Programme

9.30 to 10.30 am. Artefact: We’re Not Big Data, We’re Smart Data

10.30 am to noon. Climax: Capitalist Abundance and Pandemics

Noon to 12.20 pm. Coffee break

12.20 to 2 pm. Outcome: Far-Sighted Plurality


  Some Reading Matter (or Tasty Data) in Spanish



  • Friday 25 November, 9.30 am to 2 pm
  • Auditorium CCCB
  • Aimed at filmmakers, distributors, producers, researchers, journalists and final-year bachelor’s or master’s degree students
  • Free admission for accredited professionals
  • SDE members by invitation
  • General admission: €10
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9.30 to 10.30 am. Artefact: We’re Not Big Data, We’re Smart Data

The last five years have seen a significant increase in machine learning models in all areas, with particular interest in images and sounds. These neural network models are capable of organising, classifying and now automatically generating content like never before in the history of computing. These advances bring about important changes in the creative processes and force us to rethink forms of production. It is no longer a question of asking the same old question about machines’ creative capacities, but of exploring exactly how algorithms weave their way through our creative and productive work.

Jorge Caballero
Jorge Caballero

Jorge Caballero is a teleconnections engineer and audiovisual communicator. He has an MA in Interactive Media and is working on a PhD in Film and Artificial Intelligence and an MA in Data Science. His research measures impact metrics in film and explores cinema’s capacity to create prosocial behavioural changes. He has carried out several data studies on filmmaking. He is the cofounder of GusanoFilms and Estocástica production companies. He has directed Bagatela, Nacer, Paciente, Crónica o Dora and produced Del otro lado, El síndrome de los quietos, Robin Bank and TORO, among others.

Anna Giralt Gris
Anna Giralt Gris

Anna Giralt Gris graduated in audiovisual communication and has an MA in Social Communication Research. She works as a new media consultant and teaches digital narrative. Her latest work as co-screenwriter and user experience designer was the virtual reality experience Chronicle of a Vanished City. She directed and produced Robin Bank and 44 Messages from Catalonia, as well as several internationally acclaimed documentary shorts in countries such as Afghanistan, Iraq and Iran. She is cofounding member of Gusano Films and Estocástica production companies.

10.30 am to noon. Climax: Capitalist Abundance and Pandemics

Global streamers arrived when film production and exhibition were in decline and were hailed by most as a means of salvation from the scourge of online piracy, among other things. But we let ourselves be carried away by turbocapitalist logic and allowed auteur cinema to be turned into a product, and viewers into consumers.

The platform-driven boom in production may lead to the dismantling of key support structures if platforms decide to take a step backwards. Defining and enabling sustainability, especially in the independent production landscape, is a challenge the industry has to tackle together.

We need to ensure that the current production boom is not followed by an inevitable crash. Global streamers will battle each other for dominance in finite markets. The impact of mergers, acquisitions and failures will not help production and will certainly not foster cultural diversity.

Part of that debate should involve reviewing the question of whether public funding for certain companies should be recast as public investment.

Moderated by Víctor Alonso-Berbel.

Víctor Alonso-Berbel
Víctor Alonso-Berbel

Víctor Alonso-Berbel is cofounder of Fractal 7 Films production company. He was recently awarded the Jury Award for Best Latino Director by the Directors Guild of America at the Student Film Awards for the sci-fi short Perfectly Natural (2018), which has been watched by over five million people. He has worked in development departments at Lionsgate, Endurance Media and La Panda and has developed projects as a screenwriter for Atresmedia and Movistar+. He is currently developing his first narrative feature, Moderación.

Nely Reguera
Nely Reguera

Nely Reguera made her directorial debut with María (y los demás), which premiered at San Sebastián, before going on to win a Feroz Award for Best Leading Actress and two Goya nominations. In 2017 she was awarded the Pepón Coromina Award for Innovation, Creativity and Risk. She works closely with A Bao A Qu on the Cinema en curs project and teaches at UPF and ESCAC. Her second feature, La voluntaria, premiered at the Málaga Festival. She has directed several episodes of the series Benvinguts a la família (TV3) and Valeria (Netflix) and is currently shooting two episodes of the Movistar+ series Galgos.

Gabriela Iacob
Gabriela Iacob

Gabriela Iacob is a screenwriter and script doctor at her storytelling studio Storyliners. She studied film directing at univesity in the University in Bucharest. She was head of development at Media Pro Pictures studio, where she set up a content department to handle intellectual property and talent tutoring. She has worked with emerging screenwriters throughout most of her career. She is currently head of content development at Pro TV, sits on the selection committee at Cinema Pendent and is overseeing the new Mentoring Projects programme at Alternativa Pro.

Jana Díaz Juhl
Jana Díaz Juhl

Jana Díaz Juhl is a multidisciplinary producer based in Los Angeles and cofounder of Amplitud, a production company focused on new Latin queer and female voices. Its first feature, The Chambermaid, premiered at TIFF and was Mexico’s candidate for the 2020 Oscars. She previously worked as a producer at La Panda Productions: Open Windows (Berlín), 10,000 km (AFIF), Anchor and Hope (SXSW) and Nobody’s Watching (TFF). Farrucas, the short she cowrote with Ian de La Rosa, won a Gaudí Award for Best Short Film.

Miquel Escudero
Miquel Escudero

Miquel Escudero is a programmer and film critic. He is a member of the selection committee for the Semaine de la Critique at Cannes and a programmer at Festival Entrevues in Belfort. He works as a project reader and consultant at La Fabrique de Cinémas du Monde, Rawi Screenwriters Lab in Jordan, Residència de guions at the Acadèmia del Cinema Català and Cinema Pendent. He is a contributor to magazines such as Sofilm, Dirigido Por and Caimán Cuadernos de Cine. He programmes for Cinechilex and is an agent and curator for the avant-garde filmmakers collective Obscuritads.

12.20 to 2 pm. Outcome: Far-Sighted Plurality

A socially and financially sustainable productive landscape will require other forms of funding, greater industry professionalisation, closer horizontal and vertical collaboration, more intelligent use of data and a shaper focus on audiences.

Audiences worldwide are getting used to hearing different languages. According to surveys, young people aged between 15 and 24 have the keenest interest in films. Backed by institutional initiatives, cinema is becoming more inclusive, and films directed by women are finding success all over the world. Even in the most saturated markets, there is still room to expand. It is a collective effort. We have to promote cultural diversity through algorithms, so that the major streamers don’t simply offer the same type of content to (all) their consumers. A cultural shift is needed whereby taking audience perspectives into account is no longer seen as an artistic concession or compromise, but as a way to elevate films and reinforce their impact.

Special guest appearance by Ana Pernia.

Moderated by Jorge Caballero.

Ana Pernia
Ana Pernia

Ana Pernia is a member of the team of curators and conservators at State Museums in Spain. She has worked professionally as a cultural manager in several areas in the field of heritage. She works at the Instituto de la Cinematografía y de las Artes Audiovisuales (ICAA) to coordinate support for audiovisual work, labs and incubators and cinema and other venues.

Jorge Caballero
Jorge Caballero

Jorge Caballero is a teleconnections engineer and audiovisual communicator. He has an MA in Interactive Media and is working on a PhD in Film and Artificial Intelligence and an MA in Data Science. His research measures impact metrics in film and explores cinema’s capacity to create prosocial behavioural changes. He has carried out several data studies on filmmaking. He is the cofounder of GusanoFilms and Estocástica production companies. He has directed Bagatela, Nacer, Paciente, Crónica o Dora and produced Del otro lado, El síndrome de los quietos, Robin Bank and TORO, among others.

Iris Martín Peralta
Iris Martín Peralta

Iris Martín Peralta is the founder of the distribution company Exit Media, which has distributed several Spanish films in italy. She runs the Festival del cine español de Italia, held annually in over twenty cities and which this year celebrates its 15th edition. She produced the documentary Goodbye Ringo, the short Garbatella and the feature Lejos de los árboles, by Maritxell Colell (in development with Allegra Films).

Pilar Toro
Pilar Toro

Pilar Toro graduated in journalism and audiovisual communication. She has over ten years’ experience in the audiovisual entertainment industry. She took her first professional steps with the launch of Canal+ Xtra, was closely involved with Calle 13’s project #littlesecretfilm and was community manager for DeAPlaneta for the film La llamada. She has worked in companies such as NBCUniversal and Netflix, where she was first social media brand strategist in Amsterdam and later marketing manager in Madrid. She is currently director of marketing and communication at Filmin.

Virginia Pablos
Virginia Pablos

Virginia Pablos graduated in audiovisual communication and has a Master’s Degree in Digital Film. In 2011 she set up Sin Fin Cinema, based in London and Amsterdam, to promote the screening and distribution of films in general and Spanish cinema in particular. She has crafted and produced several film programmes for institutions and festivals. In 2015 she helped set up the Amsterdam Spanish Film Festival.

SDE 1 de los 3 juntos
ICEC 2 de los 3 juntos
GenCat 3 de los 3 juntos
AC/E ACE (new)
ICAA
Next Generation
Unión de Cineastas
Catalunya Film Festivals CFF
Heretic Herbs Liqueur