In partnership with the SPANISCHES FILMFEST BERLIN 2012, SIN FIN CINEMA presents Spanish Cinema without Fear, the works of Spanish talented filmmakers who are artistic, experimental and Avant-Garde in their nature.
This film program shows Spanish works that defy tradition, that have the courage to try out something outside and along the periphery of the Spanish cinematographic industry.
Our main objective is to offer a space of knowledge and discussion around works that challenge forms of fictional narrative and documentary methods. Our aim is to embrace and welcome new experimental, artistic and underground Spanish films throughout new filmmakers and cineastes who experience both in the form and content of the moving image practice.
Riaño is a town in the North of Spain that was re-built and relocated when reservoir plans whereexecuted nearby so the old town was flooded. Los Hijos, a collective of media artists, travel to thearea intending to make a film under the ethnographic documentary guidelines. However, the originalidea vanishes during the editing process, giving away its impossibility. Los Hijos deliver instead one ofthe most stimulating and revolutionary works of the last years, a film structured through outtakes andreproducing with subtitles the filmmakers comments during shooting . Los Materiales is one of its kind,an anti-film or, as some has put it, “the cinema after cinema”, a film that enquires Spain’s identity and Spanish film tradition, one of Los Hijos’ distinctive concerns.
At the end of the 60s, the artist César Manrique returned to Lanzarote’s island to turn into an ideal place of vacations where art and nature were together, preserving the peculiarities of the island. Fifteen years after his death, thousands of tourists visit the island looking for Sun and beach. Nevertheless, the island supports an alive conscience! the fingerprints of a world with expiry date that it shows the difficult living together between! tradition and progress.
Holidays is a meeting between two worlds! in the same space; the island of Lanzarote. The visited island and their habited island. Through the videotapes that tourists record themselves we discover the tourist island. Behind those images, the documentary show some characters close to the tradition and culture of the island. They protect it and they try to preserve an alive conscience.
Ion is a film-maker and a waiter living in Germany. Ion films his environment: the façades of his neighborhood, his co-workers at the Italian restaurant , the walls of his flat, visiting friends from Spain and his girlfriend Marta. Filmed diary, film collage, runaway to nowhere, post-nuclear fiction: Nearly everything fits in the film in which Ion de Sosa shoots his own exile (physical and spiritual) in Berlin, a mutant city witness of the collapse of his romantic relationship. In True Love we find another of the best examples of new Spanish non- fiction, a honest work that relates with 1960s American underground adding a joyful play between video and beautiful 16mm images.
Margarita lives alone. Because of a mild disability she needs help of Pilar, a friend of Margarita’s deceased sister, who visits her everyday to do the home shores. The story evolves through Pilar’s fabrications and accusations of all sorts during their daily cryptic encounters, in which we witness the surreal nature of Margarita and Pilar’s intimacy. The love-hate relationship between them invites us to reflect on loneliness, the aged , the ambiguity of truth and the passage of time..
SFilm-maker Albert Pons starkly faces what no one would ever want to look at, offering a documentary full of weird, intimate and psychiatric moments.
All Films with English Subtitles and introduced by Rafa Ayuso from Sin Fin Cinema