The Colon House again hosts the most important annual event in the Canary Islands with Ibero-American cinema, Ibértigo 2020, organized by the Vertigo Film Association with the collaboration of the Museum. Thursday, October 15, at 7:00 p.m., the Brazilian director and screenwriter, Marcelo Gomes, opens the exhibition, which this year is coming of age. The 18th Edition of Ibértigo 2020, which will take place between October 15 and 23, will bring to the big screen seventeen films from both sides of the Atlantic and will revisit some of the filmographies present in previous years. The daily screenings with a single pass are free and with limited capacity, for which it will be mandatory to register at the entrance of each screening or previously online on the center’s website: www.casadecolon.com/actividades.
The councilor of the Cabildo de Gran Canaria today presented the 18th Ibero-American Film Festival at a press conference and highlighted the opportunity offered by Ibértigo 2020 to show an alternative cinema to that of commercial circuits, in which it is present the audiovisual sector of the Canary Islands “which is growing a lot and is becoming professional”. Medina praised the programming of the exhibition in terms of equality, “an important fact is the representation of both men and women, which adds value to the project, betting on equality”.
The vice president of the Vertigo Association, Jesús García, thanked the Cabildo de Gran Canaria for supporting this edition and encouraged viewers to come to the Casa de Colón, since there is content for all tastes “Ibero-American cinema is curious, it is a non-commercial cinema and with themes of social and human interest ”. Like the filmography of the Brazilian director, Marcelo Gomes, who opens the festival on Thursday. Gomes celebrated the possibility that Ibértigo 2020 offers him to learn with the public “it is very important to know their perspective and I am looking forward to exchanging ideas with the directors of the Canary Islands”.
With a single daily pass, Ibértigo 2020 offers us the chance to peek into one of the most interesting cinematographies of the moment, the Ibero-American, with the screening of ten feature films and seven short films. In addition, it brings the filmmakers closer to the public and opens a space for the meeting between the directors participating in the exhibition and the Canarian audiovisual fabric, through the different planned colloquia. The program for this year’s show includes the cinematographic work of seven women and seven men, from Brazil, Spain, Mexico, Costa Rica, Chile, Colombia, Guatemala, Argentina and Portugal. The filmmakers Marcelo Gomes (Recife, 1963); Ángel Hernández (Gran Canaria); Jaione Camborda (San Sebastián, 1983); and the Portuguese director and writer João Nicolau (Lisbon, 1975), who will close the Ibero-American cinema week.
On Thursday, October 15, the festival begins with the cinematographic proposals of the Brazilian director Marcelo Gomes, the protagonist of the first two days of the exhibition. The director will present several works, such as his most recent work I’m saving myself for when or carnival chegar (2019), and one of his most awarded feature films, I travel because I need to, I return because I love you (2009).
This is how the film festival takes off, with a varied program in terms of theme and genre, which is also committed to Canarian cinema. The island filmmaker, Ángel Hernández, opens in Gran Canaria, Nom, a piece selected in a hundred festivals around the world and that will introduce us to the horror genre. On the bill there are also numerous films that have toured the most prestigious international festivals in the world, such as the filmographies of the Mexican director, Luke Lorentzen (Midnight Family); by the Argentine filmmaker, Agustina San Martín (Monster God); by Chilean author Carolina Moscoso (Night vision); or the Colombian documentary maker Carlos Montoya (The size of things). On October 23, Ibértigo 2020, the exhibition with the versatile Portuguese filmmaker João Nicolau closes. Writer, editor, actor, photographer, camera operator and even sound engineer, Nicolau is part of a brilliant group of filmmakers who have placed Portugal at the forefront of cinema.
Ibértigo 2020 is coming of age faithful to the objectives that led to the birth of the exhibition: the historical link between the Canary Islands and America; the creative and avant-garde potential of Ibero-American cinema; the social theme of his filmography; and the obstacles that Ibero-American cinematography must overcome in order to circulate through the usual distribution and exhibition channels. Premises that coincide with one of the firm commitments of the Casa de Colon, which is the dissemination of culture and, specifically, Ibero-American cinema, with one of its permanent star activities, ‘Colón Cinema’. An initiative, also carried out in collaboration with the Vertigo Film Association, which this year celebrated its tenth anniversary of uninterrupted seasons.
Marcelo Gomes, Brazilian director and screenwriter
Marcelo Ferreira de Oliveira Gomes (Recife, 1963) trained in Social Communication and obtained a scholarship to study film at the University of Bristol. After facing the filming of shorts and documentary projects such as Maracatu, Maracatus (1995), Punk Rock Hardcore (1995) Y You Brasiliros (2000), premiered in 2005 in the direction of feature films with Cinema, aspirin and urubus, selected at the Cannes Festival taking the special award. The film, a road-movie set in rural Brazil in the 1940s, was a resounding critical and public success in the country, where it won five Awards from the Brazilian Academy of Cinema, including those for Best Film, Director and Screenplay. His second film, I travel because I need to, I return because I love you (2009), Directed with Karim Aïnouz, it premiered at the Venice Film Festival, confirming its international projection with awards in Lima and Havana. As in his debut film, the inhospitable landscape of Sertão, where the roots of both filmmakers are anchored, was shown as an allegory of the loneliness of the protagonists, the axis on which Gomes’ narrative universe pivots