"Today it is very difficult to review what is happening in Spanish cinema without mentioning directors such as Diana Toucedo, Meritxell Colell or Mabel Lozano," says Fran Gayo, curator of Spanish cinema show Espanoramas. In its fifth edition, which will take place between February 21 and 27 in Buenos Aires, half of the films selected are directed by women. "It's not about political correctness or about adjusting percentages, but about recognizing evidence that reflects the current state of Spanish cinema," says Gayo.
With the wind, of Colell, will inaugurate the festival, with the presence of its director. After living three years in Buenos Aires, where she completed her training, this young filmmaker moved to the town of her maternal family, in the north of Burgos, to give voice and image to that rural Spain increasingly depopulated. Colell considers his latest film, halfway between fiction and documentary, a sort of tribute to the generation of his grandparents and a way of life that is disappearing with them. He will also participate in the Maider Oleaga festival, with his documentary Muga Deitzen da Pausoa (Step to the limit), focused on his arrival at a house that in the past hosted a secret school where a woman educated children and adults in Basque.
Intimate and family portraits and also problematic that especially affect women are present in the tapes of these new directors. Lozano films Miguel, a former pimp and owner of one of the most important macro brothels in Spain, in his documentary The pimp. Short step, bad milk, in which he describes the evolution of prostitution and the mechanisms to kidnap and subdue women.
Commander Arian, from Sotorra Clua, and Shed the skin, of Ana Schultz and Cristóbal Fernández, are submerged instead in histories of violence: the first one has as background the war of Syria and the second the mediation between the Spanish Government and the terrorist band ETA.
The irruption of many female filmmakers coincides with the momentum of the feminist movement around the world. "I think it is the only revolution that is happening right now, it is immovable and there is no going back, regardless of what is going to happen with the elections," says the festival's curator.
Another of the highlights of the fifth edition is the number of new directors. Only José Luis Cuerda breaks with the rule, but not so his gaze, which Gayo considers the youngest and rupturistas. Time after, his last movie, is a dystopia set in a future reduced to a skyscraper in the middle of the desert. Civil guard couples who sleep together, poetic barbers who are killed and a king who commands but not all obey, among other characters, are destabilized by the arrival of a lemonade seller.
The cultural advisor of the Spanish Embassy, Pilar Ruiz Carnicero, emphasizes that for the first time children's cinema will be shown, with the exhibition of The most soccer players, by Miguel Ángel Lamata, and also films in the different co-official languages of the autonomous communities: Basque, Catalan and Galician.
Espanoramas is also an example of the links between Spanish and Argentine cinema, full of co-productions and mutual influences. In this edition, the Argentinean actor Leonardo Sbaragia can be seen in a leading role in El Desentierro, by Nacho Ruipérez. "I think that there are few filmmakers of the so-called new Spanish cinema that does not recognize Lisandro Alonso and also goes the other way with Spanish directors, for example, they are preparing a co-directed film, Luis Patiño and Matías Piñeyro, which are completely opposed but which speaks of a kind of pollution beneficial for filmmakers of both countries, "says Gayo.