Ocho apellidos vascos / Spanish Affair (Emilio Martínez Lázaro, 2014)

Dani Rovira and Clara Lago

Spain's biggest-ever box office hit is another film screening in San Sebastián as part of the 'Made in Spain' section, and will also be in London next month. It is daft but a lot of fun.
My review is over at Eye for Film.

10th London Spanish Film Festival, 25th September - 5th October

Libertarias (1996), showing as part of the Vicente Aranda retrospective

Eye for Film have a short preview that I've written about the 10th edition of the London Spanish Film Festival, which starts next week. I'll be reviewing about ten nine of the films in total and will update this post with links as and when the reviews go online, rather than creating separate posts for each one. 

• Con la pata quebrada (Diego Galán, 2013)
• Stella cadente (Lluís Miñarro, 2014)
• Tots volem el millor per a ella (Mar Coll, 2013) [I have also reviewed the film for Take One - here]
• Las maestras de la República (Pilar Pérez Solano, 2013)
• El somni (Franc Aleu, 2014)
• Baratometrajes 2.0 (Daniel San Román and Hugo Serra, 2014) [my post from earlier this year on the longer version of the documentary is here]
• Libertarias (Vicente Aranda, 1996)
• Amantes (Vicente Aranda, 1991)
• Carmen (Vicente Aranda, 2003)

10,000 Km (David Marques-Marcet, 2014)

Natalia Tena and David Verdaguer

I have reviewed 10,000 Km (here) for Eye for Film. The film is showing at the San Sebastián Film Festival (19th-27th September) in the 'Made in Spain' section and will also screen at the London Film Festival next month. Earlier this week it made the shortlist of candidates (alongside Vivir es fácil con ojos cerrados (David Trueba, 2013) and El Niño (Daniel Monzón, 2014) - the latter of which will also be in London) to be Spain's entry for the 2015 Academy Awards. It's well worth catching if you get the opportunity.

Speaking Truth About Power: Documentary, Censorship, and Rocío

Rocío (Fernando Ruiz Vergara, 1980), a.k.a. the rabbit hole I fell down during August.
    It started with a book review. I was working my way through a backlog of film magazines, when a book review (by Antonio Santamarina) for El caso Rocío: La historia de una película secuestrada por la transición (edited by Ángel del Río Sánchez, Francisco Espinosa Maestre, and José Luis Tirado) caught my eye in the May edition of Caimán Cuadernos de Cine. 'A film hijacked by the Transition' piqued my interest, as did the fact that the film was a documentary (yes, that is what I'm supposed to be looking into at the moment) and that the book came with both a copy of the uncensored version of the film and a documentary, El caso Rocío (José Luis Tirado, 2013), about the making of Rocío and its subsequent legal troubles. And then I watched it. In fact, I think I've watched Rocío half a dozen times now, but I can't really explain why it has drawn me in as it has.
    I set myself challenges on here, or start projects, in an attempt to give myself a structure to write within. I'm someone who thinks through writing (anyone who has spoken to me immediately after a film viewing will know that I'm rarely coherent in my thoughts at that stage), but it's not often that I write due to a sense of compulsion - Rocío is, however, one of those instances. I wrote because the film was stuck in my head, because I couldn't find anything written about it in English (beyond a New York Times story about the trial), because in the emphasis placed on the censorship of the film people seem to have avoided writing about it as a film (which is a shame because it is an incredibly rich, and visually distinctive, piece of filmmaking), and because it tapped into the sheer enjoyment I get from properly delving into an unfamiliar film and working out how it 'functions'. I decided to focus on the two aspects that pulled me down the rabbit hole - the story of the injustice suffered by Fernando Ruiz Vergara and Rocío, and the visual components of the film itself.
    What I've written is over at Mediático.

Note: the censored version of the film is available on YouTube with English subtitles.

Ficció / Fiction (Cesc Gay, 2006)

Cesc Gay's Ficció is one of my favourite films (in any language), but I've never written about it on here because I haven't rewatched it in the time the blog has been running. However, it is showing as part of the Camera Catalonia strand at the forthcoming Cambridge Film Festival (28th August - 7th September), and I've reviewed it (here) for Take One as part of their coverage of the festival.

Plan of Action: Documentaries and Blurred Borders

   It has been my intention in the last couple of months (I've kept getting waylaid by other things, as is my habit) to start imposing some kind of order on to my 2014 project ('El otro cine español'). The filmmakers who are being labelled with that tag are a disparate and unwieldy bunch - while I'm trying to work out who I would classify as belonging to this 'movement' (and how I will define 'it', and my own classifications) it seems sensible to divide them up into more manageable groups, even if I later draw the lines in different places.
    As I've previously said, I have some qualms with Caimán Cuaderno de Cine's criteria for their list. The actual articles they've published on the theme are more inclusive (so, even more filmmakers are mentioned, but that makes more sense to me - i.e. there is a thread that can be followed further back than CdC's arbitrary (to me) one year period). I've been reading my way through the articles and making translated notes (it would appear that the only way information will stick in my mind is in English), or in the case of Carlos Losilla's key article ('Un impulso colectivo', Caimán Cuadernos de Cine, September 2013, pp.6-8) I've written a full translation. As a side note, I'd like to say that the enthusiasm and excitement of the Spanish critics (in CdC but also websites such as Blogs&Docs) who have been writing about - and championing - these films (and particularly in what they've written about the newer group of filmmakers as being a group of people united by the conviction that you have to make images of the world and of ourselves with the aim of changing it and changing us (Losilla 2014: 22)) is compelling and infectious, and manages to even survive my broken up manner of translation (i.e. having to stop to look a word up in a dictionary when I'm not sure I've understood something properly). I've still got articles to work my way through, but I now have a better idea of the key themes or strands to what constitutes this 'other' cinema and also a view on which filmmakers I think need to be added to my considerations.
    I've come to the conclusion that documentaries are where I need to start - because of the number of documentaries being made by these filmmakers (and there are a lot of filmmakers who switch back and forth between making documentaries and making fiction films, which seems unusual to me because I can't think of many examples of this happening extensively elsewhere - Werner Herzog is one of the few names who springs to mind but please feel free to inform me of others), the manner in which documentaries more obviously fit with the apparent impetus and intentions of this 'movement' (I'm not 100% clear on this aspect at the moment, but that's my instinct), and also because it is some (but not all) of the more straightforwardly 'fictional' filmmakers (they make more or less exclusively fiction features - I'm not suggesting that they themselves are fictional, although that would make for an interesting digression) who I have more difficulty seeing quite how they fit into the larger collective. I've said 'straightforwardly' fictional because there are also a group of films that blur the borders between documentary and fiction - for example, in La plaga (Neus Ballús, 2013) the characters are local people playing fictionalised versions of themselves - and I'm going to include those films with the documentaries, at least in this initial period of research. So I need to do some reading on documentaries generally, but also look at documentary traditions within Spain as well.
    That almost inevitably means looking at filmmakers who date back to earlier periods but I don't want to get bogged down in the past too much, so I'm restricting myself to two antecedents for the time being - Joaquim Jordá (because he is frequently referred to in relation to this contemporary 'other' cinema) and Pere Portabella (because his films are clearly 'other', his filmography includes documentaries (some of them - particularly the political documentaries - key works in Spanish cinema), and I've recently watched all of them - rule no.4: always include something on your 'to do' list that you have already done, so that you can cross it off straight away). At this stage I'm not intending to write about either of them - I just want to watch as many of their films as I can get hold of, so that I have a better idea of connections Spanish critics might be seeing. It may be that as I read more, I come across more names or films that I'd like to see - but I don't want to lose sight of the fact that it's the people working now who I'm wanting to investigate and write about.
    Who makes the first cut? Again, I'm sure that more names will occur to me - or cross my radar - once I get going, but I think that Jose Luis Guerin (not on CdC's list) and Isaki Lacuesta (on CdC's list) both have to be on my list without question. The two of them move back and forth between documentary and fiction (or blur the borders in an individual film) and they've also got established careers, so there is a trail to be followed and they possibly act as a bridge between cinematic past and present (again, that's just my instinct at the moment). The other filmmakers I'm intending to look at initially are mainly people who are on CdC's list (with a few additional ones who have already crossed my path), most of whom have fairly short filmographies, but inclusion (or not) will partly depend on whether I can get hold of / view their films. It is about the films, after all. Documentaries actually seem to be easier to track down than some of the fiction films (another reason to start with them), so I do have access in some form or other to the majority of films in my initial selection (see the notes in the image above).
    That's where I'm starting - I don't know how frequently I will write about the films on here, but I will continue to at least give an indication of what I've been watching. I'm doing general reading at the moment and then I'm intending to spend some time just watching the films, before doing some more specific research. I'm taking notes when I view things already, so I may write them up in brief batches or something - but I'm not setting a schedule for including stuff on here, and in terms of my overall schedule for the project, I need a better idea of what I'm dealing with before I start setting myself deadlines. To be continued...

Wounded...but not dead yet: La pantalla herida and the state of Spanish cinema

    I've been researching Spanish cinema for more than a decade and in that time it has almost continuously been described (within Spain, at least) as being in 'crisis'. That's sometimes a relative term - the obsession with box office statistics and Spanish cinema's fluctuating share of their home market is often written about in negative terms (e.g. 'down 5% on last year') without giving context to put the figures in perspective. For example, there were so-called slumps in 1996, 2000, 2002 but all three followed years that had generated substantial increases in takings (Ansola González 2003: 49), something that was repeated between 2006 (a bumper year for Spanish cinema) and 2007 (in which only El orfanato made a serious dent in the Spanish box office). But since around 2009 events have taken on a darker hue and in the last couple of years a 'perfect storm' of not-so-perfect conditions (consumer habits have changed but a series of controversial measures by successive governments have also had a crippling effect) have combined to knock the Spanish film industry off its feet with little sign of a coordinated or sustained fightback.
    It's a positive sign that I've recently seen two Spanish documentaries that look specifically at the changes that Spanish cinema is undergoing - BARATOmetrajes 2.0 (which I wrote about here) and La pantalla herida / The Wounded Screen (Luís María Ferrández, 2014). Taken together they give the impression that something constructive might transpire because people are starting to listen as well as talk (those working in the industry, at least - in the past week, the Spanish government has shown itself happy to blend the vindictive with the economically stupid: reaction here, here, and here). Luís María Ferrández organised a series of discussions - in the spirit of the 1955 Conversations of Salamanca - with sets of people from different sections of the film industry (a full list of participants is below) and filmed the resulting conversations about finance, production, distribution, and exhibition.
    All of the participants agree that Spanish cinema is in dire straits, and that this state of being has been allowed to continue for too long - either by being ignored or simply not being dealt with effectively - but beyond that initial point of agreement, the film expands into diverse discussions as to the causes of the malaise and what possible solutions might be. This diversity is where it gets really interesting because while there is a general sense of frustration or exasperation (in relation to certain issues, not least 'subvenciones', people are fed up with having to explain themselves and / or justify their livelihoods) - and at times a sad air of defeat - there is also anger and the sparks of people being willing to fight. So, where to begin?
    Education is mentioned several times in the context of cinema not being valued - one illustration given is that Spanish politicians are photographed at football matches and tennis games in the pursuit of votes, but you won't see them at the opera or cinema - and that to change that attitude some kind of audiovisual appreciation needs to filter into the school curriculum. 'Culture' is the operative word here; culture is more than entertainment, it is part of our identities, enriching lives, and it is also the manner in which a country exists in the outside world (through the images it generates). In the Spanish context, it's partly about countering the attitude of rejecting one's own culture - Spain does not have the reputation of respecting its own artists - and the proportion of the Spanish public who won't view a Spanish film simply because it is Spanish. The stereotype is that "Spanish cinema is the Civil War seen from the point of view of the Republicans" (statistics on how few Civil War films are made in Spain are repeated several times in the course of the film with great testiness). Politics rears its head at this point - is Spanish cinema too politicised? 
    There are proponents of the 'shut up and sing' attitude towards politically-inclined actors in the mix but I've never seen why artists should hide their political opinions - especially if they have the opportunity to give voice to sections of the community that are not being listened to (if the Spanish government feels publicly humiliated by the vocal criticism of its domestic and / or foreign policies that often occurs at the Goya Awards, they can rest assured that the right-wing press goes after the people in question with vehement intent the following day). Imanol Uribe shares the anecdote of a taxi driver who told him that by making their politics clear, those in Spanish cinema automatically set themselves up to be rejected by 50% of the population. I don't think it's that straightforward - I don't think the rejection of your home culture is (party) political - because although those Spanish films that are big box office hits (I'm thinking of the Torrente films or the likes of El orfanato, or most recently Ocho apellidos vascos) tend to be 'genre films' (for want of a better phrase - all films belong to one genre or other) with little in the way of overt politics, if the public were making their filmgoing choices on party-political lines then surely those few Spanish filmmakers at the other end of the political spectrum would have a better showing at the box office (on the basis that the Left are spoilt for choice, which would presumably split their audience, but the Right have little to choose from)? Did I miss Holmes & Watson: Madrid Days (2012) setting the Spanish box office alight?
    What does come across is a sense of frustration that - as an industry - they are not very good at countering misrepresentations that circulate in the press or society more generally. The discussions get most heated with the topic of subventions because it is here that there seems to be the greatest discrepancy between representation and reality. As many of them point out - a) it's a line of credit that has to be repaid, not simply a handout, b) numerous other industries, such as car manufacture and (bizarrely) the Catholic Church, receive far bigger subsidies than cinema, c) the money is reinvested in the local economy and generates jobs, d) all countries support their cinema (this goes back to the point of culture being more than entertainment). In the current economic climate, particularly in austerity-ridden Spain, public money being invested in cinema is not popular - but is that partly because of how it is represented (feckless Lefties running amok on taxpayers' money)? As producer Sandra Hermida urges, should they not be taking out full page ads in national newspapers proclaiming their achievements, the number of jobs created, and money invested locally? They generally need to be more proactive in countering misinformation. 
    Although the press is criticised for not supporting Spanish cinema, to the detriment of sustaining a connection with the Spanish public, I don't know that Spain is that different to other European countries (with the possible exception of France - which is held up a paragon of cinematic virtue more than once). Maybe my view is skewed because I mainly read the specialist press and perhaps the wider Spanish press give it little attention. But, for instance, how often does Empire put a British film on its cover? Sight & Sound probably has British covers (and coverage) more frequently (or focuses on British filmmakers, if not British films) but the mainstream likes of Empire and Total Film rarely put homegrown talent on the front cover and they're unlikely to get a multipage spread inside either. In contrast, in 2013 Fotogramas had 5 Spanish covers (which is unprecedented in the 9 years I've had a subscription), Cinemanía had 2 (which is 2 more than 2012), and at the more erudite end of the market Caimán Cuadernos de Cine had Spanish films on their cover 3 times and extensive coverage of what they're championing as 'el otro cine español' - so the specialist press in Spain is reacting to the free-fall being experienced by the Spanish film industry and attempting to actively promote the films it produces. Admittedly I don't know what their circulation figures are like, but it just seems a little simplistic to say that the Spanish press don't do enough to support Spanish cinema (although I would argue that in terms of the general press, and their attitudes towards the film industry, this probably is an area where politics come into play - as a group, and as individuals, 'los del cine' are attacked with regularity in the right-wing press).
    It's obviously difficult to change the structure of an industry, but most of the participants think that change is necessary - especially in terms of how money is distributed - and that even the most romantic ideal of the cinema needs to have an industry supporting it. Ángeles González Sinde and Agustín Díaz Yanes propose that the committees that distribute the money need to have people with experience of filmmaking and a better eye for talent, pointing out that the first films by Álex de la Iglesia and Alejandro Amenábar were produced by established directors (Pedro Almodóvar and José Luis Cuerda respectively) who recognised nascent talent and took steps to nurture it. The French system, wherein a percentage of the price of all cinema tickets feeds back into the French film industry, is held up as a possible model, and the price of tickets is generally seen as something that needs to be looked at more closely. On the one hand, tickets prices are seen as expensive (although as Rubén Ochandiano points out, people will spend more money buying a gin and tonic in a bar), but on the other nothing in life is free (piracy is also touched upon, with director Miguel Santesmases pointing to research that concluded that those who pirate the most are also those who are most willing to buy when given the opportunity - so accessibility is also an issue (BARATOmetrajes looks at that issue in a bit more detail)). Multiple contributors argue that the subventions should be aimed at the ticket prices rather than production costs, to encourage people back into cinemas, with producer Luis Manso suggesting that tickets prices for Spanish films could be cheaper than for US productions - not because their films aren't as good, but as a way of encouraging the Spanish public to see them (he also notes that it is impossible for Spanish productions to compete with Hollywood in terms of promotion or the number of copies of a film distributed). 
    One of the questions Luís María Ferrández asks is whether people can continue to make a living making cinema in Spain. The arts are a field with a strong vocational aspect and producer Pilar Robla counsels that each individual has to have a conversation with themselves about what working conditions they will accept, but the consensus seems to be that fewer and fewer people can 'live' on making films - and certainly there is not enough work to support the number of graduates coming out of various kinds of film schools. 'Cine low cost' is discussed in this context, as although the democratisation of technology has enabled filmmakers to make films without help from 'normal' sources, the participants here say that it's not a set-up that will allow them to continue making films and nobody earns (or is properly protected) on those productions (again, BARATOmetrajes contains some different points of view on this aspect). Producer/director Luís Miñarro argues that although crowdfunding can achieve specific things, it is not the basis of an industry. Likewise, talk of cooperatives - although useful in difficult circumstances - also highlights that you can't make a living long-term in those situations.
    If all of this sounds slightly depressing - and as I've already said, there is an air of sadness to the film - the vocational element of artistic endeavour is where hope remains. Too many people can't imagine a life without culture, without cinema: while people still have passion for film, cinema will survive. What this documentary suggests though is that cinema will have to utilise its capacity for innovation and creativity in order to adapt to the changing circumstances it finds itself in, and that there need to be more conversations and more communication within (and outside) the Spanish film industry if it is going to get back on its feet.
    Despite this turning into something of an essay, I've barely summarised what's discussed in La pantalla herida and I'd recommend it to anyone with an interest in contemporary Spanish film. It's available to rent on Vimeo (here) - there are no English subtitles, but if you have any Spanish at all, have a go (I'm by no means fluent but I found most of it easy to follow - it helps if you have an awareness of the issues under discussion).



The participants: José Luis Acosta (president of SGAE, writer and director), Belén Bernuy (producer), Marisa Castelo (intellectual property lawyer), Fernando Cayo (actor), Raúl Cerezo (president of the Academy of Spanish Short Films), Jesús Ciordia (actors' agent), Eduardo Chapero Jackson (director), Agustín Díaz Yanes (writer and director), Karra Elejalde (actor), Javier Elorrieta (producer and director), Valentín Fernández Tobau (writer and president of abcguionistas), Gustavo Ferrada (producer), Gil Parrondo (art director), Enrique González Macho (president of the Academy of Cinema), Ángeles González Sinde (ex-Minister of Culture, ex-president of the Academy of Cinema, director and writer), Fernando Guillén Cuervo (actor, producer, and director), Sandra Hermida (producer), Antonio Hernández (director), Carlos Jiménez (director of the Museo del Cine in Madrid), Julia Juániz (editor), Juan Ramón Gómez Fabra (president of the distributors of Spain), Enrique López Lavigne (producer), Joaquín Manchado (camera operator and DoP), Luis Manso (producer), Fele Martínez (actor), Luis Miñarro (producer and director), Pepe Nieto (composer), Rubén Ochandiano (actor), Lourdes de Orduña (costume), Pedro Pérez (ex-president of FAPAE - federación de productores audiovisuales), Félix Piñuela (director of Versión española, TVE), Paco Ramos (producer), Diego Rodríguez (president of the platform of festivals of the community of Madrid), Pilar Robla (producer and president of APPA (Asociación profesionales producción audiovisual)), Gerardo Sánchez (director of Días de cine, TVE), Miguel Santesmases (director), Susana de la Sierra (Director General of the ICAA (Ministry of Culture)), Hugo Silva (actor), Imanol Uribe (director), Manolo Velasco (camera operator and DoP), Nacho Vigalondo (director), Luis Zahera (actor).

Stella cadente / Falling Star (Lluís Miñarro, 2014)

My Eye for Film review of Lluís Miñarro's Stella cadente (2014) can be found here.

This was the only Spanish film I managed to see while I was at the Edinburgh film festival this past weekend but, if you are in the vicinity of Edinburgh this week, I'd recommend My Name Is Salt (Farida Pacha, 2013) (my review for EFF is here), Stray Dogs (Tsai Ming-liang, 2013), and Garnet's Gold (Ed Perkins, 2014).
Stella cadente is one of those films that has so much going on that connections slowly become apparent as it percolates through your mind later, so I do have more to say beyond my review - I'll come back to it on here soon.

Mercado de futuros / Futures Market (Mercedes Álvarez, 2011)

I had a weekend of watching Spanish documentaries including La pantalla herida / The Wounded Screen (Luís María Ferrández, 2014), which discusses the current sorry state of the Spanish film industry - I'm intending to write something about that one in the next week or so, but it may have to wait until I get back from a few days at the Edinburgh international film festival (which starts this week).

Blow Horn (Lluís Miñarro, 2010)

Available to view online with English subtitles here. 

Subtle Gestures and Tonsorial Distractions: Javier Bardem as a Travelling Performer

The Dancer Upstairs

That Javier Bardem idea I've been muttering about for more than a year has finally come to fruition (although, as is often the way, not quite in the form that I'd originally envisaged). The Cine-Files sent out a performance-related call for papers last November and my submission was accepted. You can now read 'Subtle Gestures and Tonsorial Distractions: Javier Bardem as a Travelling Performer' - in which I discuss Bardem's performances in Los lunes al sol, Mar adentro, Before Night Falls, The Dancer Upstairs, Vicky Cristina Barcelona, and No Country for Old Men - over at The Cine-Files. There are a host of other acting-related pieces on the site as well.

Lost Classic: Entre tinieblas / Dark Habits (Pedro Almodóvar, 1983)

I've written about Almodóvar's Entre tinieblas / Dark Habits for The Big Picture Magazine as part of their 'Lost Classics' series - you can read it here.

La leyenda del tiempo (Isaki Lacuesta, 2006)

My viewing habits are a bit skewed at the moment because my Filmin subscription is about to expire and I won't be renewing it in the immediate future - so I'm trying to watch the films they have that are difficult to get hold of on DVD (or that aren't currently available on DVD).

London Spanish Film Festival Spring Weekend

Image taken from the LSFF mailer

The London Spanish Film Festival's 4th Spring Weekend started yesterday. You can see an overview that I wrote over at Eye for Film, and I've also written reviews of 15 años y un día / 15 Years and One Day (Gracia Querejeta, 2013) [I'm slightly mystified by the awards attention it has received in Spain], Petit Indi / Little Indi (Marc Recha, 2009) [showing as part of a Sergi López retrospective, and my favourite of the films that are screening], and Todas las mujeres / All the Women (Mariano Barroso, 2013).

Petit Indi / Little Indi (Marc Recha, 2009)

Cravan vs. Cravan (Isaki Lacuesta, 2002)

El mundo que fue (y el que es) / The World That Was (and That Is) (Pablo Llorca, 2011)

Most of Llorca's films are available to view for free (without subtitles at the moment, but PLAT are due to launch an English site soon) here. I'm intending to write something about his films once I've watched a few more of them.

I've drifted off course a bit in the last week. I will return to El futuro, as previously indicated, but I've also finished the Pere Portabella boxset and am working out how to write about that collection of films.

Todas las mujeres (Mariano Barroso, 2013)

I've reviewed Todas las mujeres for the Spanish Film Review Club - you can find my post here.

BARATOmetrajes 2.0 (Daniel San Román and Hugo Serra, 2014) and cine low cost

    This timely (for me) documentary examines the phenomenon of 'nuevo cine low cost Español' / new low cost Spanish cinema, which has grown exponentially in the last couple of years. I'm going to take the opportunity of talking about the documentary to expand on the issue of 'cine low cost' as mentioned briefly in previous posts. Obviously there is an economic and social context to the increase in low cost cinema being made - austerity measures in Spain have seen reductions in government funding of cinema, and those kinds of schemes aren't always feasible for films made on the margins as some of them utilise expected audience numbers, which are not guaranteed or reliably predictable for independent cinema - but technological advances in recent years have also democratised production: more than one of the interviewees notes that you can make a film on your phone these days. However, technology alone is not enough to get a film made and seen.
    Interviewees in BARATOmetrajes 2.0 include directors, producers, distributors, festival programmers, and journalists, collectively taking the attitude that if you have an idea, a script, and friends who are willing to lend a hand, you can make a film - cinema is no longer the preserve of only the well-connected or the wealthy. However, there are evident tensions in relation to the idea of relying on friends - for example, producer Tina Olivares states that she would never embark on a film presuming that it was going to be low budget because that contains an assumption that she won't be able to pay people properly, something that she is unhappy about. Several of the directors interviewed were clearly uncomfortable about not being able to pay people (or themselves) properly for their work - this low cost cinema could still turn into the preserve of the rich if they're the only ones able to get by without a salary. 
    Funding in general is problematic - the films discussed were generally made for (low) five-figure sums but even that was hard won, often through appeals to friends and family, and increasingly via crowdfunding platforms (there is disagreement within the documentary as to the limits of crowdfunding in terms of how long it can remain viable as a funding source). The film explains the controversial system of 'subvenciones' (controversial in part because of how it's misunderstood - sometimes deliberately so when political point-scoring is going on - and the common misconception that the money goes into the filmmakers' pockets), and how it is loaded against smaller budget films, in a concise and clearly-illustrated manner. 
    Lack of money can have a knock-on effect on the aesthetic of a film, which may suit those who see these 'limitations' as adequate for the ideas they have and the speed at which they wish to work (several suggest that technical proficiency is overrated), but others evidently have aspirations for more ambitious productions. Relatedly, there is a discussion as to whether 'cine low cost' constitutes a genre, because there are certain recurrent characteristics (mainly dictated by the budget restrictions), chief among which is often what the film looks like - the films used as examples within the documentary looked quite different to each other stylistically, but others that I have seen online have a more generically lo-fi appearance. In terms of what I've read about cine low cost to date, it is generally spoken of as if it were a genre, which is part of the reason why it's separated out from the so-called 'other Spanish cinema' - although there are points of overlap insofar as both are termed 'independent' cinema (one interviewee asks "independent from what?") and usually low budget (although 'low' is always relative in financial terms). My project focusses on 'the other Spanish cinema' but I need to work out where the dividing line is and why films are put in one category or the other - are the 'other' films more ambitious or experimental? Or is it something else that differentiates them? Aesthetically the 'other' cinema encompasses a broad range of styles and methods of filmmaking - is this distinct from cine low cost? How do the two types/movements/phenomena connect with Spain's current social context?
     What I took from the documentary is that getting the film made is not actually the hardest part - getting it screened and seen by audiences is (another overlap between the two groups). Although technology has democratised production, the same is not true of distribution or exhibition. The Spanish market cannot cope with the volume of Spanish productions being made - for example, of the 107 Spanish films made in 2000, 3% never saw a commercial release; by 2007, with 172 Spanish productions, the proportion of unreleased films had risen to 14% (source: Yáñez 2008 and 2009 - I haven't managed to find more recent statistics on this specific aspect yet). Independent distributors are struggling in the current economic climate - Spain's biggest independent, Alta Films, a distributor and exhibitor of smaller / independent titles (whether American, European, or Spanish), shut its distribution arm last year and also had to close most of its cinemas. Meanwhile larger chains are also struggling due to the combination of the rise in IVA (which rose from 8% to 21% on entertainment in September 2012) and the cost of switching to digital (Spain is running behind many other European markets in that area), alongside people spending less on 'luxuries' - multiplexes are also closing down. In that environment, the bigger chains are less likely to take a chance on a smaller film that isn't a big draw for audiences. 
    In response, cinema is moving online - Márgenes, Filmin, and other VOD platforms are mentioned (I noticed that the littlesecretfilm initiative isn't included, which is a bit strange because it fits with the subject matter and they have been one of the most visible platforms for cine low cost, although I guess that their 'rules' set them apart), as is the possibility of filmmakers making their films pay-per-view through their own websites. El mundo es nuestro (Alfonso Sánchez, 2012) and Carmina o revienta (Paco León, 2012) are held up as (differing) examples of new and experimental distribution tactics that paid dividends, and the use of social media to generate publicity that they didn't have the funds to buy in the traditional sense.
     The issue of piracy, never far away in relation to Spanish cinema, also appears with members of the public offering the opinion that the Spanish won't pay for something that they can get for free. The low cost filmmakers admit to mixed feelings about their films being pirated because, while they would like to get paid, they would also like their films to be seen - the price of cinema tickets and DVDs (the former are broadly comparable with the UK, perhaps slightly more expensive, but the latter are noticeably more pricey in Spain) are seen as exorbitant in the current economic climate.
     BARATOmetrajes 2.0 is an interesting documentary that covers multiple aspects of the cine low cost phenomenon and includes a variety of opinions - quite often without an overall consensus, which serves to illustrate the diversity of people involved as well as the range of problems and possible solutions that they're encountering. Although it's not quite the topic I'm looking at, it's a good primer of what's going on alongside it, and is definitely worth watching if you have an interest in non-mainstream cinema. 

I watched it at Filmin, where it is showing for a few more days as part of the Atlántida Film Fest, but you can buy the DVD from the filmmakers' website - although note that it doesn't have subtitles.   

References:
Yáñez, J. (2008) - ' El cine español que no estrena', Cahiers du cinema España, January, no.8, pp.50-52.
Yáñez, J. (2009) - 'El cine español de 2007 que no llegó a las salas', Cahiers du cinema España, February, no.20, pp.52-53.

Bradford International Film Festival: The 'Other' Spanish Cinema

El futuro

    The 20th edition of the Bradford International Film Festival ran between the 27th March and 6th April 2014 at the National Media Museum with a diverse programme of films from around the world, including retrospectives of James Benning, Brian Cox, and Sally Potter, and Close-Up sections on producer/distributor Charles Urban, and the crime films of Yoshitarõ Nomura. I managed to catch a bit of (almost) everything but had timed my visit specifically to see the three Spanish films playing at the festival: Un ramo de cactus / A Bouquet of Cactus (Pablo Llorca, 2013), El futuro / The Future (Luis López Carrasco, 2013), and Costa da Morte / Coast of Death (Lois Patiño, 2013).  

   You can read the rest of my report on the 'other' Spanish cinema that screened in Bradford over at Mediático.

    I am intending to write about all three films here as well, probably starting with Luis López Carrasco's film (it's 67 minutes long, but I only scratched the surface in that report) at some point in the next couple of weeks.

Costa da Morte / Coast of Death (Lois Patiño, 2013)

Costa da Morte

At the end of last week I headed to the 20th edition of the Bradford International Film Festival for a few days, namely to see the three Spanish films that were screening - El futuro / The Future (Luis López Carrasco, 2013), Costa da Morte / Coast of Death (Lois Patiño, 2013), and Un ramo de cactus / A Bouquet of Cactus (Pablo Llorca, 2013) - although I saw quite a range of films while I was there.
A post about all three Spanish films will appear at Mediático next week but in the meantime I have reviewed my favourite, Costa da Morte, for Eye for Film.

True Love (Ion de Sosa, 2011)

Image taken from here

Available to view for free (legally) here. 

Uno de los dos no puede estar equivocado / One of the Two Can't Be Wrong (Pablo Llorca, 2007)

Available to view for free (legally) here.

Finisterrae (Sergio Caballero, 2010)

The Carlos Saura Challenge, Part 7: Los golfos / The Delinquents (1960)

In the reflection we see Julian (Manuel Zarzo) and Ramón (Luís Marín) eyeing up a potential victim

Director: Carlos Saura
Screenplay: Carlos Saura, Mario Camus, Daniel Sueiro
Cast: Luís Marín, Oscar Cruz, Manuel Zarzo, Juanjo Losada, Ramón Rubio, Rafael Vargas, María Mayer.
Synopsis: A gang of juvenile delinquents pool their resources to pay for one of their number to be put on the bill of a bull-fighting contest.

    So, almost seven months after my last post on the matter, the Carlos Saura Challenge restarts! And I've gone all the way back to the beginning to Saura's directorial debut.

    When I started the Challenge, in February last year, Los golfos had long been unavailable in any kind of home viewing / VOD format - in fact, I don't think there has ever been a Spanish DVD release of the film - so I kicked off the Challenge with his second film instead. But towards the end of the year, while perusing those 'Best Films/DVDs/Scenes of the Year'-type articles that proliferate in December, I discovered that a DVD of the film had been released in France in the summer (although only with French subtitles). The review bemoaned the quality of the print used for the DVD (as the stills in this post can attest) - and the Spanish Establishment's general lack of interest in film preservation or restoration (although producer Enrique Cerezo has taken matters into his own hands on that front) - but concluded by saying that to have the film available in any form is a good thing and in the circumstances would have to suffice. I tracked down a copy of the DVD (which features an interview with Pere Portabella, who produced the film, so my different projects briefly connect!) but didn't rush to watch it - watching a Spanish film with French subtitles is only marginally better than watching a French film with Spanish subtitles, and both give me a headache. Then I spotted that it was going to screen in Manchester as part of Viva, and I knew that I'd have to go and see it on the big screen (with English subtitles - the first film I've watched so far in this Challenge to have them!). You can read my review of the film for Eye for Film here. As I mention in there, the quality of the print was poor, but I'm glad I saw it in that format as it's likely that I'll be viewing the rest of his films on a variety of small screens.

    I don't want to replicate what I said in my review, so I'm just going to expand on a couple of points for this post. Like Llanto por un bandido, Los golfos suffered at the hands of the censors, although unlike the later film (which jumps so abruptly in the Buñuel-starring opening sequence that I thought the DVD had skipped) the excised footage appears to have been reinstated in the version that I saw. At the time, productions had to go through 'prior censorship', the submission of their script before they could start shooting, and because the censors were not production specialists they usually focussed on the narrative form. Saura's filmmaking to date had been in documentary, and he was not overly interested in questions of narrative, but Marvin D'Lugo suggests that the director's experience of going through four major rewrites for Los golfos gave him 'a deeper understanding of the ideological function of narrative as perceived in the censors' minds' (1991: 33). I think this put him in good stead later on where, as discussed in earlier posts, the narratives become more opaque and metaphorical - meaning that the censors had less to fixate on, or less that they could concretely point to for removal. But even here some of the editing choices lead to abrupt cuts that would seem to have been deliberate on Saura's part, to disrupt the 'normal' narrative form, rather than due to external tampering.

    The other aspect that I want to highlight is the stylishness of some of the robberies - there is a slickness to them that is difficult to connect to the other Saura films I've seen to date. That said, the robbery in a truck stop parking lot reminded me of certain sections of La caza - something to do with the lighting (that blazing sun that burns with a white heat almost comes through the screen) but also the combination of sharp timing and economic movement. Although Carlos Saura didn't work with Elías Querejeta and his 'house team', including acclaimed editor Pablo G. del Amo, until La caza, there is a kernel of something here that would blossom in that film - the perception I've come across in my reading is that Saura managed to create a masterpiece with La caza because he started working with Querejeta and Co. at that point, but the flashes of brilliance in Los golfos suggest that there was already something forming.

In front of frame, Chato (Juanjo Losada) waits to give the signal to those outside, while Julian (Manuel Zarzo) is on lookout in the rear of frame. The truck driver is sitting at the table behind Chato.

Chato is looking at the parking lot where Ramón (Luís Marín - in the foreground) relays the signal to Manolo (Rafael Vargas - standing between the trucks), who in turn gives the signal to...

Paco (Ramón Rubio) who proceeds to break into the truck. Saura rapidly cuts between close-ups of each of the men, ramping up the tension.

More Eye for Film reviews

Bertsolari

    I have been reviewing some of the films showing at ¡Viva! 20th Spanish and Latin American film festival at the Cornerhouse cinema in Manchester for Eye for Film. If you click on the titles, you will see my reviews of Los últimos días / The Last Days (Àlex Pastor and David Pastor, 2013) and Menú degustació / Tasting Menu (Roger Gual, 2013).
    I went to Manchester for the day on Sunday, to see two films - Carlos Saura's Los golfos / The Delinquents (1960) [yes, that does mean that the return of the Carlos Saura Challenge is imminent!] and Bertsolari (Asier Altuna, 2011), the latter of which is by far my favourite of the five films I've seen from the festival. A review of Los golfos will also appear on Eye for Film this week, but I will write a separate post for the blog so as to continue with the challenge.

Con la pata quebrada / Barefoot and in the Kitchen (Diego Galán, 2013)

Sara Montiel, one of Spanish cinema’s wilder women

Diego Galán’s documentary is screening at the 20th ¡Viva! Spanish and Latin American film festival in Manchester – I’ve reviewed it for Eye for Film, here.