Tag: Kimuak

Monday Movies: “Game,” and Female Film Makers in Basque Cinema

Ione Hernández  takes inspiration from an anecdote that film maker Luiso Berdejo told her from his childhood. In this story, she reflects about the belief in the weight of destiny, and the possibility of freeing oneself from it.

Lying in bed, Laura (María Vallesteros) is writing a letter to Adrián (Daniel Grao), her former boyfiend, from London. A poetic flashback takes us back to the childhood of the main character (César de Juan) and his sister Helena (Elisa Drabben), who travel in a car with their parents. To entertain them, the father (Álex Pastor) proposes a game: the next boy or girl that they see will be their future husband or wife. Roberto approaches with his scooter and passes by the car. Helena protests angrily because she doesn`t like the boy. Adrián`s look meets with that of Laura, a girl who is older than him. The action then returns to the present.

Hernández, one of the few female film makers in the Basque cinematographic industry, says this about women and cinema:

We are a minority. There are very few female directors. Besides, it seems like men`s stories generate more interest at the structural, thematic and other levels. It is difficult to direct, whether you are a man or a woman. But for us women it is a bit more complicated. If you want to direct, become a mother, and find fulfillment in life, you must make great sacrifices because of the time it requires from you. I am essentially a defender of good cinema. When you make a film, you express something very much from within. And if you are a woman, there will be an important part of this essence or this quality that will stay in your work. It is impossible not to appreciate feminine elements in the work of a woman. Nevertheless, there are also men who have this feminine quality, and women who are very masculine. In artistic creation, you have to connect rather more with your emotional side. At the end of the day, creation takes place on the basis of emotions.

Terminal: Looking the other way

A bus driver thinks that a junkie he used to see regularly has died. He regrets not having helped her. But soon she shows up again.

Have a great Tuesday with a Kimuak short!

Aitzol Aramio`s Terminal is an unhappy love story spoiled by the prejudices of the main character, a man who works at the ticket booth of a bus company (Miguel Ángel Solá). He falls in love with a young junkie (Blanca Oteyza), whom he sees every night on the bus that takes her from work, a night club, to home. This story is full of tenderness and subtlety. It is centered on the profoundly human, kind-hearted and transparent character of the drug addict, and shows the cowardice of the man who gives more importance to the woman`s past than the possibility of a future with her.

While the masculine character does not evolve, the young woman undergoes a profound transformation throughout the story. The concept of movement, of progress is materialized through the bus trip. The vehicle represents the crossroads of everyday existence where everyone takes a direction. In case of the woman, it symbolizes the path towards redemption, and the struggle to be happy. Bilbao`s Termibus ticket booth marks the turning point of this personal pilgrimage: the initial hell, and then that of the arrival, and the man`s rejection. Fortunately, the ending makes it clear that in spite of the pain, the young woman embarks on a new journey by herself. He however is anchored to a station from which he will never move. His existence is limited to observing the journeys that other people take every day. And like everything in life, this choice has a price: loneliness and melancholy. Under the day`s light, the bus runs around the city. Taciturn, the clerk grabs the bar with both hands, and his little finger keeps searching for the woman. But it is now too late. His incapacity leads him to regret things twice.

Ultimately, beyond the tender story of impossible love, the short film reflects about the distinctive positions people take before life. It criticizes a society where those who are stagnant look at the world from behind a watchtower, from a moral high ground, and do nothing to help others in their transformative journeys. Their inaction turns them into an example of virtue, when in fact they are cowards and egoists who feel nothing, and suffer nothing.

You can watch the silent short here:

https://youtu.be/nUnHIN4-tgM

Monday Movies: Duck Crossing

The passage of ducks is a recurring image in the history of cinema. Suffice it to mention such canonical films like The Circus (Charles Chaplin, 1928), Days of Heaven (Terrence Malick, 1978), Chinatown (Roman Polanski, 1974), Black Cat, White Cat (Emir Kusturica, 1998), Five (Abbas Kiarostami, 2003), etc., all of which have a shot where a group of ducks cross the scene. Basque short film maker Koldo Almandoz uncovers this mystery in his ingenious work Duck Crossing.

Koldo Almadoz`s short film Duck Crossing is a fake documentary, a subgenre that became very popular through This is Spinal Tap65 (Rob Reiner, 1984), and which was inspired to a great degree by the first films of Peter Watkins. Almandoz uses the mockumentary genre to show his fine irony in Duck Crossing, and uses many false documentary elements like irony, intrigue, false characters, and the use of archived material. In this work, he reflects about the curiously recurring shot that he calls the passage of ducks. The narrator`s voice over tells us about the significant role that ducks have played in the history of cinema, which lends the story a certain verisimilitude. The illustrating images, a group of black and white photographs of important films seem to verify his words.

A little later, we hear the testimonies of some of the directors who made these films, such as Michael Winterbottom, Emir Kusturica, David Fincher, Roman Polanski or Abbas Kiarostami. All of them praise the quality of the ducks as actors. Besides, the film unites the opinions of Tomás Sarasola, manager of the leading role duck, and the veterinary surgeon Jone Landaribar. Finally, the narrator recovers the thread of the plot to praise the acting talent of the ducks, and the technique of the passage of ducks.

Nevertheless, not everything is false in Duck Crossing. Although the approach and the development of the mockumentary may be absurd, its premise is very real. It is absolutely true that since the most remote beginnings of cinema until today, film directors all over the world have included in their movies a shot where a group of ducks emerges in the scene. The enormous work of research that the director has done—which is the most outstanding and amazing part of the short film—attests to that. It is this unquestionable reality, precisely, which incites the curiosity of the viewer, and captures them in the plot of the director. Once again, suspense defines the short film. But, just as with the most captivating mysteries, in this one there is no answer either. It doesn`t matter. Because what mattered was the road travelled. Almandoz summarizes it perfectly with the last phrases of the voice over of the narrator:

“The absence of a logical explanation disturbs us. But it is, in the end, part of the magic of cinema, which continues to hypnotize us with these small details.”

 

 

Almandoz said this about how he first thought about making this short film:

I was watching A very long engagement by Jean-Pierre Jeunet (2004) in the movie theater. I watched the scene where the postman comes, and some ducks cross the screen. I thought that I had just seen the same recently in Así en el cielo como en la tierra by José Luis Cuerda (1995). Then, I came to the conclusion that the world is full of the passage of ducks. In fact, the scene where a group of ducks cross the screen appears in many films. That`s how the idea came. Nevertheless, it took me time to figure out what I would do with this discovery.

 

Duck Crossing (2009) is part of Kimuak, the Basque Government’s program for the distribution and promotion of Basque short films worldwide. Koldo Almandoz is a short film maker based Donostia-San Sebastian, whose short films have gained national, state level and international acclaim.

 

Monday Movies: “The Great Zambini” by Igor Legarreta and Emilio Pérez

“The Great Zambini is a story that has a touch of sadness but, in the end, we can see some hope in the relationship between father and son.” Emilio Pérez

 

Situated in the middle of the desert, in an almost lunar landscape, a rickety roulette serves as home for a family that lives among the abandoned remains of an old circus. The son (Aníbal Tártalo) is ashamed of the father (Emilio Gavira) because he is a dwarf, and suffers the mockery of the other children. One day the father observes his son`s fascination with an image of the man stepping on the moon for the first time on television. He designs a plan to win his son`s admiration. The difficult relations between the central characters are articulated through their expressive looks that rarely cross, but perfectly condense the emotions that live within each one of them: the son`s shame, the father’s pain, and the mother’s sadness (Esperanza de la Vega), who is torn between the two.

One day the father is waiting for his son at the exit of the school and notices that, in front of him, a little girl is holding on to her mother`s hand, and watches him fixedly. The dwarf man winks, provoking a timid smile from the little one. His own son, however, is incapable of showing any sign of love for his father. He hides in the bathroom until the rest of the students leave because he is ashamed of showing with his dwarf father in public.

The father doesn`t tolerate his disrespect and punishes him by not allowing him to have dinner. The mother, however, who divides her love and understanding between them, brings him a sandwich to the canon, where the child once again hides from his father. The father observes the scene from the door of the mobile home and understands that he must do something in order to recover the love of his son. At this very moment, a fabulous plan is born, and magic erupts into the story, evoking with the magic of the old circus. Zambini relocates and re-furbishes the canon that, until then, served as the hiding place of the embarrassed child. With exquisite subtleness and narrative economy, the filmmakers reveal the father`s plan: resuscitate the old days in the circus, once again light the fuse of the marvelous scene where children`s hopes and dreams become reality, and thus replace the child`s embarrassment with fascination and admiration for his father.

Monday Movies presents Basque short films and contemporary filmmakers. The short films presented here have gained international recognition thanks to the Basque Government`s distribution program Kimuak, and they are part of the CBS`s upcoming book publication Kimuak Short Films: Seeds of Basque Cinema.

Click on the link below to watch the film. Enjoy!

 

 

 

 

Monday Movies: “The First Time” at 70

Let me explain. Imagine my situation. 70 years passed, and nothing… I had a boyfriend here and there, but… what I always knew is that I didn`t want to die like this. And since everyone says it`s a wonderful, fantastic thing, the truth is that… it intrigues you. And I told myself: Begoña, if this is something so nice, you can`t lose out on it.

Begoña is an elderly woman—and a virgin. Convinced that death is close, she decides to hire a male prostitute, Daniel, to satisfy her curiosity about the thing that everyone says is so beautiful and marvelous. However, this will not be an easy task for Daniel. The First Time is Cobeaga`s first short film, which he made before he would become a household name behind such box office hits like Ocho Apellidos Vascos, Pagafantas, the weekly comedy series Vaya Semanita, or his Oscar-nominated One Too Many.

The short film was nominated for the 2002 Goya Awards, and received more than 30 awards in Spain and at international festivals. In his trademark mood of bitter sweet comedy, Cobeaga presents a completely anomalous situation that is nevertheless based on a range of familiar clichés: prostitution delivered to home. What is different here is that the client is not a man, but an elderly woman played by a splendid Mariví Bilbao. After the initial surprise about his client, the young gigolo (Aitor Beltrán) finds himself before an unprecedented query.

Cobeaga said this about the film, and the dark side of being an Oscar nominee from the perspective of creativity:

I like to pick diverse and different actors. I like this mixture. This has been present since The First Time, and also in the feature films there is this contrast: theater actors, humorists who work in television, actors who come from TV series…I think that 80% of the work of actor direction is about the choice of the actors. Sometimes I write with a particular actor on mind, other times no, but the election is always very scrupulous. When it comes to facing the direction of actors, I feel very confident, and I like it to be an intellectual process; I am not at all sensory when I talk with the actors. I intend to be very logical with what each character would do in each moment, and my behavior is the same in the dialogue with the actor. It is fundamental that they read the script from beginning to end, and transform the dialogues. From the perspective of dialogue, the script is never closed, and this gives tranquility. It generates good atmosphere, and the actors feel comfortable.

At a more personal or mental level, an Oscar nomination has its dark sides. The impression that you arrived at the Oscar when you barely even started yet… I developed a certain obsession with not believeing it too much, and this lead to self-confidence issues. Besides, a week after the Oscars I shot Río Puerco,  the short film that I am least happy with.  It was a tough blow psychologically. I started to think that the Oscar was tremendously accidental, that it happened to me, but it could have happened to any other person. It caused me insecurity. I was of low morale until the first script of Pagafantas came out.

The Monday Movies series presents Basque short films and contemporary cinema. Most of these short films have gained international recognition thanks to the Basque distribution program Kimuak, and they are part of our upcoming book Kimuak Short Films: Seeds of Basque Cinema. Enjoy!

Monday movies: “The Raven” by Tinieblas González

We are pleased to announce that we are starting our Monday Movies series to present Basque short films and contemporary filmmakers! The short films presented here have gained international recognition thanks to the Basque Government`s distribution program Kimuak, and they are part of the CBS`s upcoming book publication Kimuak Short Films: Seeds of Basque Cinema. Enjoy!

In a mournful midnight, the writer Edgar Allan Poe tries in vain to entertain himself reading occultist books, and he constantly remembers his beloved Leonore, who died shortly before.

Once upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore—

While I nodded, nearly napping, suddenly there came a tapping,

As of some one gently rapping, rapping at my chamber door.

“’Tis some visitor,” I muttered, “tapping at my chamber door—

Only this and nothing more.

Edgar Allan Poe: The Raven

 

Tinieblas González and Karra Elejalde wrote the script of this short film on the basis of the American classic The Raven (1845), which catapulted its author, Edgar Allan Poe to fame. The adaptation keeps the same structure as the original poem.

The writer locks himself in his room, converted into a mausoleum, to dedicate his existence to the memory of the deceased woman. The music that evokes Leonor is associated with each of the apparitions of the beloved woman: the picture, the flashback and the hallucinations that torture Poe. This musical composition stands out for its subtleness. The room`s Baroque decoration features saturated red, resembling the iconography of the horror of Hammer Films. The cemetery evokes the suggestive imaginary of Monastery graveyard in the snow (1818-1819) by Caspar David Friedrich, the Romantic German painter, and its disturbing atmosphere is transferred to the forest that surrounds the mansion. Death transforms the woods into a sinister place where the branches of the trees reach toward the sky over a sea of snow. Poe is full of profound melancholy, and is lost outside on the fields. Leonor sends a seductive invitation to her husband so that he passes over to the other world.

Watch Part 1 and 2 here:

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Tinieblas González said this about about making The Raven:

The Raven had a design of excellent production, it was a short film that had a presence. I spent more than 19 million pesetas on it, and received a lot of criticism on part of some short film makers. They said that it was more like a feature film rather than a short film. Apparently, The Raven lacked the aesthetics of a short film. It was an accusation that did not at all correspond to reality. I had seen many short films at an endless number of festivals all over the world, and I knew that it was not the case. In spite of the criticism, people started to become enthusiastic, and invest more money in their short films. Nevertheless, all of this disappeared. The design of production is fundamental in a short film, but in the past years it has been rather neglected. Depending on the story it tells, cinema can be poor. But there are films that need to offer a spectacle. Because at the end of the day, for me, cinema has always been about entertainment. I don`t consider myself an artist, I consider myself a creator. A creator of ideas. I make films because I like entertaining. In fact, I think that cinema is first of all entertainment. And later, if a film stays in the annals of history, it may become a work of art.

 

 

 

 

 

Monday Movies: “One Too Many” by Borja Cobeaga

We are starting the Monday Movies series to present Basque short films and contemporary cinema! Most of these short films have gained international recognition thanks to the Basque distribution program Kimuak, and they are part of our upcoming book Kimuak Short Films: Seeds of Basque Cinema. Enjoy!

“And she left just like that?”

“Looks like it.”

“Without leaving a note?”

“I don`t know.”

What is a man to do when his wife has had enough and left? Joaquín and his son Fernando seek out the long-forgotten grandma in a nursing home with an ulterior motive. Gran is a marvelous cook, and the two men are more than pleased to have found another woman who takes care of them. But is granny really who they think she is? And if not, does it really matter, once she makes the finest chuletas and tortilla patatas?

To watch the video, click on the link to open it on Vimeo:

 

 

One Too Many by Borja Cobeaga, co-screen writer of the 2014 box office hit Ocho Appelidos Vascos (Spanish Affair) is a portrait of extreme selfishness when men see themselves overcome by loneliness. From the moment of her arrival, grandma takes charge of cleaning the house, which by now is a pigsty, and prepares exquisite meals for the two slackers who do not lift a finger to help her. One day, however, during a phone conversation with his estranged wife, Joaquín discovers that the woman who lives with them is in fact not Lourdes. She is an elderly woman who was so desperate to leave the nursing home that she was ready to become slave to these two egoistic idlers in order to escape her reclusion. Joaquín is at the point of confessing the truth to his son, Fernando, but when he seas the T-bone steaks the impostor has just brought for lunch, he decides to let the sham continue. Grandma, sensing that she was about to be discovered, shots a look full of fear and uncertainty towards the men, and holds up a succulent steak, the only weapon of seduction she has. One Too Many is a bitter sweet comedy about selfishness and the vulnerability of the elderly

 

Borja Cobeaga said this about how he first thought of making this short film:

“I was a little disillusioned, I was never happy with what I was doing, which is why I decided to apply the typical formula of writing about what you know. I grew up with a 70-year-old person, Agustina, the family cook all our lives. She was part of the family; she nourished me! I found a lot of inspiration in her. Elderly people can be very extreme persons with childish behaviors, like jumping the line in supermarkets, but in turn, they are also people with experience. These extremes seemed very good for a comedy. In the end, contrast is the most important element of comedy. Since I decided to write about what I know and started to do things that I most liked, I felt more identified, and I realized that the cliché was true. All the persons that Mariví Bilbao plays in my short films are inspired in Agustina. In conclusion, it`s about taking a real situation, exaggerating it, and putting forth a question: and what if this happened to this character? For example, the question that we formed in One too many was: What would happen if a father and a son were abandoned by the mother?”

 

 

Monday Movies: “Syntony”

 

We are pleased to announce that we are starting our Monday Movies series to present Basque short films and showcase contemporary filmmakers. The short films presented here have gained international recognition thanks to the Basque Government`s distribution program Kimuak, and they are part of the CBS`s upcoming book publication Kimuak Short Films: Buds of Basque Cinema. Enjoy!

“Shall I be honest? I think I`ve fallen in love.”

“Come on María, you barely know him.”

“It doesn`t matter. You just feel it. I think we have tuned in to each other, and that`s it!”

Sometimes it`s not a question of long conversations, or living together. Sometimes a particular situation or encounter is enough to connect with someone. “Syntony” (Sintonía) by Jose Mari Goneaga is a romantic comedy where a Basque man, stuck in a traffic jam on the highway, tries to call the attention of a woman sitting in another car. He wants to warn her that her scarf is stuck outside of the door. She doesn`t see him, however; she is absorbed, singing. He starts to tune in to radio channels, until the music`s lyrics finally match those on the woman`s lips. He calls the radio program to warn her about her scarf.

The man, timid and incapable of dealing with the woman face to face, lacks the social skills to approach her in person, but he finds a way to connect with her over the radio. The fear of failure, of rejection, paralyzes our spontaneity, and “Syntony” is about taking risks when we stand before the unexpected opportunities that life offers us. Watch the short film, only available in Spanish for now:

Goneaga, who has directed well-known feature films such as 80 Days and Flowers, said this about his short film:

I am not a great friend of metaphors but, when I structured the script, I considered the cars on the highway as metaphors for people. And the people who are inside are like our real “I.” Even though we live surrounded by people, we have difficulty connecting, tuning in with someone, and to reach their interior. We see people talking on the radio and the phone, but we don’t see anyone directly approaching another person. Also, there is a reflection on the incapacity that we sometimes have to open ourselves towards others. This shyness… I didn’t intend this as something specifically cultural, but I have been repeatedly told that the male character is very “Basque.” What happens is that in the end you are Basque, you put your personality into your character in a certain way, and the result is that they tell you that it is very “Basque.”

 

(source: www.kimuak.com)

 

Monday Movies: “On the Line”

We are pleased to announce that we are starting our Monday Movies series to present Basque short films and contemporary filmmakers! The short films presented here have gained international recognition thanks to the Basque Government`s distribution program Kimuak, and they are part of the upcoming CBS publication Kimuak Short Films: Seeds of Basque Cinema. 

On the line (2008), by the Donostia-San Sebastian based director, Jon Garaño, is a mockumentary (satire documentary) about the volunteer border patrols that oversee the border between the United States and Mexico.

The short film mixes three formats: news program, documentary, and fiction. It relates the life of a volunteer border patrol, Adam, who guards the Mexican-American border in order to prevent the arrival of illegal immigrants. Towards the beginning of the short, his wife, Jane, is preparing breakfast while chatting with the filmmakers about her children. It’s a big white working-class family. The woman is proud of her volunteer husband, and as a good wife, she brings Adam’s lunch. She says goodbye to him with her baby in her arms. This ideal family model of American society is opposed to the immigrant woman Eugenia`s figure, who is trying desperately to cross the border in the desert, with a baby in her arms. Eugenia is a single mother and does not have the family structure that Jane has. When Adam arrives at the post, his colleagues tell him that a couple of Mexicans are crossing the borders, and there is no trace of the police. He takes his rifle and rushes to the place where Eugenia was spotted. Watch the rest of the short film, and we hope you enjoy it!

Director Jon Garaño said this about this short film:

The topic occurred to me when I lived in San Diego. This American city is close to Tijuana, on the border. Every day there was news about illegal immigration into the United States, and it occurred to me that I should shoot something about this issue. But On the Line could have been set in Ceuta. Some local realities transcend their environment, and can be perfectly understood beyond their borders. In fact, we live very similar realities in the world. Like us, or any country that receives immigrants, Americans must recognize the importance of immigrants, and I wanted to reflect on this in a very subtle way. It is for this reason that we ended the story with a shot of the American flag. I think that this shot has not been correctly interpreted. It was understood as a criticism. Possibly I erred in the form of expressing the message, but what I wanted to transmit is that those who cross the border are now part of the country.

Stay tuned on Mondays for more on the Kimuak series, and the upcoming book.

Post by our new Professor, Mariann Vaczi. Interview coming soon!