10th Muestra de Cine de Lanzarote

Hikes on the Island

© Editorial Lancelot, cedida a la Memoria Digital de Lanzarote

Memory Scenarios: Fishing and Canning Industry in Arrecife

Guide: Sanjo Fuentes Luis
Date: Saturday, 28/11/2020
Start time: 10:00
Difficulty: Low
Time: 4 hours
Language: Spanish
Limited Places

The archaeologist and professor Sanjo Fuentes Luis will lead a guided walk taking in places that were instrumental in the development of the fishing and preserves industries in Arrecife. During the walk, the history and particular features of places where preserve companies like Lloret y Llinares, Ojeda and Garavilla were located, will be explained. Additionally, the tour will offer a panoramic view of Portonao bay and salt flats and offer insights into the importance fishing once had for the island of Lanzarote.

© Asociación Milana

Routes of the Woodlouse

Guide: Juan Cazorla Godoy (Asociación Milana)
Date: Saturday, 03/12/2020
Start time: 10:00
Difficulty: Low
Time: 3 hours
Language: Spanish
Limited Places

Juan Cazorla Godoy, a biologist and promoter of local development initiatives, will guide this walk through the village of Guatiza and Mala, explaining the culture associated with the exploitation of the prickly-pear cactus and cochineals, encompassing agriculture, heritage, history and the biology of the plant and the insect originally from Central America. The walk will also take in a visit to Asociación Milana and see first-hand some products derived from the prickly-pear cactus and the cochineal.

© José de León

Lanzarote: A People Born From The Ashes Arose

Guide: José de León Hernández
Date: Saturday, 05/12/2020
Start time: 09:30
Difficulty: Medium
Time: 4 hours
Language: Spanish
Limited Places

José de León, an archaeologist and doctor in History, will be the guide on this walk through some of the areas that came into being following the volcanic eruptions in Lanzarote in the eighteenth century. We will see proof of the inventiveness of humans in adapting to devastating eruptions and surviving once the volcanoes returned to calm. The imperative to survive meant that they were able to bring fruit from the ashes, to build shelters in the lava, to cross an ocean of rocks to reach the sea, to discover life between the cracks and islotitos, small plots of fertile ground. We will realize how a people was forged, capable even of changing its religious imagery for a newly arrived Madonna. We will not just see a transformed territory but shall also sense the vital beat of those new lives.

Education & Training

Workshop “Sound and landscape. Listening and sound recording”

The sound engineer Amanda Villavieja

General information

Dates: December 18, 19 and 20, 2020
Limited places
Free registration

Description of the workshop

Contemplating a place with an aesthetic intention is what turns it into a landscape. With this idea in mind, and guided by Amanda Villavieja, one of Spain’s most widely acclaimed film sound engineers, we will take a trip around the island of Lanzarote. Strolling, choosing a place and listening… During the walk we will gradually create a tension between what we see and what we listen to, shifting between the static and moving, analysing different points of listening. Discovering with and through sound. We will explore the connections between the different forms of sound we come across on the ground, reflecting on the soundscape, and also creating a kind of diary of the island’s aural memory.

During the walks we will learn about recording techniques and experiment with different kinds of microphones and recorders.

We will explore Lanzarote during the first two days, dedicating the third day to a critical listening of the recorded soundscapes, and then finish with a session open to the public featuring the various compositions created over the course of the workshop, all of which will be aural renditions of the island.

Responsable del curso

Amanda Villavieja is a sound engineer. She is dedicated to documentary and fiction cinema. Some of her works are La leyenda del tiempo, Los pasos dobles, El cuaderno de barro, Los condenados, La próxima piel y Entre dos aguas, by Isaki Lacuesta; Mimosas and O que arde, by Oliver Laxe; En construcción, Guest, En la ciudad de Sylvia and La academia de las musas, by José Luis Guerín; La virgen de agosto, by Jonás Trueba; Viaje al cuarto de una madre, by Celia Rico; El cielo gira and Mercado de futuros, by Mercedes Álvarez; El viaje de Marta and Seis días corrientes, by Neus Ballús; Tierra negra and El foso, by Ricardo Íscar; Nadar y Volar, by Carla Subirana; Penélope, by Eva Vila; Ich bin Enric Marco, by Santiago Fillol and Lucas Vermal; Love me not, by Luis Miñarro; Las letras de Jordi, by Maider Fernández Iriarte; Les Unwanted de Europa, by Fabrizio Ferraro; La estrella errante, by Alberto Gracia; Ver a una mujer, by Mònica Rovira; Miriam Miente, by Natalia Cabral and Oriol Estrada or Las niñas, by Pilar Palomero. He also teaches sound classes at the Pompeu Fabra University, at the IDEC Master in Creative Documentary, at the UAB Master in Creative Documentary, at ESCAC or at ECIB.

Lecture “The Vital Shot”, by Roger Koza

Still of the film «Lluvia de jaulas», directed by César González (2018)

Information

Lecturer: Roger Koza

Friday, 27/11/2020
17:30
El Almacén

Adorno’s famous affirmation “To write poetry after Auschwitz is barbaric” has been reiterated time and again. The grounds for his reasoning are unquestionable, and any given scene in Night and Fog would suffice to confirm the philosopher’s dictum: the bones scattered on the ground, the piles of hair, the severed heads in bowls are reason enough to resign from the world of the living. Yet the institutionalised cruelty and the perverse pleasure of the wicked is of a completely different symbolic order to the devastation and sense of defeat brought about by the blind terror nature is capable of wrecking, with tsunamis, viruses and volcanos afflicting everyone indiscriminately. A life or whole culture snuffed out by a river of molten lava, an entire city buried for ever. Disaster and annihilation ruthlessly lay bare the contingency of the self and the finitude of all things.

Cinema has given us a whole plethora of depictions of either historical or imaginary events that put collective desire to the test. What drives a man or a woman to keep going? Nothing is more unfathomable than the human will. Sometimes the mystery is adumbrated or outlined in a film. What this encounter intends to do is propose an inventory of gestures, actions and shots that may help us to pinpoint that exact vital moment when we cast aside misfortune and choose affirmation.

Educational sessions for schools

Students during an educational session in 2019

Description of the programme

In recent decades, literacy in the audiovisual medium has become a basic requirement. If the invention of the printing press in the fifteenth century made literacy in reading essential— to the point of using the adjective illiterate to designate people lacking learning—now the new prevailing language is unquestionably audiovisual. Those unable to understand the purpose of images, how they are shaped and their attending intentions, will find themselves as perplexed as people fifty years ago who were unable to read or write their own name.

In this new era of the total image, our lives are entirely surrounded by photographs, videos, gifs or animations. Images which, whether we are conscious of it or not, lead us to take a particular political stance, to muster support for or empathy towards certain values, to rearticulate or to distort our memory, and so on.

Faced with this development, it is now of pressing urgency to create educational spaces that will allow young people to learn and acquire insights into audiovisual languages. That in fact has been the primary goal of the Muestra de Cine de Lanzarote over the last decade. In all these years we have organised public sessions aimed at bringing students from all the high schools in the island to Sala Buñuel to watch and analyse a film in the company of the filmmaker Nayra Sanz. And every year, a minimum of five or six schools took part in those debates and had a chance to understand what a film can trigger in the spectator and, more specifically, why and how.

Unfortunately, the current health situation affecting this year’s Muestra makes it impossible to invite young people to our cinema. However, as we believe that it is crucial to persevere in our mission, we decided to set in motion a didactic plan for the Muestra to continue reaching out to a field we believe is essential: education.

We have created a guide for teachers to use in analysing the film selected: Tódalas mulleres que coñezo (All the Women I Know), by Xiana do Teixeiro, a feature length film from 2018 that calls into question the role of women in society and, in turn, helps us to draw attention to gender roles within that very same society. A pressing task in a world in which the female body can be, and often is, constantly assaulted and abused.

Responsable del programa

Nayra Sanz Fuentes is a film director, scriptwriter, editor and producer who graduated with a degree in Spanish Philology, majoring in contemporary literature. She went on to take a Master in Advanced Studies at the Humboldt University of Berlin thanks to a scholarship from DAAD, the German Academic Exchange Service. Her field of study focused on the national-socialist body through the work of the filmmaker Leni Riefenstahl. Afterwards she took a Master in Film Directing in New York, where she lived for two years and started to work on film productions.

On returning to Spain she set up a production company called Rinoceronte Films, whose mission is to produce films and develop cultural projects. At the moment, her filmography contains seven fiction and non-fiction shorts: Selfie (2019), In Those Lands (2018), Sub Terrae (2017), Just Another Day (2014), Things in Common (2011), Encounter (2010) and Anniversary (2009). Overall, they have been screened at more than 200 film festivals worldwide and have won several awards including the Caracola Alcances prize at the Cadiz Documentary Film Festival, the Edward Snowden prize and the Miradas Doc Award, among others.

Her first feature-length film, As Old as the World (2012), won the Círculo Precolombino de Oro at the 29th International Film Festival of Bogotá and has also been screened at many other festivals and in cultural centres and universities.

She has also worked as unit production manager and editor for the documentary film Edificio España (2014), nominated for the Goya Awards in 2015, and as co-producer and co-scriptwriter for The Hidden City (2018), both directed by Víctor Moreno. At once, she is a former programmer for Ciclo Docma at Matadero Madrid and has also lectured at the Master in Documentary Film at the LENS School of Visual Arts in Madrid.