Official Section

An Unusual Summer

Miércoles, 02/12 · 19:00 · El Almacén

Night Shot

Miércoles, 02/12 · 21:15 · El Almacén

My Mexican Bretzel

Jueves, 03/12 · 19:00 · El Almacén

Il buco

Tuesday, 30/11 · 19:00 · El Almacén

Las razones del lobo

Jueves, 03/12 · 21:15 · El Almacén

A Night of Knowing Nothing

Tuesday, 30/11 · 21:00 · El Almacén

El piso del viento

Wednesday, 1/12 · 19:00 · El Almacén

Purple Sea

Viernes, 04/12 · 19:00 · El Almacén

All Light, Everywhere

Wednesday, 1/12 · 21:00 · El Almacén


Thursday, 2/12 · 21:00 · El Almacén

We look forward to the day when we don’t need to underscore it. In a few years, let’s hope not too many, we won’t even pay any special attention to it. Perhaps it will even go unnoticed. That would mean that the policies of recent decades would have had an effect and a new milestone would have been conquered in the fight for equal rights. However, today it is still something to celebrate: in this tenth edition of the Muestra, four of the five films screened in the Official Section are directed by women.

So, this year there are more women than men competing for the prize, something that had not happened before in our ten years. And the merit is not ours: we only noticed it after the fact, when we were contacting the directors of the films that the selection committee had chosen without valuing any criteria other than their quality. The merit, then, belongs first and foremost to the directors themselves for the extraordinary movies they have made. Secondly, and so we hope, the effect in the mid-term of a change of cycle in cinema, culture at large and the world. A reason to celebrate in these tough times we are going through.

Like in all its previous events, for this section the Muestra has chosen the features films it considers the most outstanding of the year. The five films have been selected among hundreds. All five are underwritten by highly sensitive takes on compelling issues, and all five force us to look at the world with new eyes. And not just with new eyes, because they also give rise to new reflections from new viewpoints and with new and more refined ways of feeling.

Naturally, the focus of each one is different, and so too is the subject matter addressed. In some cases, one can discern a feel-good, comedy-like tone; in others we perceive a nostalgia for times long-gone, familiar times intertwined with historical time. But in all of them we can invariably trace two substantial matters: an interest in disarticulating the image before composing it again beyond prevailing rationales, and a keen awareness that violence, injustice, abuse and conflict are still part of a world that has many things to put in order. And they have more things in common, among which one in particularly stands out: the five films engage in a singular relationship with the spectators, a distance and a closeness that assign them a place and allot them freedom. Contrary to platform movies—increasingly more repetitive, simplified, more and more algorithmic and narcissistic—these films defend a place for what is truly important, in other words, for those things that leave a trace behind them.