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Operación H

In 1963, the businessman Juan Huarte Beaumont, art patron, collector and founder of X Films, a film production company based in Madrid, invited the Basque artists Nestor Basterretxea and Jorge Oteiza to make a promotional short about his companies. Certain conditions were attached to the commission: the artists were each to present finished scripts without any contact with each other about them. Huarte chose Basterretxea's script, and Basterretxea directed the film, which was given the title 'Operación H' in postproduction.

Operación H

9.0 1963
Torerillos, 61

This short film "Torerillos 61" is one of the first works of the master Patino, which tries to portray the Spanish society of the time outside the state convention and dodging the hand of censorship. Social commitment is the brand director throughout his long career, starting with short films such as this one, made in the early sixties, in the wake of the statements in Talks Salamanca. The sadness off the characters portrayed is bleak, "Maletillas" (aspiring bullfighters) in search of luck to pull them out of poverty.

Torerillos, 61

6.5 1962
El Rastro

In the sixties, just before starting his career as a feature film director and his parallel career of the Anticine, Javier Aguirre had a brief career as a documentary filmmaker, which served him to test and rehearse many procedures that he would put into practice in the avant-garde aspect of his work. The trail belongs to that period, a few years full of mystery, but whose works are emerging demonstrating the portentous gaze of Aguirre. The trace has hardly been seen in the last sixty years, and it is an opportunity to recover this vision between anthropology and the vanguard of one of the hallmarks of this city. The film has been restored by the ECAM Archive in collaboration with Filmoteca Española.

El Rastro

NR 1966
Circles

The geometry of circles and ellipses is explored using the Roman Colosseum as an example. Using the Pantheon as another practical example, this program explores the concepts of central and intercepted angles, arc segments and chords. The Etude du Cinéma de l’Ecole de Barcelona (a short-lived group that appeared in Spain in the 1960s) offers the opportunity to consider the distrust of the avant-gardes with regard to narrative. The lacunar narration whose principle the School of Barcelona adopts goes against the traditional narrative and its quest for coherence and continuity. She invites the viewer to make the disconcerting experience of unbinding and emptiness. Such an approach involves an ethical posture. The Barcelona School follows in the footsteps of a modernity that intends to move away from an alienating authoritarian discourse and claims to make the spectator a partner in creation.

Circles

8.5 1966
Aidez l'Espagne

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrospective exhibit in 1969. There were heated discussions on whether it would be prudent to screen the film during the exhibit. Portabella took the following stance: "either both films are screened or they don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

Aidez l'Espagne

6.4 1969
La respuesta

On May 22, 1960, an earthquake with an intensity of 9.6 on the Richter Scale was recorded in the city of Valdivia, considered to date the largest and most violent earthquake ever recorded in the world. The cataclysm devastated the entire Chilean territory between Talca and Chiloé, which corresponds to more than 400,000 km. It resulted in the deaths of around three thousand people, while two million were left homeless. The film documents the efforts of a hundred workers in the face of the threat of the overflowing of Lake Riñihue.

La respuesta

NR 1961