00:09 One of the defining features of cinema for me is the capacity
00:15 to provoke transformation in the spectator.
00:20 For me, cinema has always been a mirror.
00:26 to understand and to approach life
00:30 and to understand it.
00:32 And I have the feeling that I have beaten him.
00:34 this game of life,
00:37 to have been able to dedicate myself professionally to cinema
00:39 and to have made the films,
00:41 not as many as I would have liked, many have fallen by the wayside,
00:45 but I've made the films I wanted to make
00:46 and how I wanted to,
00:48 which I thought was normal,
00:49 but I see it's not at all.
00:51 So I have that satisfaction.
00:57 That feral point
00:59 that got me into the film industry by kind of sneaking in,
01:03 it's been difficult because I've had a lot of loneliness in the process.
01:06 but, at the same time, I had some great advantages,
01:09 like not having rules
01:11 and start working with the video,
01:12 when they said video wasn't cinema
01:15 and, actually, I thought the instruments were,
01:20 that the important thing is to tell stories in pictures
01:24 or to tell sensations, or to try the experimental video
01:27 or some other series of things.
01:37 It's true that in the cinema there are very big changes,
01:41 very obvious.
01:42 One of the most important
01:44 is how we've got used to watching cinema at home,
01:48 because it's not just stopping going to the cinema,
01:50 but it's giving up a number of social activities,
01:53 of communication and discussion that went along with that departure.
01:57 which usually used to be in company
02:00 and that, after seeing the projection,
02:02 I was taking you to talk about cinema.
02:05 I think how you watch cinema is also important.
02:08 Cinema is no longer going to be watched in a global way,
02:13 in other words, the narrative breaks down:
02:17 it's hard enough to get people to watch a film from the beginning.
02:21 to the end, and to watch it in solitude and to watch it in silence,
02:24 and without gastronomic hindrances, or calls, or lifts.
02:28 So I think that creates the end of an element.
02:32 and a very important cultural instrument that, I think, for a very long time
02:36 has built generations and generations of thought and culture.
02:47 Another change in the face of the realisation as well,
02:52 is that the heats lead to a flatter performance,
02:56 to a less complex cinema,
02:59 more obvious.
03:02 And much of the talent of the filmmakers
03:06 has to be in the service of stories that sell,
03:09 but which are often more banal.
03:11 Neither public broadcasters nor public bodies can do it.
03:14 subsidise a banal cinema, which is what they are doing
03:17 to try to compete with those other channels,
03:21 because that competition is unthinkable, it's not going to exist.
03:23 The cinema site, in any case,
03:25 would have to be the site of the stories
03:28 that the multinationals are never going to tell,
03:32 because they are close stories, and in the way they can be told,
03:34 which is without creative limits.
03:36 I mean, we can't lose that cinema
03:39 which had already become an engine of creation and thought,
03:41 into a broken nothingness in banality.
03:49 I want to make a film that has that capacity to move.
03:53 but, at the same time, to make you think.
03:56 and to make us more thoughtful beings.
03:59 and able to go through the barriers
04:02 that real life sometimes doesn't allow us.
04:05 Then I have a bigger concern
04:09 to go back to the origins, to make a more authentic cinema.
04:13 I want to say that already in 'Stranded' I start,
04:15 I think unconsciously or consciously,
04:17 to this purification, to this cleaning
04:19 to take off the trimmings,
04:22 because the decorations can be done by anyone.
04:24 And to have that need to go back to how cinema used to be made.
04:28 when that tool was almost unknown.
04:31 But of course, with all the pleasure and all the learning...
04:34 from after the cinema that I've seen in my life, which has been a little bit.
04:44 For me it's pleasant, but I have the feeling
04:48 that I complete the look of the world,
04:51 so inside that cinema I feel like counting,
04:53 I think I know the female characters well
04:56 and, not coincidentally, in many of my movies
05:00 I've gone in there to count men and women,
05:03 how we women feel, how we dream and how we live.
05:06 I lived that at home,
05:09 I mean, my mother was a feminist and I was always very sensitive.
05:12 to the injustice of the different world
05:15 that was presented to men and women.
05:18 I saw that we were equal, that we were intelligent,
05:21 that my mother's opinion was taken into account and yet,
05:24 there were a number of things that were denied to you because you were a woman.
05:27 Among them, for example,
05:29 dreaming of being a film director.
05:31 When I was a little girl, it was one of my dreams.
05:33 that didn't exist in my generation,
05:35 because also there were no referents
05:38 of women directors and therefore you couldn't think about it.
05:45 We can't forget that cinema and, above all,
05:48 Basque cinema, and Basque cinema directed by women,
05:51 needs a very strong investment from the institutions.
05:55 I want to say that talent is drowning
05:58 if it doesn't have a chance to tell stories, doesn't it?
06:06 So, Basque industry and Basque public television,
06:09 what they have to do is to support at the first moment of start-up,
06:13 because there's a lot of films that the funding is not going to be determinant
06:18 because you have to ask for a lot more,
06:21 but if you at the start you have the support
06:26 either from the cultural institutions or from ETB or from both,
06:29 automatically you go to Madrid
06:32 or you go to an international co-production, and you already have that support.
06:35 So, I think you have to be very careful about that.
06:38 and that the institutional lines have to be very clear
06:41 that the support of Basque cinema
06:43 has to go along these lines,
06:45 both in the novice directors
06:47 that they have to have a push to be able to do their work,
06:50 as in maintenance.
06:52 We've seen that one of the great tragedies of the cycle
06:55 is that there is no continuity in most of the directors.
06:58 90% of the female directors have stayed in one work.
07:01 Also, we are in a moment
07:04 particularly hard to get a film out,
07:08 so we've got to have some sensitivity there
07:11 and push for those beautiful films
07:14 that are yet to be, yet to come out,
07:17 can come out and can come out in the best conditions.
07:22 And we have to put now, I think, the emphasis on educating.
07:27 Education for artistic sensitivity
07:30 and cinematographic sensibility in the new generations.
07:32 They have to know and love cinema.
07:36 It's no coincidence that he was from Alsasua.
07:39 and that she came to the Donosti Film Festival from a very young age.
07:41 So, there I had an extraordinary nourishment
07:44 that now you can have all year round
07:46 through Filmoteca's programming,
07:48 of the activities that take place here.
07:51 The public coming,
07:53 associates that if they come to Tabakalera, they'll do something interesting,
07:56 that if he comes to the Filmoteca
07:57 there's going to be some interesting programming.
08:02 For our races, it's obviously a support
08:04 to know that you've got the work there, that you can see it
08:07 that the projections are so neat that it's a pleasure,
08:10 that everything is taken care of, that cinema is loved.
Tabakalera-denbora | Vincent Maraval
09:44
Tabakalera-denbora | Uxue Alberdi
08:14
Tabakalera-denbora | Ted Hope 08:53
Tabakalera-denbora | Susanna Tesconi
09:20
Tabakalera-denbora | Ricardo Díez Muiño
11:15
Tabakalera-denbora | Niño de Elche 08:48
Tabakalera-denbora | Maria Ptqk
09:47
Tabakalera-denbora | Marcos García
08:49
Tabakalera-denbora | Jone San Martín
10:07
Tabakalera-denbora | Jon Cazenave 07:43
Tabakalera-denbora | Javier Pérez Iglesias
07:49
Tabakalera-denbora | Isabel Herguera
11:12
Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
07:55
Tabakalera-denbora | Dea Kulumbegashvili 09:47
Tabakalera-denbora | Christine Vachon 07:26