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Focus: From the beginning. Histories of Feminist Cinema

El telegrama, Helena Lumbreras


From the very beginning. Histories of Feminist Cinema III

The focus on the discovery, rediscovery and recognition of films made by women is back for its third edition. The programme breaks with cinema’s canonical history and offers a new perspective with new names and films. We return this year in collaboration with the Mostra Internacional de Films de Dones de Barcelona and its 6th Feminist Filmic Manifestos showcasing the work of various American and European collectives made in the 1970s. These films arose from discussions that took place amid the historical climate of activism. They were made by the Sheffield Film Co-Op and Leeds Animation Workshop in the UK, Iris Films in the USA, the 150 ore programme in Italy and Les Insoumuses in France. We also dedicate a session to the women enrolled on the Directing course at the Official School of Film in Spain (IIEC/EOC). The programme is the result of research by Sonia García López and is completed with a live music intervention by Mursego.


Friday, January 29, 19:00

VI Feminist Film Manifestos

Presentation: María Zafra (Mostra Internacional de Films de Dones de Barcelona)

In the Best Interest of The Children, Francees Reid, Elizabeth Stevens and Cathy Zheutlin, EEUU, 1977, 53'

A question of choice, Sheffield Film Co-Op, Gran Bretanya, 1982, 18'

Give Us A Smile, Leeds Animation Workshop, Gran Bretaña, 1983, 13'


Saturday, February 27, 19:00

VI Feminist Film Manifestos

Presentation: To be confirmed.

Scuola senza fine, Adriana Monti en colaboración con el programa de formación de 150 horas, Italia, 1983, 40'

The Live and Hard Times of Susie P. Winlkepicker, Deborah Hall y las Woman and the Law Collective, Reino Unido, 1986, 35'


Friday, March 26, 19:00

Dialogue with VI Feminist Film Manifestos

Presentation: María Palacios Cruz and an ex student of EQZE.

Seeing for ourselves - Women working with film, Margaret Williams, Gran Bretaña, 1983, 56'

Plutonium Blonde, Sandra Lahire, Gran Bretaña, 1987, 16’


Saturday, April 24th, 19:00

¿Por qué duele el amor? 

With the music by Mursego and presented by the researcher and curator Sonia García López. It's a project made in collaboration between Spanish Film Archive and Mostra de Films de Dones de Barcelona. The music was asked by the Spanish Film Archive.

Aquella primavera, Ángela Asensio y de Merlo, 1958, 7’

Novios en el parque, Kathlyn Waldo, 1960, 5’

El telegrama, Helena Lumbreras, 1961, 7’

Encuentro, Kathlyn Waldo, 1964, 17’

Carmen de Carabanchel, Cecilia Bartolomé, 1965, 16’

La otra soledad, Josefina Molina, 1966, 16’    


Saturday, May 21st, 19:00



From the very beginning. Histories of Feminist Cinema I. 2018-2019

All histories have a beginning. But there is not a sole history. When they are narrated, histories are created word by word. Film by film, in the case of the history of cinema. And, just as all histories have a beginning, all cinema histories have a first film. In many historic reviews of cinema, that first film is usually La sortie de l'usine à Lyon (Workers Leaving the Lumière Factory in Lyon)by the Lumière brothers. The beginning that we propose in this film cycle is also in 1895 and in a closed screening of the same movie. But we invite you to change your view and discover one of the spectators sitting in the audience: Alice Guy. A year after that session, Guy was to direct what is now considered to be the first fiction film in the history of cinema. She was there from the beginning and, for that reason, we want her to be our beginning. The rest of the journey will be alongside other female directors, accompanied by women's voices that will gradually construct this historic review of feminist films. A possible history, amongst many.

Madame a des envies, Alice Guy, Francia, 1906, 4' DCP, La souriante Madame BeudetGermaine Dulac, Francia, 1923, 35' 16mm, Étude cinématographique sur une arabesque, Germaine Dulac, Francia, 1929, 7' 16mm, At landMaya Deren, EUA, 1946, 15' 16mm, Glimpse of the garden, Marie Menken, EUA, 1962, 5' 16mm, Daisies, Věra Chytilová,República checa, 1966, 76’ DCP, Riddles of the SphinxLaura Mulvey, Peter Wollen, Reino Unido, 1977, 92, DCP, Soy Cámara. La carcajada de la Medusa, Marta Nieto, Marga Almirall, 2018, España, 20’, Older Women and Love, Camille Billops, James Hatch, 1987, EUA, 27’, History of the World According to a Lesbian, Barbara Hammer, 1988, EUA, 17’, The Gold Diggers, Sally Potter, 1983, Gran Bretaña, 89', De stilte rond Christine M. (A Question of Silence), Marleen Gorris, 1982, Países Bajos, 92', The Watermelon Woman, Cheryl Dunye, EUA, 1996, 90’, Gut renovation, Su Friedrich, 2012, 81'


From the very beginning. Histories of Feminist Cinema I. 2019-2020

Maso et Miso Vont en BateauNadja Ringart, Carole Roussopoulos, Delphine Seyrig & Ioana Wieder (Les Muses s'amusent), Frantzia/Francia, 1976, 55’, Pour mémoire, Delphine Seyrig, Frantzia/Francia, 1987, 11’, Fad'jal, Safi Faye, Senegal, Francia, 1979, 112', Cosas de mujeres, Rosa Martha Fernández, Mèxico, 1987, 45', Pond & Waterfall, Barbara Hammer, EEUU, 1982, 15', silent, Cosmetic Emergency, Países Bajos-Canadá, 2008, 8', L'aggettivo donnaColletivo Feminista Conema-Roma, Italia, 1971, 55', Gendernauts, Monika Treut, Alemania-EEUU, 1999, 86', Orlando, Sally Potter, Gran Bretaña, 1992, 94', No hay nada más moderno que envejecer, Sra. Polaroiska (Alaitz Arenzana y María Ibarretxe), España, 2018, 13’, WandaBarbara Loden, EEUU, 1970, 103'





  • Date: Friday, 19 October 2018 > Friday, 28 December 2018
  • Location: Cinema
  • Access: Ticket
  • Price: 3.5
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