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TALENTO VASCO DE AYER Y DE HOY

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Durante el último lustro, la Filmoteca Vasca ha consagrado su ciclo anual de cine vasco a nuestras directoras. Hemos querido poner más luz sobre ellas para que su talento sea reconocido y ensalzado como merecen. Se han proyectado los largometrajes de hasta 53 cineastas vascas. Sus películas han de formar parte de nuestra memoria cinematográfica y ésta de nuestra memoria general, pues es simplemente imprescindible para los seres humanos: quien la pierde se ve privado de buena parte de su propia esencia.

\n\n

Y la memoria cruza, da significado y une, de diversas maneras, los títulos que conforman este nuevo ciclo dedicado a nuestra cinematografía. Por un lado, las cineastas siguen teniendo un protagonismo esencial. Mirentxu Loyarte, Helena Taberna, Lur Olaizola, Bego Zubia, Iratxe Fresneda y la mítica Musidora serán protagonistas de sendas sesiones. Por otro, la memoria también tiene que ver con los aniversarios que ahora recordamos, dos de ellos de películas que fueron estrenadas hace 25 (Yoyes; Helena Taberna, 2000) y 40 años (Fuego eterno; José Ángel Rebolledo, 1985), y el 90º aniversario de la malhadada guerra civil que trajo muerte, muchísimo sufrimiento y la larguísima noche de la dictadura franquista. Otra guerra es la que sirve de escenario a las aventuras de la capitana Alegría, la guerra carlista, con Musidora dirigiendo y protagonizando esta aventura (La capitana Alegría [Pour Don Carlos]; Musidora, Jaime de Lasuén, 1921). Y la memoria es la razón de ser de alguien que trabaja por recuperar el patrimonio audiovisual de nuestro pueblo (Gure Sor Lekuaren bila; Josu Martinez, 2015). Lur Olaizola recupera también la memoria de Yoyes, a través de la voz de Ana Torrent (Hirugarren koadernoa, 2022), y la cámara de Koldo Almandoz persigue la memoria y los recuerdos de los cuatro directores de los mediometrajes de los años 80, restaurados el año pasado por la Filmoteca Vasca (Itzalak argitzen, 2026) y EITB, bajo el auspicio del Gobierno Vasco. Bego Zubia nos lleva un poco más lejos para enfrentarnos a la memoria de la naturaleza, que recupera sus viejos dominios cuando las presas ya inservibles son destruidas (Urak aske, 2021). Y también recordamos esos años preñados de ilusión, hasta que llegaba una joven argentina y dinamitaba los sueños de un joven bilbaíno y, de paso, abría el camino a una nueva comedia vasca (Pagafantas; Borja Cobeaga, 2009); al director donostiarra todavía le queda tiempo y fuerzas para mostrarnos la tragedia moderna de un individuo excesivamente higiénico (Un novio de mierda, 2010).

\n\n

Hemos dejado para el final dos sesiones muy especiales, también con la memoria y las mujeres como protagonistas. A finales del año pasado falleció una de las pioneras del cine vasco, una mujer que ejerció una gran influencia en nuestra cinematografía a pesar de que solo dirigió dos cortometrajes: Mirentxu Loyarte. Y también el año pasado la asociación de mujeres del sector audiovisual y las artes escénicas de Euskadi, (H)emen, cumplía diez años. Pensamos que podría ser una buena idea homenajear conjuntamente a la pionera Loyarte y a (H)emen, a través de la obra de la propia directora y de Iratxe Fresneda, una de las fundadoras de la asociación (Irrintzi, Mirentxu Loyarte, 1978 – Irrintziaren oihartzunak, Iratxe Fresneda, 2016). Y la otra sesión es un reconocimiento sincero y cariñoso a una de las mejores y más queridas actrices de nuestro cine, teatro y televisión. Elena Irureta será la protagonista de la sesión, sin renunciar a ser la alcaldesa de Agur Etxebeste! (Asier Altuna, Telmo Esnal, 2019).

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Conmemoración del 25º aniversario de Yoyes, ópera prima de Helena Taberna. 22 años después Ana Torrent retoma el personaje de Yoyes en la cinta de Lur Olaizola.

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La reversión que supuso el desmantelamiento de la presa de Artikutza es el punto de partida de este documental.

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Primer largometraje y un corto de Borja Cobeaga, un director que ha tenido mucho que ver con la creación del fenómeno de la comedia vasca, en cine y televisión.

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En el siglo XVII, en el País Vasco la Inquisición sigue ejerciendo una terrible caza de brujas. La protagonista de esta historia es víctima de esta persecución.

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En 1956 se estrenó en Hasparren el que seguramente fue el primer documental realizado enteramente en euskera. Después, la pista del documental se pierde.

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Entierro del benemérito sacerdote vasco (...) (1937), Semana santa en Bilbao (1937), Guernika (Nemesio Sobrevila, 1937) y Elai-Alai (Nemesio Sobrevila, 1938).

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Para celebrar el décimo aniversario de la asociación (H)emen se proyectarán Irrintzi (Mirentxu Loyarte, 1978) e Irrintziaren oihartzunak (Iratxe Fresneda, 2016)

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\nEs un músico con proyección internacional, primero con los grupos Kortatu y Negu Gorriak, y después en solitario. Comenzó a producir documentales en 2006. Aquel año fundó la productora musical y cinematográfica TALKA RECORDS & FILMS, y en ella ha trabajado como director, guionista, productor y creador de bandas sonoras originales.

\n\n


\nHa recibido varios reconocimientos: en el Festival Amal de Galicia, al mejor documental, por su obra Checkpoint Rock; en el Festival In-Edit de Barcelona, al mejor documental, por la serie Next Music Station; una mención especial en el Krafta Doc International de Glasgow por el documental NOLA?; el premio a la mejor película de animación en el Festival Internacional de Monterrey, por la película Black is Beltza; y el premio al mejor diseño de sonido en los Premios Quirino de la Animación Iberoamericana, por la película anteriormente mencionada.

\n\n

FILMOGRAFÍA – director y guionista:
\n2006 Bass-que Culture (documental)
\n2009 Checkpoint Rock. Música desde Palestina (documental)
\n2011 Next Music Station (11 documentales sobre música árabe)
\n2012 Zuloak (documental-mockumentary)
\n2013 No More Tour (documental), codirigido con Daniel Gomez
\n2015 NOLA? Irun meets New Orleans (documental)
\n2018 Black is Beltza (largometraje de animación)
\n2019 Beltza Naiz – making of (documental)
\n2022 Black is Beltza II: AINHOA (largometraje de animación)
\n2022 AINHOA – making of (documental)
\n2023 BIDASOA 2018-2023 (documental)

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Proyecto de investigación artística y archivo comunitario sobre migración forzada, memoria colectiva y contranarrativas institucionales.

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El cineasta Nabil Aniss explora a través de su obra las complejas relaciones entre la liberación política, la insurrección y los rituales místicos llevados a cabo por las hermandades de Marruecos.

\n\n

Su cine entreteje el documental, la poesía, el material de archivo y las imágenes tomadas por él mismo, combinación mediante la cual el autor explora el poder transformador de los sonidos, los movimientos, los trances y la automutilación, una transformación que moldea a individuos marginados en catalizadores de la sublevación y la emancipación, y como resultado, cuerpos diaspóricos exhaustos y fragmentados despiertan en una conciencia colectiva, ya preparados para la acción política.

\n\n

A través de su trabajo y su investigación, Aniss captura las políticas de liberación mediante la documentación de hermandades como las de los gnawa, los hmadcha, los jilala y los issawa, comunidades formadas por descendientes de personas originarias de África Occidental que fueron esclavizadas y traídas por la fuerza a Marruecos.

\n\n

Durante su infancia, Aniss asistió a rituales gnawa, donde la danza, la música, el trance y la automutilación entrelazaban el sufrimiento con la sacralidad.

\n\n

Su obra videográfica nos ofrece una mirada íntima a los imaginarios de las hermandades y propone un marco afectivo y conceptual donde la angustia y el dolor del individuo oprimido mutan en una fuerza estética que sienta las bases de la liberación.

\n\n

 

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Trabaja como montajista, docente y archivista. Desde temprana edad su formación fue en el campo de las artes y las ciencias sociales. Estudió en la Escuela Nacional de Experimentación y Realización Cinematográfica (ENERC), en Buenos Aires, Argentina y más recientemente en Elias Querejeta Zine Eskola, en Donostia.

\n\n

Como montajista ha participado en múltiples proyectos documentales, como también experimentales en colaboración con artistas contemporáneas argentinas.

\n\n

En 2019 fundó un taller de realización documental, “La Paloma” en una Unidad Penitenciaria de la provincia de Buenos Aires.

\n\n

En 2024 llevó a cabo un Laboratorio de memorias y archivos, en conjunto con la Asoc. Malen Etxea, en Zumaia, como parte de su TFM. 

\n\n

Además está involucrada en proyectos de investigación y conservación de películas argentinas y forma parte del colectivo de investigación Operación Retorno.

\n\n

 

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En el siglo XVII, en el País Vasco la Inquisición sigue ejerciendo una terrible caza de brujas. La protagonista de esta historia es víctima de esta persecución.

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Durante la Segunda Guerra Mundial, en un campo de prisioneros alemán, un grupo de soldados americanos comparten el barracón 17.

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Hemos querido poner más luz sobre ellas para que su talento sea reconocido y ensalzado como merecen. Se han proyectado los largometrajes de hasta 53 cineastas vascas. Sus películas han de formar parte de nuestra memoria cinematográfica y ésta de nuestra memoria general, pues es simplemente imprescindible para los seres humanos: quien la pierde se ve privado de buena parte de su propia esencia.Y la memoria cruza, da significado y une, de diversas maneras, los títulos que conforman este nuevo ciclo dedicado a nuestra cinematografía. Por un lado, las cineastas siguen teniendo un protagonismo esencial. Mirentxu Loyarte, Helena Taberna, Lur Olaizola, Bego Zubia, Iratxe Fresneda y la mítica Musidora serán protagonistas de sendas sesiones. Por otro, la memoria también tiene que ver con los aniversarios que ahora recordamos, dos de ellos de películas que fueron estrenadas hace 25 (Yoyes; Helena Taberna, 2000) y 40 años (Fuego eterno; José Ángel Rebolledo, 1985), y el 90º aniversario de la malhadada guerra civil que trajo muerte, muchísimo sufrimiento y la larguísima noche de la dictadura franquista. Otra guerra es la que sirve de escenario a las aventuras de la capitana Alegría, la guerra carlista, con Musidora dirigiendo y protagonizando esta aventura (La capitana Alegría [Pour Don Carlos]; Musidora, Jaime de Lasuén, 1921). Y la memoria es la razón de ser de alguien que trabaja por recuperar el patrimonio audiovisual de nuestro pueblo (Gure Sor Lekuaren bila; Josu Martinez, 2015). Lur Olaizola recupera también la memoria de Yoyes, a través de la voz de Ana Torrent (Hirugarren koadernoa, 2022), y la cámara de Koldo Almandoz persigue la memoria y los recuerdos de los cuatro directores de los mediometrajes de los años 80, restaurados el año pasado por la Filmoteca Vasca (Itzalak argitzen, 2026) y EITB, bajo el auspicio del Gobierno Vasco. Bego Zubia nos lleva un poco más lejos para enfrentarnos a la memoria de la naturaleza, que recupera sus viejos dominios cuando las presas ya inservibles son destruidas (Urak aske, 2021). Y también recordamos esos años preñados de ilusión, hasta que llegaba una joven argentina y dinamitaba los sueños de un joven bilbaíno y, de paso, abría el camino a una nueva comedia vasca (Pagafantas; Borja Cobeaga, 2009); al director donostiarra todavía le queda tiempo y fuerzas para mostrarnos la tragedia moderna de un individuo excesivamente higiénico (Un novio de mierda, 2010).Hemos dejado para el final dos sesiones muy especiales, también con la memoria y las mujeres como protagonistas. A finales del año pasado falleció una de las pioneras del cine vasco, una mujer que ejerció una gran influencia en nuestra cinematografía a pesar de que solo dirigió dos cortometrajes: Mirentxu Loyarte. Y también el año pasado la asociación de mujeres del sector audiovisual y las artes escénicas de Euskadi, (H)emen, cumplía diez años. Pensamos que podría ser una buena idea homenajear conjuntamente a la pionera Loyarte y a (H)emen, a través de la obra de la propia directora y de Iratxe Fresneda, una de las fundadoras de la asociación (Irrintzi, Mirentxu Loyarte, 1978 – Irrintziaren oihartzunak, Iratxe Fresneda, 2016). Y la otra sesión es un reconocimiento sincero y cariñoso a una de las mejores y más queridas actrices de nuestro cine, teatro y televisión. Elena Irureta será la protagonista de la sesión, sin renunciar a ser la alcaldesa de Agur Etxebeste! (Asier Altuna, Telmo Esnal, 2019)."},"tematicaTid":52,"yesterday":"2026-05-07","today":"2026-05-08"}},"staticQueryHashes":["1409045280","1472977592","1549843337","1600800028","1852898869","2156051761","2684269349","2736526504","3122408510","3305536543","3493939040","3649515864","4040268713","63159454","847920557"]}