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Este taller propone una aproximación práctica a las formas alternativas de circulación y exhibición del cine independiente, con especial atención al circuito de festivales y centros de exhibición. Para una gran parte de las producciones independientes, los festivales de cine, las cinematecas, los centros culturales, las salas alternativas y otros espacios de exhibición se han convertido en circuitos fundamentales para encontrar públicos, generar redes y ampliar la circulación de las películas más allá de los canales comerciales tradicionales.

La sesión estará especialmente enfocada en dar herramientas para que cada realizador o realizadora pueda pensar un esquema de circulación acorde a cómo produce sus películas, y gestionar por sí mismo esa circulación, explorando redes, festivales, espacios culturales y otras vías de exhibición que pueden abrir nuevas oportunidades para el cine independiente. La charla será abierta a todas las personas que se inscriban rellenando el formulario. 

Además, quienes estén desarrollando un proyecto y quieran profundizar en su estrategia de circulación podrán optar a una tutoría individual con Maui Alena.  Para optar a la selección, rellenar el formulario indicando la opción de \"Tutoria\" y adjuntar un breve dossier que incluya la sinopsis larga del proyecto, una breve biografía del cineasta y una explicación de la fase de desarrollo en la que se encuentra el proyecto, así como de los principales retos a los que se enfrenta y aspectos que te gustaría trabajar en la tutoría. Si cuentas con un corte de la película o un WIP, es indispensable incluir también el enlace de visionado. Entre las creadoras interesadas, se seleccionarán seis proyectos.

Un espacio para pensar la circulación no como el último paso de una película, sino como una parte fundamental de su recorrido y de la construcción de sus públicos.

5 de octubre, 16:00-19:00 - Presentación/charla abierta 
6 de octubre - Tutorías (opcional)

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Entusiasta, divulgador, programador e investigador de cine, recibido como especialista en Comisariado y Desarrollo de Proyectos Cinematográficos y Audiovisuales por la Elías Querejeta Zine Eskola (España) y realizador integral de cine y televisión por el Centro de Investigación Cinematográfica (Argentina). 

\n\n

Desde 2015 a 2024 trabajó como coordinador de Artes Audiovisuales en la Bienal Arte Joven de Buenos Aires, por cuyas últimas cinco ediciones 155 directorxs han desarrollado sus películas y como parte del departamento de contenidos del Centro Cultural Recoleta de Buenos Aires, donde en los últimos ocho años ha gestionado la exhibición de 120 películas argentinas y ha contado con la presencia de directores como Raymond Depardon, João Moreira Salles y James Benning acompañando sus obras. 

\n\n

Anteriormente trabajó como productor artístico y coordinador del Área Profesional en seis ediciones del Bafici; asistiendo al equipo de programación durante siete ediciones del Festival de Mar del Plata; y estuvo a cargo de la Buenos Aires Film Commission, donde organizó misiones comerciales a los festivales de Cannes y Berlín en dos ocasiones. Entre 2018 y 2021 coordinó la beca RAW (Residencia Arché-Work, creada entre el Doclisboa y el Festival Márgenes Madrid) para películas en desarrollo y proyectos de investigación y crítica iberoamericanos; trabajó como seleccionador de los proyectos del laboratorio del Festival Márgenes Madrid; y coordinó las ediciones 2022 y 2023 del Zinebi Networking de Bilbao .

\n\n

En 2022 publicó en España y Argentina el libro La casa de los Anfibios, y en 2021 lanzó el sitio de películas liberadas homeagain.tv

\n\n

 

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Si quieres participar en el taller, por favor, rellena y envía el formulario que encontrarás a continuación.

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Cincuenta años después, aquel paso truncado de El Desencanto por San Sebastián vuelve a revisarse. 

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Cine vivo es un cortometraje, esta performance, un libro. Un artefacto que muta según sus necesidades narrativas y espaciales.

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Albertina Carri es una figura fundamental del cine latinoamericano actual. Se caracteriza por la versatilidad en los géneros y materiales que aborda. Dirigió las películas No quiero volver a casa, Los rubios, Géminis, La rabia, Cuatreros, Las hijas del fuego y ¡Caigan las rosas blancas! con las que participó de los festivales de Cannes, Berlín, Toronto, Venecia, San Sebastián, La Habana y Rotterdam, entre muchos otros. La obra de Carri se va transformando en función de la elaboración de sus temas, recursos y medios. Así reorganiza materiales fílmicos desde los que se sumerge en las potencias del sonido y el movimiento en instalaciones audiovisuales: Cine puro, Punto impropio y Animales puros, son algunas de ellas. De este  mismo modo incorpora a su producción la escritura, tanto en poesía como en prosa. Publicó Los rubios: Cartografía de una película, Retratos ciegos, Lo que aprendí de las bestias, Las posesas y Cine vivo.

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La Gestapo busca en Casablanca al líder checo y héroe de la Resistencia Victor Laszlo. Su única esperanza es Rick Blaine, antiguo amante de su mujer, Ilsa.

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En la bulliciosa jungla urbana de Taipéi, los vínculos humanos auténticos escasean.

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Javier H. Estrada es crítico, profesor y programador de cine. Master in Arts in History of Film and Visual Media (Birkbeck College. University of London).

Actualmente es codirector de SEMINCI. Semana Internacional de Cine de Valladolid. Ha sido jefe de programación del Festival de Cine Europeo de Sevilla, cofundador y jefe de programación de FILMADRID, miembro del comité de selección de DocumentaMadrid y del Festival Internacional de Cortometrajes de Oberhausen. 

Miembro del Consejo de Redacción de la revista Caimán. Cuadernos de cine, ha publicado artículos en diferentes medios como los diarios El Confidencial  y El español, o las revistas El Cultural y Archivos de la Filmoteca y participado en numerosos libros.

Es profesor en la Universidad Camilo José Cela (Madrid) y en ECAM. Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid.  

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Anne Morin (Rouen, Francia, 1973) es graduada por la École Nationale de Photographie d’Arles y la École Supérieure des Beaux-Arts de Montpellier. Trabajó para el festival PHotoEspaña entre 2001 y 2004, antes de asumir la dirección de diChroma Photography (Madrid), una empresa especializada en exposiciones fotográficas itinerantes internacionales, así como en el desarrollo y producción de proyectos culturales. diChroma colabora con museos e instituciones de renombre internacional. 

Trabaja para revalorizar y dar mayor visibilidad a artistas y fotógrafos, comisariando distintas exposiciones: Berenice Abbott, Antonio López, Vivian Maier, Robert Doisneau, Jessica Lange, Jacques Henri Lartigue, Sandro Miller, Pentti Sammallahti y Margaret Watkins, entre otros. Ocasionalmente, también se reinventa como editora de libros de fotografía, habiendo publicado obras como Antonio López: Visionary Writing, Margaret Watkins: Black Light o Paul Alexandre: Slowness.

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En 1977, los propietarios de la empresa catalana Numax, S. A. anuncian su intención de cerrarla y la sociedad entra en suspensión de pagos.

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Ángel Calvo Ulloa (Lalín, 1984) es comisario y escritor. Licenciado en Historia del Arte por la USC y Máster en Arte Contemporáneo: Creación e investigación por la UVigo. Ha sido co-comisario, junto con Marta Mestre, de O Fantasma da Liberdade / Anozero Bienal de Coimbra 2024.  

Entre sus últimos proyectos curatoriales cabe destacar Jordi Teixidor. No-res, en la Sala Alcalá 31 (Madrid); Juan Uslé. Ese barco en la montaña, en Museo Reina Sofía (Madrid); ¿Adónde irá el pájaro que no vuele?, en La Casa Encendida (Madrid); Humores y Espesores, de Rodríguez-Méndez, en el CA2M (Móstoles); El sueño de la cólcedra, de Teresa Lanceta, en el Museo Patio Herreriano (Valladolid); Siron Franco: Pensamento insubordinado (Trabalhos, 1961-2023), en MAC Goiàs (Brasil); Anidar en el gesto: unas estanterías de Alberto, en Fundación Cerezales Antonio y Cinia (Cerezales del Condado, León); Autoconstrucción. Piezas sueltas. Juego y experiencia, de Antonio Ballester Moreno, en Artium (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) o, junto a Nuria Enguita, Habitación. El Archivo F.X., las chekas psicotécnicas de Laurencic y la función del arte, de Pedro G. Romero, en CA2M (Madrid), MNAC (Barcelona) y La Nau (Valencia). Desde 2011 ha comisariado también en instituciones como Caixaforum (Barcelona), MARCO (Vigo), CCEMx (Ciudad de México), Fundación Luis Seoane (A Coruña), Tabacalera (Madrid), Centro Párraga (Murcia) o EACC (Castellón), entre otras.

En 2020, en coautoría con Juan Canela, publicó el libro Desde lo curatorial. Conversaciones, experiencias y afectos, dentro de la Colección Paper, de Consonni.

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