Hay formas de escritura que buscan abrir un vínculo. La carta abre un gesto íntimo que se expone: alguien escribe para otro, pero también para lo que ya no está. Desde hace siglos los fragmentos epistolares han sido refugio y archivo. Espacios donde se ensayan formas de decir el amor, la amistad, la familia o la militancia. También el cine ha sabido capturar esa potencia, convirtiendo la correspondencia en un recurso narrativo capaz de abrir zonas de intimidad y revelar otras maneras de habitar el mundo.
\n\nPartiendo de ahí, en este taller exploraremos la escritura epistolar como territorio de memoria, afecto y reconstrucción. A lo largo de tres encuentros, veremos películas y leeremos cartas que nos permitan imaginar nuevos diálogos posibles: respuestas que nunca llegaron, palabras que quedaron suspendidas, vínculos que persisten en la distancia.
\n\nEl taller propone un espacio de creación y de intercambio: leer, mirar y escribir juntas. Cada participante desarrollará su propio proyecto epistolar —una carta, una pieza audiovisual o una correspondencia inventada— para, finalmente, compartir ese proceso como una forma de pensamiento colectivo.
\n\nEl taller lo impartirá Paloma Navarro y se articula en tres sesiones de trabajo conjuntas. Las fechas de los talleres son las siguientes:
\n\nPaloma Navarro Nicoletti (Madrid, 1987) Es periodista y curadora audiovisual. Licenciada en Comunicación Audiovisual por UNSAM en Buenos Aires. También realizó el Máster LAV en Madrid y el Programa de Cine de la Universidad Torcuato Di Tella. Ha trabajado como editora en VICE Media y como productora y guionista de podcast en SONORO Media. Colabora como periodista freelance en medios como Gatopardo, Kamchatka, Coolt, Pikara, El Salto, entre otros. Es directora del Festival de Cine Bendita Tú y también programadora en distintos sitios del Estado Español.
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\n\n
\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.
\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.
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)
Proyecto de investigación artística y archivo comunitario sobre migración forzada, memoria colectiva y contranarrativas institucionales.
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\n\nSu 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\nA 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\nDurante su infancia, Aniss asistió a rituales gnawa, donde la danza, la música, el trance y la automutilación entrelazaban el sufrimiento con la sacralidad.
\n\nSu 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.
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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\nComo montajista ha participado en múltiples proyectos documentales, como también experimentales en colaboración con artistas contemporáneas argentinas.
\n\nEn 2019 fundó un taller de realización documental, “La Paloma” en una Unidad Penitenciaria de la provincia de Buenos Aires.
\n\nEn 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\nAdemás está involucrada en proyectos de investigación y conservación de películas argentinas y forma parte del colectivo de investigación Operación Retorno.
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