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ATZOKO ETA GAURKO EUSKAL TALENTUA

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Azken bost urteetan, Euskadiko Filmategiak gure emakumezko zuzendariei eskaini die euskal zinemaren gaineko urteko zikloa. Bereziki erreparatu nahi izan diegu zinemagileoi, merezi duten bezala aitortu eta goraipatu dadin haien talentua. Orotara emakumezko 53 euskal zinemagileren film luzeak proiektatu dira. Haien pelikulek gure memoria zinematografikoaren parte izan behar dute, zinemagintzak berak gure memoria orokorraren parte izan behar duen bezalaxe. Ezinbestekoa baita memoria gizakiontzat: hura galtzen duena gabeturik gelditzen da bere esentziaren parte handi batez.

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Memoriak hainbat modutan gurutzatzen ditu gure zinemagintzari eskainitako ziklo berri honetako obrak; era askotan ematen die esanahia, gisa ugaritan lotzen ditu. Alde batetik, emakumezko zuzendariek oinarrizko protagonismoa jarraitzen dute izaten. Mirentxu Loyarte, Helena Taberna, Lur Olaizola, Bego Zubia, Iratxe Fresneda eta Musidora mitikoa izango dira protagonista saio banatan. Eta, bestetik, memoria loturik dago orain ospatzen ditugun urteurrenekin. Haietako bi orain 25 eta 40 urte estreinatutako filmak dira: lehenbizikoa Yoyes (Helena Taberna, 2000), eta bigarrena, berriz, Fuego eterno (José Ángel Rebolledo, 1985). Era berean, memoriarekin loturik dago zorigaiztoko gerra zibila, heriotza, izugarrizko sufrimendua eta diktadura frankistaren gau azkengabea ekarri zituena. Beste gerra batean daude girotuta Alegría kapitainaren abenturak —karlistaldian, hain zuzen— eta Musidora da gorabehera horien zuzendaria eta protagonista (La capitana Alegría [Pour Don Carlos]; Musidora, Jaime de Lasuén, 1921). Memoria da, berebat, gure herriaren ikus-entzunezko ondarea berreskuratzeko lan egiten duenaren izateko arrazoia (Gure Sor Lekuaren bila; Josu Martinez, 2015). Lur Olaizolak ere memoria berreskuratzen du, kasu honetan, Yoyesena, Ana Torrenten ahotsa baliatuz (Hirugarren koadernoa, 2022). Koldo Almandozen kamerak, berriz, gertutik jarraitzen die 80ko hamarkadako film ertainen lau zuzendariren memoriari eta oroitzapenei (Itzalak argitzen, 2026). Lan horiek Euskadiko Filmategiak eta EiTBk zaharberritu zituzten iaz, Eusko Jaurlaritzaren babesarekin. Bego Zubiak urrunxeago eramango gaitu, eta naturaren memoria jarriko digu aurrez aurre, zeinak berehalaxe hartzen baitu atzera bere tokia, alferrik dauden presak suntsitzearekin bat (Urak aske, 2021). Gogoan izango ditugu, berebat, ilusioz beteriko urteak, neska gazte argentinar bat iritsi eta mutil gazte bilbotar baten ametsak hankaz gora jarri zituzten garaiak; bide batez, ateak zabaldu zizkioten euskal komedia berriari (Pagafantas; Borja Cobeaga, 2009). Zuzendari donostiarrak oraindik ere badu betarik eta indarrik gizaki higienikoegi baten tragedia modernoa erakusteko (Un novio de mierda, 2010).

\n\n

Amaierarako bi saio oso berezi utzi ditugu, eta haietan ere memoria eta emakumeak dira protagonista. Joan den urte amaieran hil zen euskal zinemagintzaren aitzindarietako bat: Mirentxu Loyarte. Izugarrizko eragina izan zuen gure zinematografian, nahiz eta bi film labur bakarrik zuzendu zituen. Eta iaz bete zituen hamar urte (H)emen Ikus-entzunezko eta arte eszenikoetako Euskal Herriko emakume profesionalen Elkarteak. Pentsatu genuen ideia polita izan zitekeela elkarrekin omentzea Loyarte aitzindaria eta (H)emen elkartea. Horretarako, zendutako zuzendariaren lana Iratxe Fresnedaren obra batekin lotu dugu, azken hori baita erakundearen fundatzaileetako bat (Irrintzi, Mirentxu Loyarte, 1978 – Irrintziaren oihartzunak, Iratxe Fresneda, 2016). Eta beste emanaldia, azkenik, euskal zinemagintzak, antzerkiak eta telebistak duen antzezle onenetako eta kutunenetako bati eginiko aintzatespen zintzo eta maitekorra da. Elena Irureta izango da saioaren protagonista, Agur Etxebeste! (Asier Altuna, Telmo Esnal, 2019) filmeko udalburu izateari utzi gabe.

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FERMIN MUGURUZA – Zuzendaria eta gidoilaria - (Irun, 1963)

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\nNazioarteko proiekzioa duen musikaria, lehenik Kortatu eta Negu Gorriak taldeekin, eta gero bakarka, dokumentalak egiten hasi zen 2006an. Urte horretan, TALKA RECORDS & FILMS musika- eta zinema-ekoiztetxea sortu zuen, eta bertan, jatorrizko soinu-banden zuzendari, gidoilari, ekoizle eta sortzaile gisa lan egin du.

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Galiziako Amal Jaialdian dokumental onenaren saria jaso zuen Checkpoint Rock-engatik, Bartzelonako In-Edit Jaialdian dokumental onenaren saria Next Music Station seriearengatik, aipamen berezia Glasgow-ko Krafta Doc International-en NOLA? dokumentalarengatik, animaziozko filmik onenaren saria Monterreyko Nazioarteko Jaialdian Black is Beltza filmagatik, eta soinuzko diseinurik onenagatik Iberoamerikako animaziozko Quirino Jaialdian film beragatik.

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FILMOGRAFIA – zuzendaria eta gidoilaria:
\n2006 Bass-que Culture (dokumentala)
\n2009 Checkpoint Rock. Música desde Palestina (dokumentala)
\n2011 Next Music Station (Arabiar musikari buruzko 11 dokumental)
\n2012 Zuloak (dokumentala-mockumentary)
\n2013 No More Tour (dokumentala), Daniel Gomezekin batera zuzendua
\n2015 NOLA? Irun meets New Orleans (dokumentala)
\n2018 Black is Beltza (animazio film luzea)
\n2019 Beltza Naiz – making of (dokumentala)
\n2022 Black is Beltza II: AINHOA (animazio film luzea)
\n2022 AINHOA – making of (dokumentala)
\n2023 BIDASOA 2018-2023 (dokumentala)

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Behartutako migrazioari, memoria kolektiboari eta erakundeen kontranarratiboei buruzko ikerketa artistikoko proiektua eta artxibo komunitarioa.

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Bere lanaren bidez, Nabil Aniss zinemagileak askapen politikoaren, matxinadaren eta Marokoko anaidiek gauzaturiko erritu mistikoen arteko lotura konplexuak arakatzen ditu.

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Anissen zinemak dokumentala, poesia, artxiboko materiala eta berak hartutako irudiak ehuntzen ditu, eta bilbe horren medioz, hala, soinuen, mugimenduen, trantzeen eta automutilazioaren botere eraldatzailea aztertzen du, baztertutako gizabanakoak altxamenduaren eta liberazioaren katalizatzaile bihurtzen dituen eraldaketa; horren ondorioz, gorputz diasporiko akitu eta zatikatuek, ekintza politikorako prest, kontzientzia kolektibo batera esnatzen dira.

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Bere jardunaren eta ikerlanaren bidez, Anissek askapen-politikak atzematen ditu anaidiak dokumentatuz, hala nola gnawa, hmadcha, jilala eta issawa anaidiak, jatorria Mendebaldeko Afrikan izanik esklabo bihurtu eta indarrez Marokora ekarri zituzten pertsonen ondorengoez osatuak.

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Haurra zela, Aniss gnawa erritualetan izan zen, non dantzak, musikak, trantzeak eta automutilazioak sufrimendua sakratutasunarekin lotzen zuten.

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Artistaren bideogintzak begirada intimoa eskaintzen die anaidien imajinarioei, eta esparru afektibo eta kontzeptual bat proposatzen digu, non zapaldutako gizabanakoaren itoaldia eta bihozmina indar estetiko bihurtzen den, askapenaren oinarriak finkatzen dituen indar, hain justu.

\n\n

 

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Montajista, irakasle eta artxibozaina da. Txikitatik, arteen eta gizarte-zientzien arloan trebatu zen. Esperimentazio eta Errealizazio Zinematografikoko Eskola Nazionalean (ENERC) ikasi zuen, Buenos Airesen (Argentina) eta berriki Elias Querejeta Zine Eskolan Donostian.

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Montajista gisa, hainbat proiektu dokumentaletan parte hartu du, baita esperimentaletan ere, Argentinako artista garaikideekin lankidetzan.

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2019an, dokumentala egiteko tailer bat sortu zuen, \"La Paloma\" izenekoa, Buenos Aires probintziako espetxe-unitate batean.

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2024an memorien eta artxiboen laborategi bat egin zuen, Asoc. Malen Etxearekin batera, Zumaian, bere TFMaren barruan.

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Gainera, pelikula argentinarren ikerketa eta kontserbazio proiektuetan parte hartzen du eta Operación Retorno ikerketa taldeko kide da.

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Haietako bi orain 25 eta 40 urte estreinatutako filmak dira: lehenbizikoa Yoyes (Helena Taberna, 2000), eta bigarrena, berriz, Fuego eterno (José Ángel Rebolledo, 1985). Era berean, memoriarekin loturik dago zorigaiztoko gerra zibila, heriotza, izugarrizko sufrimendua eta diktadura frankistaren gau azkengabea ekarri zituena. Beste gerra batean daude girotuta Alegría kapitainaren abenturak —karlistaldian, hain zuzen— eta Musidora da gorabehera horien zuzendaria eta protagonista (La capitana Alegría [Pour Don Carlos]; Musidora, Jaime de Lasuén, 1921). Memoria da, berebat, gure herriaren ikus-entzunezko ondarea berreskuratzeko lan egiten duenaren izateko arrazoia (Gure Sor Lekuaren bila; Josu Martinez, 2015). Lur Olaizolak ere memoria berreskuratzen du, kasu honetan, Yoyesena, Ana Torrenten ahotsa baliatuz (Hirugarren koadernoa, 2022). Koldo Almandozen kamerak, berriz, gertutik jarraitzen die 80ko hamarkadako film ertainen lau zuzendariren memoriari eta oroitzapenei (Itzalak argitzen, 2026). Lan horiek Euskadiko Filmategiak eta EiTBk zaharberritu zituzten iaz, Eusko Jaurlaritzaren babesarekin. Bego Zubiak urrunxeago eramango gaitu, eta naturaren memoria jarriko digu aurrez aurre, zeinak berehalaxe hartzen baitu atzera bere tokia, alferrik dauden presak suntsitzearekin bat (Urak aske, 2021). Gogoan izango ditugu, berebat, ilusioz beteriko urteak, neska gazte argentinar bat iritsi eta mutil gazte bilbotar baten ametsak hankaz gora jarri zituzten garaiak; bide batez, ateak zabaldu zizkioten euskal komedia berriari (Pagafantas; Borja Cobeaga, 2009). Zuzendari donostiarrak oraindik ere badu betarik eta indarrik gizaki higienikoegi baten tragedia modernoa erakusteko (Un novio de mierda, 2010).Amaierarako bi saio oso berezi utzi ditugu, eta haietan ere memoria eta emakumeak dira protagonista. Joan den urte amaieran hil zen euskal zinemagintzaren aitzindarietako bat: Mirentxu Loyarte. Izugarrizko eragina izan zuen gure zinematografian, nahiz eta bi film labur bakarrik zuzendu zituen. Eta iaz bete zituen hamar urte (H)emen Ikus-entzunezko eta arte eszenikoetako Euskal Herriko emakume profesionalen Elkarteak. Pentsatu genuen ideia polita izan zitekeela elkarrekin omentzea Loyarte aitzindaria eta (H)emen elkartea. Horretarako, zendutako zuzendariaren lana Iratxe Fresnedaren obra batekin lotu dugu, azken hori baita erakundearen fundatzaileetako bat (Irrintzi, Mirentxu Loyarte, 1978 – Irrintziaren oihartzunak, Iratxe Fresneda, 2016). Eta beste emanaldia, azkenik, euskal zinemagintzak, antzerkiak eta telebistak duen antzezle onenetako eta kutunenetako bati eginiko aintzatespen zintzo eta maitekorra da. Elena Irureta izango da saioaren protagonista, Agur Etxebeste! 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