On October 4th, 2007 Arantza, the director of the film, was detained and taken to prison. She remembers a few things about those days: endlessly walking around the prison exercise yard, swimming competitions, Rasha's prison journey... After 918 nights locked up, Arantza is set free. From then onwards, she recorded her memories and doubts, which are heard throughout the documentary as a kind of fragmented memoir.
Production Assistant
Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place 'Paraíso'. Machines will come soon.
Editor
Entrails, a flock of sheep, one spring. The cooing of doves and songs hummed. Some vultures, bones, flowers and many hands. Hands which feed, milk, stroke, shear, film; hands that kill. Hands which inhabit the doubts and contradictions about using other species.
Editor
Almost two decades ago, the Itoiz dam flooded seven villages and three natural reserves on the Pyrenean hillside in Navarra. The ecologist group Solidari@s con Itoiz registered the fight against its construction. Today, those who were there dream of the land lying beneath the water on video. Their voices and gestures come together to tell the tale of an individual and collective mourning still suffered today.
Editor
¿Qué posibilidades de vida quedan cuando un territorio es completamente alterado? En las laderas del Pirineo navarro, la construcción de la presa de Itoiz en la década de 1990 inundó siete pueblos y tres reservas naturales. Una franja de tierra desnuda a la altura de la cota 592 traza hoy una línea divisoria en el paisaje del valle. Por debajo de la cota, el agua; por encima, la vida continúa.
Camera Operator
Created by 24 fabulous filmmakers and two talented sound artists in conjunction with the 2018 edition of Punto De Vista International Documentary Film Festival in Pamplona, Spain.
Director
Durante los años 80 un convento en Lizaso (Navarra) albergó a la excéntrica comunidad del Arco Iris. Las paredes anodinas del edificio fueron adornadas con enormes motivos florales y sus salas acogieron encuentros multitudinarios donde se experimentaba con prácticas catárticas de tinte new age. En la actualidad, el edificio está habitado por monjes de clausura y los rastros de aquel episodio son casi imperceptibles. Las autoras de San Simón 62 se acercan al lugar atraídas por los testimonios de sus madres que, intentando desprenderse de las secuelas del franquismo y hacer frente a los desafíos personales y políticos de esta nueva etapa, pasaron por la comunidad del Arco Iris.
Director of Photography
Touch acts as a catalyst to experiment with the possibilities of approaching a Renaissance painting. Using haptic visuality as an affective strategy, the limits between subject and object blur enabling a mutual contagion. The film combines theory and lived experience in a heterodox essay crossed by author's own subjectivity, the body, affect, folklore and feminism.
Director
Touch acts as a catalyst to experiment with the possibilities of approaching a Renaissance painting. Using haptic visuality as an affective strategy, the limits between subject and object blur enabling a mutual contagion. The film combines theory and lived experience in a heterodox essay crossed by author's own subjectivity, the body, affect, folklore and feminism.
