Iván Zulueta

Documental que nos sumerge en la vida del director de cine Iván Zulueta contada por él mismo, a través de las dos casas donde vivió (Villa Aloha, en San Sebastián; y el apartamento del piso 13 del Edificio España, en Madrid) y de los cortos que rodó allí, con la ruina de ambos edificios como telón de fondo.

En el año 2004 Andrés Duque realizó el documental Iván Z. Diez años después me acerco de nuevo a la casa y a la figura de Iván Zulueta a través de un texto de Andrés Duque y la figura de Will More, actor fetiche y álter ego de Iván.

A portrait of the film director Iván Zulueta and his film Arrebato. It features contributions from friends and people who worked with him such as José Luis Borau, Pedro Almodóvar, Antonio Gasset and Julio Médem.

An investigative documentary about Basque filmmaker and artist Iván Zulueta. Caught up in heroin addiction and many personal problems, Zulueta vanished from the scene. This film focuses on the lost and wasted years of the director.

Un joven soldado llega en tren a una estación solitaria donde tiene que hacer trasbordo. Mientras espera, se queda dormido, y tiene un extraño sueño: en la estación encuentra una pastelería que solo abre de noche: "Ritesti". Cuando el soldado entra en la pastelería y entabla conversación con su enigmática y bella dueña, entra también, sin saberlo, en un laberinto infernal. Producido como un capítulo de la serie de Televisión Española "Crónicas del mal", el film retoma una obsesión personal del director, también presente en sus cortometrajes experimentales de los años 70: las formas circulares dentro de una historia circular.

Párpados (the literal translation, “Eyelids”, misses the homophonic “par pa’ dos,” or “a couple for two”) is a 1989 television episode with an intricate script involving a delirious array of doubles, mirrors and word-play revolving around the central theme of amorous obsession.

Recovered Zulueta short.

José Sirgado es un director de cine de bajo presupuesto cuya adicción a la heroína distorsiona su perspectiva del mundo real. Aunque es un individuo depresivo e inestable, su ánimo mejora al recibir las misteriosas películas de Pedro, con el que comparte su pasión por el cine.

José Sirgado es un director de cine de bajo presupuesto cuya adicción a la heroína distorsiona su perspectiva del mundo real. Aunque es un individuo depresivo e inestable, su ánimo mejora al recibir las misteriosas películas de Pedro, con el que comparte su pasión por el cine.

José Sirgado es un director de cine de bajo presupuesto cuya adicción a la heroína distorsiona su perspectiva del mundo real. Aunque es un individuo depresivo e inestable, su ánimo mejora al recibir las misteriosas películas de Pedro, con el que comparte su pasión por el cine.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

Recovered Zulueta short.

With 'A MAL GAM A' Zulueta brings the lyrical film into the territory of mystico-psychedelia. The cinema as drug, as vehicle for rapture—as will later be seen in Arrebato—is a theme of this most autobiographical of Zulueta’s experimental films (which could also be seen as a documentary of an agoraphobic mode of artistic production), the protagonist is played by the filmmaker himself (“Jim Self” is the trans-linguistic homophone that appears in the credits) and shot mostly in the family villa in San Sebastián.

With 'A MAL GAM A' Zulueta brings the lyrical film into the territory of mystico-psychedelia. The cinema as drug, as vehicle for rapture—as will later be seen in Arrebato—is a theme of this most autobiographical of Zulueta’s experimental films (which could also be seen as a documentary of an agoraphobic mode of artistic production), the protagonist is played by the filmmaker himself (“Jim Self” is the trans-linguistic homophone that appears in the credits) and shot mostly in the family villa in San Sebastián.

With 'A MAL GAM A' Zulueta brings the lyrical film into the territory of mystico-psychedelia. The cinema as drug, as vehicle for rapture—as will later be seen in Arrebato—is a theme of this most autobiographical of Zulueta’s experimental films (which could also be seen as a documentary of an agoraphobic mode of artistic production), the protagonist is played by the filmmaker himself (“Jim Self” is the trans-linguistic homophone that appears in the credits) and shot mostly in the family villa in San Sebastián.

Riot police act against protesters.

A beautiful girl has an intense trip during which she transforms.

A beautiful girl has an intense trip during which she transforms.

With 'A MAL GAM A' Zulueta brings the lyrical film into the territory of mystico-psychedelia. The cinema as drug, as vehicle for rapture—as will later be seen in Arrebato—is a theme of this most autobiographical of Zulueta’s experimental films (which could also be seen as a documentary of an agoraphobic mode of artistic production), the protagonist is played by the filmmaker himself (“Jim Self” is the trans-linguistic homophone that appears in the credits) and shot mostly in the family villa in San Sebastián.

Will More arrives by boat to a "genuine Mediterranean island" and is welcome by "thousands of Chinese girls" who take him to their place and tell him a story about his "ego", which he must immediately look for. Thus he gets to a "wonderful palace", where he meets a hermaphrodite odalisque who materializes the image of his other self and offers him a new and even more fantastic story.

Will More arrives by boat to a "genuine Mediterranean island" and is welcome by "thousands of Chinese girls" who take him to their place and tell him a story about his "ego", which he must immediately look for. Thus he gets to a "wonderful palace", where he meets a hermaphrodite odalisque who materializes the image of his other self and offers him a new and even more fantastic story.

Will More arrives by boat to a "genuine Mediterranean island" and is welcome by "thousands of Chinese girls" who take him to their place and tell him a story about his "ego", which he must immediately look for. Thus he gets to a "wonderful palace", where he meets a hermaphrodite odalisque who materializes the image of his other self and offers him a new and even more fantastic story.

Will More arrives by boat to a "genuine Mediterranean island" and is welcome by "thousands of Chinese girls" who take him to their place and tell him a story about his "ego", which he must immediately look for. Thus he gets to a "wonderful palace", where he meets a hermaphrodite odalisque who materializes the image of his other self and offers him a new and even more fantastic story.

Will More arrives by boat to a "genuine Mediterranean island" and is welcome by "thousands of Chinese girls" who take him to their place and tell him a story about his "ego", which he must immediately look for. Thus he gets to a "wonderful palace", where he meets a hermaphrodite odalisque who materializes the image of his other self and offers him a new and even more fantastic story.

Will More arrives by boat to a "genuine Mediterranean island" and is welcome by "thousands of Chinese girls" who take him to their place and tell him a story about his "ego", which he must immediately look for. Thus he gets to a "wonderful palace", where he meets a hermaphrodite odalisque who materializes the image of his other self and offers him a new and even more fantastic story.

Recovered Zulueta short.

The 1975 Super-8 short Aquarium is Zulueta’s first available incursion into the psychodrama—in which the filmmaker dramatises a disturbed state of consciousness—in which appear lyrical passages of the kind that will be made by the fictional experimental filmmaker played by Will More in Zulueta’s 1980 feature Arrebato. (Senses of Cinema)

Recovered Zulueta short.

Roma-Brescia-Cannes, made in 1974, could be called a lyrical home movie. P. Adams Sitney defines the lyrical film as one that “postulates the film-maker behind the camera as the first-person protagonist of the film. The images of the film are what he sees filmed in such a way that we never forget his presence and we know how he is reacting to his vision”. —Senses of Cinema

The title of Te Veo, is a joke with T.V. (television). Consists in a collage of shots in super 8 of images of the TV. The collage is extremely quick, mixing average people with famous paintings, landscapes and churches, etc. The images become more and more abstracts, the referential pre-existing images are transformed by means of extreme close-ups of the screen, which ultimately becomes completely abstracts with texture of the TV like a television pointillism

A short film by Iván Zulueta

Recovered Zulueta short.

Filmed before his feature-length Arrebato, Zulueta’s Frank Stein is a personal reading of horror cult classic Frankenstein (1931), filmed directly from its television broadcast and reducing Whale’s original to only three packed and dizzying minutes, during which the film's sensitive monster evolves at an unusual rate.

Kinkón (1971), a silent adaptation of Merian C. Cooper and Ernest B. Schoedsack’s 1933 classic, King Kong. Zulueta re-filmed a television broadcast of the original, and through creative subtraction and manipulation of camera speed, condensed the original’s feature length to an intensified seven minutes. The cathode-ray flicker and flattening that results from the re-filming defamiliarises the original, but its classical continuity mode of address continues to operate on the viewer, and the increase in velocity makes mesmerisingly urgent the dramatic plot of the original. —Senses of Cinema

Dos mujeres muy jóvenes viven en una casa de campo en plena guerra. La mayor de ellas es el elemento activo, el que domina y controla cuanto ocurre en la casa. La pequeña es la víctima, la mujer dominada por los bombardeos y la mentalidad de su compañera, que la obliga a mantener una conducta enfermiza irreprochable. Este conflicto entre ambas es narrado por una voz en off -la de la mujer más joven- quien, a distancia ya, comenta aquel período de su vida.

Un grupo de jóvenes músicos hará lo imposible para boicotear una canción que no les gusta nada, y que va a representar a España en un famoso festival de música. Una insólita cinta del singular Zulueta en la que, tras el éxito de Massiel en el Festival de Eurovisión, se parodia este tipo de concursos con una delirante historia rodada sin guión y con la actuación de varios grupos punteros de la época.

Un grupo de jóvenes músicos hará lo imposible para boicotear una canción que no les gusta nada, y que va a representar a España en un famoso festival de música. Una insólita cinta del singular Zulueta en la que, tras el éxito de Massiel en el Festival de Eurovisión, se parodia este tipo de concursos con una delirante historia rodada sin guión y con la actuación de varios grupos punteros de la época.

Un grupo de jóvenes músicos hará lo imposible para boicotear una canción que no les gusta nada, y que va a representar a España en un famoso festival de música. Una insólita cinta del singular Zulueta en la que, tras el éxito de Massiel en el Festival de Eurovisión, se parodia este tipo de concursos con una delirante historia rodada sin guión y con la actuación de varios grupos punteros de la época.

Iván y Ginebra se conocen de manera puramente casual y pronto descubren que existe una poderosa atracción entre ellos; pero la constante presencia del compañero de piso de Iván, Toby, un extraño boxeador que tiene miedo a subirse al ring, les obliga a redefinir su relación.

Recovered Zulueta short.

Elena, una chica soltera y tímida, perteneciente a la alta burguesía y algo marginada del ambiente general, emprende una mañana un viaje a la casa de campo familiar y, al regresar a la ciudad ese mismo día, ya de noche, se ve obligada a llevar en su coche a una extraña mujer.

Elena, una chica soltera y tímida, perteneciente a la alta burguesía y algo marginada del ambiente general, emprende una mañana un viaje a la casa de campo familiar y, al regresar a la ciudad ese mismo día, ya de noche, se ve obligada a llevar en su coche a una extraña mujer.

A pop-art video of The Beatles’ “Something” made especially for Spain’s TV shot Último Grito in 1968. Iván Zulueta’s first attempts to get his colourful ideas on film and a clear nod to what would become his first feature film, “Un, dos, tres… al escondite inglés.”

A pop-art video of The Beatles’ “Get Back” made especially for Spain’s TV shot Último Grito in 1968. Iván Zulueta’s first attempts to get his colourful ideas on film and a clear nod to what would become his first feature film, “Un, dos, tres… al escondite inglés.”

Desde su más tierna infancia, Blancanieves ha vivido con siete hombres que la han cuidado y protegido, pero esto nunca ha sido suficiente para ella, porque Blancanieves quiere ser una estrella de cine, un sueño que molesta a sus guardianes.

La abusiva relación profesional entre Luis, un intransigente pintor, y Ágata, su traumatizada modelo, da un inesperado vuelco cuando ella encuentra un misterioso autorretrato de él…

La abusiva relación profesional entre Luis, un intransigente pintor, y Ágata, su traumatizada modelo, da un inesperado vuelco cuando ella encuentra un misterioso autorretrato de él…

Recovered Zulueta short.

Recovered Zulueta short.