Pere Portabella

Eight people from very different backgrounds cross paths in Barcelona, Spain. Lawyers, musicians, translators, security guards, call center agents. They are all immigrants. Some have just arrived, others arrived years ago, leaving behind a war, a dictatorship or some sort of social or cultural discrimination. They all chose exile over submission.

Portabella is putting forward the second part of one of his historic works, the “General report on certain matters of interest for a public screening”, which peeked out in 1976 at the start of the political transition process after Franco’s death. This second “Report” is made in the context of a severe systemic crisis in the cultural, economic-financial, political and energy fields. Above all, it nevertheless bears witness to the way civil society is coming out of this crisis with a new prominence, consisting quite simply in ordinary people’s recovering politics.

Portabella is putting forward the second part of one of his historic works, the “General report on certain matters of interest for a public screening”, which peeked out in 1976 at the start of the political transition process after Franco’s death. This second “Report” is made in the context of a severe systemic crisis in the cultural, economic-financial, political and energy fields. Above all, it nevertheless bears witness to the way civil society is coming out of this crisis with a new prominence, consisting quite simply in ordinary people’s recovering politics.

Part of the full-length feature ¡Hay motivo!, made up of 32 shorts directed by Spanish actors and directors protesting against the policies of the Partido Popular just before the 2004 general elections.

Part of the full-length feature ¡Hay motivo!, made up of 32 shorts directed by Spanish actors and directors protesting against the policies of the Partido Popular just before the 2004 general elections.

미술평론가이자 큐레이터인 한스 울리히 우브리스트는 감독 페레 포르타베야에게 시인 페드리코 가르시아 로르카의 생가 박물관 ‘우에르타 데 산비센테’를 주제로 한 프로젝트를 제안한다. 그 결과물인 는 우에르타 데 산비센테 내부를 비우는 과정을 카메라에 담은 영화다. 가구와 물건들이 밖으로 옮겨지면서 만들어내는 공간의 울림과 적막함이, 권력에 스러져 간 한 시인의 부재를 보다 선명하게 드러낸다. 정치적 함의의 상징성을 지닌, 어떤 행위의 기록.

미술평론가이자 큐레이터인 한스 울리히 우브리스트는 감독 페레 포르타베야에게 시인 페드리코 가르시아 로르카의 생가 박물관 ‘우에르타 데 산비센테’를 주제로 한 프로젝트를 제안한다. 그 결과물인 는 우에르타 데 산비센테 내부를 비우는 과정을 카메라에 담은 영화다. 가구와 물건들이 밖으로 옮겨지면서 만들어내는 공간의 울림과 적막함이, 권력에 스러져 간 한 시인의 부재를 보다 선명하게 드러낸다. 정치적 함의의 상징성을 지닌, 어떤 행위의 기록.

바흐가 세상을 떠나고 50년 후, 멘델스존은 우연히 푸줏간에서 고기를 싸준 종이에서 바흐의 ‘마태 수난곡’ 악보를 발견한다. 그 한 장의 악보로 이후 ‘위대한 음악의 아버지’라 불리게 된 바흐의 음악이 세상에 공개된다. 그리고 180여 년이 지난 현재까지도 피아노 조율사의 연주에 의해, 하모니카 하나로 바흐의 음악을 연주하는 트럭운전사에 의해, 지하철에서 ‘무반주 첼로 모음곡’을 합주하는 첼리스트들에 의해, 아름다운 목소리로 하나의 화음을 만들어내는 어린이 합창단들에 의해 그의 음악들은 여전히 생생하게 연주되어지며 사람들에게 커다란 감동을 선사한다.

바흐가 세상을 떠나고 50년 후, 멘델스존은 우연히 푸줏간에서 고기를 싸준 종이에서 바흐의 ‘마태 수난곡’ 악보를 발견한다. 그 한 장의 악보로 이후 ‘위대한 음악의 아버지’라 불리게 된 바흐의 음악이 세상에 공개된다. 그리고 180여 년이 지난 현재까지도 피아노 조율사의 연주에 의해, 하모니카 하나로 바흐의 음악을 연주하는 트럭운전사에 의해, 지하철에서 ‘무반주 첼로 모음곡’을 합주하는 첼리스트들에 의해, 아름다운 목소리로 하나의 화음을 만들어내는 어린이 합창단들에 의해 그의 음악들은 여전히 생생하게 연주되어지며 사람들에게 커다란 감동을 선사한다.

What is the state of cinema and what being a filmmaker means? What are the measures taken to protect authors' copyright? What is their legal status in different countries? (Sequel to “Filmmakers vs. Tycoons.”)

Carles Santos plays several of his pieces on the piano. This film was made for the exhibit on Carles Santos Visca el piano! held at the Miro Foundation in the summer of 2006.

Carles Santos plays several of his pieces on the piano. This film was made for the exhibit on Carles Santos Visca el piano! held at the Miro Foundation in the summer of 2006.

A multi-part feature on the governing body of Spain, the Popular Party under Jose María Aznar. Themes include the bombing of Iraq, immigration, U.S. fire in Baghdad, and the manipulation of the media.

2004 Portabella short in which a narrator explains the severe consequences of a proposed hydrological plan.

a one-woman stage reading of a Joan Brossa play

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini.

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini.

아마추어 영화감독 제라르 플뢰리는 1930년 어느 겨울날, 새벽 호수 풍경을 찍으러 갔다가 의문의 죽음을 맞는다. 이 영화는 그가 찍은 초기영화의 친밀하고 따뜻한 풍경들에 대한 오마주이다. 또한 호세 루이스 게린 감독의 시간과 공간, 사람들에 관한 애정을 담은 작품. (2011년 12회 전주국제영화제)

An itinerary through the great creations of Catalan art: Romanesque, Gothic, Modernist and Contemporary; with interviews to Catalan creators such as architect Ricardo Bofill, poet Pere Gimferrer, sculptor Susana Solano, and painter Antoni Tàpies.

An itinerary through the great creations of Catalan art: Romanesque, Gothic, Modernist and Contemporary; with interviews to Catalan creators such as architect Ricardo Bofill, poet Pere Gimferrer, sculptor Susana Solano, and painter Antoni Tàpies.

A female professor, a writer, and an orchestra conductor--three characters, two couples--attend a grand literary cocktail party. The writer has just won the prize for his book "Warsaw Bridge." The winner answers the journalist's questions one after another, but he is unable to come up with a synthesis of the plot of his book. They will simply have to read it.

A female professor, a writer, and an orchestra conductor--three characters, two couples--attend a grand literary cocktail party. The writer has just won the prize for his book "Warsaw Bridge." The winner answers the journalist's questions one after another, but he is unable to come up with a synthesis of the plot of his book. They will simply have to read it.

A Pepe Carvalho adventure.

How does a country go from a dictatorship to a democracy? A detailed report on the political representation in the heart of the Spanish Transition, only a few months after General Franco’s death, when the sincere democratic vocation of Spanish people must effort to destroy, one heavy brick after another, the wall that those who supported the dictatorship and those who fought it from the exile built with resentment, hatred and prejudices.

How does a country go from a dictatorship to a democracy? A detailed report on the political representation in the heart of the Spanish Transition, only a few months after General Franco’s death, when the sincere democratic vocation of Spanish people must effort to destroy, one heavy brick after another, the wall that those who supported the dictatorship and those who fought it from the exile built with resentment, hatred and prejudices.

How does a country go from a dictatorship to a democracy? A detailed report on the political representation in the heart of the Spanish Transition, only a few months after General Franco’s death, when the sincere democratic vocation of Spanish people must effort to destroy, one heavy brick after another, the wall that those who supported the dictatorship and those who fought it from the exile built with resentment, hatred and prejudices.

Five ex-political prisoners meet secretly in a country house one afternoon in 1974 on the same day that Salvador Puig Antich is executed, to talk about their experiences in prison.

Five ex-political prisoners meet secretly in a country house one afternoon in 1974 on the same day that Salvador Puig Antich is executed, to talk about their experiences in prison.

The film was conmissioned by the Galeria Maeght to commemorate the Joan Miró exhibit organized by the French Minsitry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film, that took five days to shoot, shows the smelting and casting process of the work known as Puertas Mallorquinas by Joan Miró. The filming team travelled to the foundry owned by the Parellada family in Llinars de Munt.

The film is divided into two large segments. The first is made up of a couple of fixed shots of the pianist, Carles Santos, playing the Prelude Op.45 in C sharp minor by Frederick Chopin. The second segment shows him listening to this own recording from a loudspeaker until he dons the headphones, therefore letting silence take over the film and consequently also over the audience in the movie theatre. The lenght of the silent shot is for the duration of the prelude.

Commissioned by the Maeght Gallery with the exhibition of Joan Miró, organized by the French Ministry of Cultural Affairs at the Grand Palais, which opened on May 17, 1974 in Paris. This film was shot in six days in Montroig del Camp (at the Miró) and Tarragona during the implementation process, by Josep Royo, a tapestry by Joan Miró. Five people worked for eight months in the realization of this tapestry, using wool 1200kg and 600kg for the warp. The total weight of 3500kg and a half was six meters wide by 11 meters long. They need a purpose built weaving loom. The day of the attack on the World Trade Center in New York on September 11, 2001, the tapestry was placed in the lobby of one of the towers when they were demolished.

An unprejudiced portrait of Spanish folklore and a crude analysis in black and white of its intimate relationship with atavism and superstition, with violence and pain, with blood and death; a story of terror, a journey to the most sinister and ancestral Spain; the one that lived far from the most visited tourist destinations, from the economic miracle and unstoppable progress, relentlessly promoted by the Franco regime during the sixties.

페레 포르타베야의 대표작이자 1970년대 스페인 아방가르드를 대표하는 걸작으로 꼽히는 작품. 헤수스 프랑코의 호러영화 "드라큘라 백작"의 세트장에서 촬영된 이 작품은, 다큐멘터리와 픽션의 경계를 넘나들며 호러영화의 코드와 관습에 대한 놀랄 만큼 흥미로운 통찰들을 제공한다.

페레 포르타베야의 대표작이자 1970년대 스페인 아방가르드를 대표하는 걸작으로 꼽히는 작품. 헤수스 프랑코의 호러영화 "드라큘라 백작"의 세트장에서 촬영된 이 작품은, 다큐멘터리와 픽션의 경계를 넘나들며 호러영화의 코드와 관습에 대한 놀랄 만큼 흥미로운 통찰들을 제공한다.

페레 포르타베야의 대표작이자 1970년대 스페인 아방가르드를 대표하는 걸작으로 꼽히는 작품. 헤수스 프랑코의 호러영화 "드라큘라 백작"의 세트장에서 촬영된 이 작품은, 다큐멘터리와 픽션의 경계를 넘나들며 호러영화의 코드와 관습에 대한 놀랄 만큼 흥미로운 통찰들을 제공한다.

This film turns on two basic axes: the inquiry into ways of cinematographic representation and a critical image of official Spain at the time of the Franco dictatorship. “Montage of attractions” and Brechtianism in strong doses. Umbracle is made up of fragments (some are archive footage) that resound rather than progress by unusual links, with dejá vu scenes that promise us more but remain tensely unfinished. Jonathan Rosembaun said: “few directors since Resnais have played so ruthlessly with the unconscious narrative expectations to bug us”. Learning from the feeling of strangeness caused by Rossellini as he threw well known actors into savage scenery in southern Europe. Portabella makes Christopher Lee wander around a dream-like Barcelona. Without a doubt Portabella’s most structurally complex and most profoundly political film, that is ferociously poetic.

This film turns on two basic axes: the inquiry into ways of cinematographic representation and a critical image of official Spain at the time of the Franco dictatorship. “Montage of attractions” and Brechtianism in strong doses. Umbracle is made up of fragments (some are archive footage) that resound rather than progress by unusual links, with dejá vu scenes that promise us more but remain tensely unfinished. Jonathan Rosembaun said: “few directors since Resnais have played so ruthlessly with the unconscious narrative expectations to bug us”. Learning from the feeling of strangeness caused by Rossellini as he threw well known actors into savage scenery in southern Europe. Portabella makes Christopher Lee wander around a dream-like Barcelona. Without a doubt Portabella’s most structurally complex and most profoundly political film, that is ferociously poetic.

At underground film of the 1st Popular Festival of Catalan Poetry filmed in the Proce Theater in Barcelona on May 25, 1970, in solidarity with political prisoners. The participating poets were: Agustí Bartra, Joan Oliver (Pere IV), Salvador Espriu, Joan Brossa, Francesc Vallverdú and Gabriel Ferrater.

At underground film of the 1st Popular Festival of Catalan Poetry filmed in the Proce Theater in Barcelona on May 25, 1970, in solidarity with political prisoners. The participating poets were: Agustí Bartra, Joan Oliver (Pere IV), Salvador Espriu, Joan Brossa, Francesc Vallverdú and Gabriel Ferrater.

Short film by Spanish/Catalan film maker Pere Portabella.

Short film by Spanish/Catalan film maker Pere Portabella.

페레 포르타베야의 장편 데뷔작. 감독은 제목을 통해 프랑코 체제가 시작된 1939년부터 영화가 발표된 시기까지의 세월을 암흑의 시기로 빗대고 있다. 명망 높은 카탈로니아 시인 후안 브로사와의 공동작업으로 만들어졌다. “일상의 부조리함을 드러내는 초-현실적 단편들”(페레 포르타베야)로 이루어진 영화.

페레 포르타베야의 장편 데뷔작. 감독은 제목을 통해 프랑코 체제가 시작된 1939년부터 영화가 발표된 시기까지의 세월을 암흑의 시기로 빗대고 있다. 명망 높은 카탈로니아 시인 후안 브로사와의 공동작업으로 만들어졌다. “일상의 부조리함을 드러내는 초-현실적 단편들”(페레 포르타베야)로 이루어진 영화.

페레 포르타베야의 장편 데뷔작. 감독은 제목을 통해 프랑코 체제가 시작된 1939년부터 영화가 발표된 시기까지의 세월을 암흑의 시기로 빗대고 있다. 명망 높은 카탈로니아 시인 후안 브로사와의 공동작업으로 만들어졌다. “일상의 부조리함을 드러내는 초-현실적 단편들”(페레 포르타베야)로 이루어진 영화.

David (Mark Stevens) is a physician who returns to Spain 30 years after his involvement in the Spanish Civil War. Now a member of a medical convention, he looks up old friends and finds his former lover, now a married woman with a flamenco-dancing daughter. He and the daughter (Manuela Vargas) have an immediate and mutual attraction to each other. He considers running away with the exotic beauty before asking his wife to join him for an extended vacation after the convention .

With musical accompaniment from the zarzuela 'The drum Grenadiers' by Ruperto Chapí, a pair of custodians are in the basement of the National Library of Madrid showing some canvas awarded with the National Prize for Painting between 1941 and 1969.

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

As publicity for the exhibit Miró L’altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the “poster” for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

Pere Portabella’s first work as a director starts with the following phrase: “defeated…but not conquered”. This may or should be taken as an allusion to the technical K.O. taken by Portabella from Franco’s regime during the sixties as regards his work as a producer. Through the extremely raging playthings of the words of Catalan poet Joan Brossa, Portabella attempts to dismantle the forms of advertising discourse of that time.

Pere Portabella’s first work as a director starts with the following phrase: “defeated…but not conquered”. This may or should be taken as an allusion to the technical K.O. taken by Portabella from Franco’s regime during the sixties as regards his work as a producer. Through the extremely raging playthings of the words of Catalan poet Joan Brossa, Portabella attempts to dismantle the forms of advertising discourse of that time.

Miguel, a poor young man living in Franco's Spain becomes a bull fighter to escape starvation.

수녀원에서 생활하던 비리디아나는 수녀가 되기 전 마지막으로 후원자인 아저씨를 방문한다. 후원자는 비리디아나가 신혼 첫날 밤 안타깝게 죽은 아내를 빼닮은 것에 마음이 흔들려 그녀를 잠재워 겁탈을 시도한다. <최후의 만찬>을 패러디한 장면으로 유명한 루이스 부뉴엘의 설명이 필요없는 걸작.

Don Anselmo, a retired old man, decides to buy a motorized disabled stroller since all his pensioner friends own one. His family strongly refuses him to purchase the vehicle, so don Anselmo decides to take extreme measures to achieve his goal…

Three restless slum boys are turned to a life of petty thievery, but when one of them expresses a hopeful desire to become a bullfighter, the others pool their energies to pull one big heist in order to finance their pal's dream.