Talk with Víctor Erice, Pedro Costa and Marc Recha

Moderated by Jorge Yglesias

While it is true that a film director’s working space is much broader than the time of the shooting process, the role of the filmmaker has been regarded as one of the less productive ones, even by the portraits of cinema itself. From its classic point of view, the film director, who is surrounded by an efficient and expensive team, works, apparently and hopefully, for two or three months every few years What happens the rest of the time? Do they work alone or with a team of close assistants? Written notes, drawings, visual notes, photographs, the obsessive study of the pictures of the ongoing film?

From this little provocation, we would like to ask Víctor Erice, Pedro Costa and Marc Recha to share with us some note, text, sketch, sequence or reflection on their work in order to confirm or refute this idea. This entails a starting point that brings us closer to the creative universes of these three renowned authors and its idea of workshop, seen as physical or virtual space for creation. Despite the different relationship with new technologies that they handle, the roads that these three authors have recently traveled in their attempt to make films exemplify how the filmmaker creatively (re)conquers his day-to-day. Ultimately, this dialogue tries to pay tribute to the life and work of these filmmakers, to the essential ability to reinvent the methods in an effort to return to same concerns and obsessions.

Víctor Erice

Víctor Erice (Carranza, 1940), is one of the great Spanish film directors of all time. Author of a filmography whose brevity must be attributed to his apparent intention not to give in to a system that limits the freedom. Thes of the beehive (1973), reached a major impact, making it one of the most suggestive directors of the new Spanish cinema and one of the most important in its history. The second, The south (1983), based on a story by Adelaida Garcia Morales, exceeded all expectations and was erected on a new masterpiece. From what would be an episode of a television series, filmed in 1992 Dream of life, an experimental film about the painter Antonio Lopez, who won an award at the Cannes Film Festival. In 1996 he was awarded with the Gold Medal of Fine Arts. In 2002 he directed the shortfilm Alumbramiento for the collective movie Ten minutes older. His last work is one of the four fragments of Historic Centre, a collective movie together with the directors Pedro Costa, Aki Kaurismaki y Manoel de Oliveira, that is presented in this edition of IBAFF.

Pedro Costa

Pedro Costa is probably the the living Portuguese film maker most well-known and respected after Manoel de Oliveira. His work continues the work started by the own Oliveira in Portugal and Antonio Campos, as well as other figures of this cinematography as António Reis y Ricardo Costa. After working for several directors as an assistant director he made his feature film debut O Sangue (The blood) in 1989. Then followed by Casa de lava (Un Certain Regard, Cannes 1994), Ossos (Osella d‘Or in the 1997 Venice Film Festival) and No quarto da Vanda (Locarno jury prize, 2000). He makes Onde jaz o teu Sorriso? in 2001, based on the work of Danièle Huillet and Jean-Marie Straub, film in which Godard is referred to as the best ever done on film and editing. His next work Juventude em marcha competed at the 2006 Cannes Film Festival and consolidated him as a filmmaker of international reference. His last feature film, Ne change rien, was made in 2009 and in 2012 he directed one of the four chpaters of the collective film Historic Centre, that is presented in this edition of IBAFF.

Marc Recha

Director, screenwriter and producer. Since he was a child, Marc Recha begins to look at the world through a camera. When he was 18 he travels to paris, where he collaborates in the movie Otage of the great french filmmaker Marcel Hanoun. He directed with 21 years old his first feature film, El cielo sube (The sky rises) that was screened in Locarno and Venice. Seven years later he won the Fipresci award in the Locarno film festival for the movie The cherry tree. Then followed by Pau i el seu germá (Pau y su hermano, 2001), Les mans buides (Las manos vacías, 2003), Dies d’agost (Días de agosto, 2006) y Petit Indi (2009), that got a remarkable recognition in some film festivals like Cannes, Locarno, New York and Venice. Self-taught filmmaker, despite their many successes has been described on numerous occasions as a damn author of European cinema, Perhaps because even though his film is part of certain French tradition, all his films portray a world advancing leaving castaways in their path

Jorge Yglesias

Film critic and teacher, poet, writer and literary translator. Head of Department of Humanities and Professor of Film History at the International School of Film and Television in San Antonio de los Baños. He is responsible for the pages dedicated to Cuban cinema of the International Film Guide. He writes and runs a weekly radio broadcast dedicated to cinema and a daily classical music one. He has taught some seminars of cinema in Canada, Austria, Colombia, Venezuela and Great Britain. He is a member of the International Federation of Film Critics (FIPRESCI) and he has received the National Film Critics Award (1998, 1999, 2003).