José Manuel Costa

He was born in Lisbone. He is currently the Director of the Portuguese Film Archive where he started working in 1975 in the functions of Head of Programming and Head of the Archive department. He is in charge of the new “Arquivo Nacional das Images em Movimento” which is a part of the Portuguesa-Museu do Cinema film archive. He was the president of the Executive Board of the Lumière project organization (Media Programme 1991-96) and the president of ACCE (Association des Cinémathèques de la Communautè Européenne) since the establishment of the Association in 1991 to 1996. He was the president of ACE (Association of European Film Archives and Cinematheques) from 1996 to 1998, and nowadays he is a member of the Executive Committee. José Manuel Costa was a member of the  FIAF (International Federation of Film Archives) from 1993 to 1995. He also works as a member for the Board of Directors of AporDoc and for the European Foundation Joris Ivens. He has given lectures on the subject “Cinema and History of the image” at the Faculty of Humanities and Social Siences of the Universidade Nova de Lisboa and he is currently teaching “History of the cinema” and “Film Genres” at the same faculty.


Esteve Riambau

He is the director of the Film Archive of Catalonia, a historian, a critic and a film producer. As a professor of the Audiovisual Communication and Advertising department at the Autonomous University of Barcelona, he has published about thirty books on Cinema History and co-directed La doble vida del faquir and Màscares, a pair of feature films, in collaboration with Elisabet Cabeza. From April 2011, Esteve Riambau has been also the vice-chairman of the FIAF, International Federation of Film Archives, which gathers more than 150 film archives and archives all over the world.


Yervant Gianikian, Angela Ricci Lucchi

The Italian filmmaking team of Angela Ricci Lucchi and Yervant Gianikian burst onto the film scene in 1986 with their landmark experimental work From the Pole to the Equator. This startling work placed them at the forefront of the documentary film movement and introduced what would become recurrent themes in their work: peace and war, imperialism, and the exploitation of the underprivileged. The pair’s signature style often involves the manipulation of rare footage through re-photographing, selectively hand-tinting, and altering film speed to produce a final work of a distinctly otherworldly quality.