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Solution bien pratique au problème de l?orientation dans une salle de théâtre ou de cinéma, de petites lampes dissimulées ça et là montrent aux gens où mettre les pieds et où ne pas les mettre, leur indiquant leur fauteuil ou la sortie. Imagine maintenant l?obscurité totale. Entre. Arrête d?imaginer et regarde . ..... .:.:...:::ccccoCCoooo:: Alors qu?on regarde, la question se pose de ce que c´est regarder. Les petites balises de guidage nous reviennent à l?esprit. D?habitude, c?est en regardant que nous nous orientons. En réaction à cela, ou peut-être par conséquence, maintes formes d?art se proposent de nous désorienter. Mais la question de l?essence même du « regard » reste sans réponse. Or cette question est au centre de l??uvre de Ben Pointeker. Pour y répondre, tout en gardant ses distances vis-à-vis du langage conventionnel du cinéma et de la photographie, il renoue néanmoins avec celui-ci. La manière dont il procède rappelle la poésie concrète. Mais il ne s?agit ici que d?une réminiscence. La poésie concrète n?était dans l?ensemble qu?une réaction à quelque chose d?autre : ce que nous connaissions déjà. Et de ce fait, elle était limitée sur le plan dialectique à ce que nous connaissions déjà. Dans son approche cinématographique, Pointeker sait comment sortir de cette ornière. Mais il ne le montre pas. Ce qu?il montre, c?est ce qui apparaît. Nous nous trouvons dans l?obscurité totale. Une lumière brille. Plusieurs lumières brillent : une voiture se fraie son chemin. Au sens littéral du terme : une voiture se fraie son chemin. Cette voiture n?amène personne de A à B. En projetant sa lumière, elle se fraie son propre chemin. D?autres images suivent, qui se fraient leur propre chemin. Nous regardons, captivés par la lumière de ce qu?on nous montre, et nos sens commencent à deviner ce que c´est regarder. (Frans-Willem Korsten)

Ben Ponteker studierte u.a. Literaturwissenschaft und Kunst in Wien, Kopenhagen und Rotterdam, zuletzt MA Fine Art, Piet Zwart Institute Rotterdam; experimentelles Kino und filmische Installationen, Textpublikationen; daneben Bühnenvideos für Theater- und Tanzproduktionen und dramaturgische Beratung; in der Beschäftigung mit suggestiven Bildsphären interessiere ich mich für Rhetorik und Substanz des visuellen Erzählens

Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission.

Ben Pointeker is a visual artist and filmmaker based in Vienna. His work often sets in between film and photography and is concerned with poetics, patterns of narrative cinema, the notion of time, ambiguous realities and fantasy. Previously based in The Netherlands he graduated from Piet Zwart Institute and won the Prix de Rome basic award. He is also a graduate of the University of applied arts Vienna and was artist in residence at Wiels in Brussels, in Shanghai and most recently at Bòlit in Girona in the framework of The Spur. He has exhibited at institutions such as Secession Vienna, Kunstpavillon Innsbruck, Contemporary Art Center Vilnius, Filmmuseum Amsterdam and major film festivals.

Julien Blaine est poète « performer » il écrit, il hurle, il agit : « L?acte comme poème. Ce film est une rencontre avec deux de ses performances : « la chute dans les escaliers de la gare Saint Charles » et sa première « l?interview des éléphants. » Ce film est l?interprétation de sa création, de ses actions par sa fille. Ici , elle confronte le passé et le présent, elle invite le spectateur à déchiffrer, à ressentir, à créer du sens.

Après une formation aux Beaux ? Arts de Cergy et une formation aux métiers de l?image à la fémis, j?ai participé en tant que chef opératrice à plusieurs court métrages : Le ravissement de Raphaël Jacoulot ; Enceinte jusqu?aux dents de Marie Donnio ; A bright Interval d?Emilie Lamoine? J?ai été cadreuse sur plusieurs documentaires : Arthur Penn ; Jean François Laguioni, un cinéaste animé de Jean Jacques Bernard pour ciné cinéma classic. Et Résistants de la première Heure de Pholippe Costantini. J?ai réalisé plusieurs films vidéos accompagnant des lectures de poètes : Jacques Sivan et Vanina Maestri. Ainsi que des vidéos pour une compagnie de théâtre Alzhar et des musiciens Diabolicus. J?ai réalisé trois films sur la performance : Last Festival ; Bye bye la perf et ce dernier sur Julien Blaine. J?ai dirigé la lumière pour la compagnie Alzhar à la friche de la belle de mai et pour Diabolicus au théâtre des Bouffes du Nord.

Renversant statues et symboles, construisant de nouveaux souvenirs, encadrant le paysage détruit, écrivant des lettres pour l'avenir, inversant les dynamiques de pouvoir : BIG BANG HENDA est un documentaire-poésie-manifeste sur le travail de l'artiste angolais Kiluanji Kia Henda. Il nous emmène dans un voyage à travers ses créations et réflexions, qui sont à l'avant-garde de la pensée anticoloniale, nous exhortant à réfléchir sur la manière dont les générations qui ont grandi pendant ou à la suite de la guerre réinterprètent cet événement.

Fernanda is a screenwriter and director, living between Brazil and Portugal. She has been working in the intersections between Brazil, Portugual and the African Portuguese speaking countries and former colonies of Portugal for decades. Her first feature as a writer, Mosquito, was the opening film at the Rotterdam FF (2020) and won the Critics Prize at the São Paulo International FF (2020) besides touring dozens of festivals. Her second feature, The Last Summer, is currently in production after being selected for the Script Station at Berlinale 2023 and RACCONTI. She has been developing, writing, and directing for TV, streaming and cinema, and some of her works have received awards and nominations at the Brazilian Cinema Academy, New York TV&Film Festival, Hollywood Woman’s FF, among others. She is part of the Torino Film Lab 2023. She is a co-founder of MUTIM, a woman in film association in Portugal.

?Blisko? (?Close?) ? about alienation in the big city. The artificial light inside the night trams creates a new reality.

I was born in 1979. Between 1998 and 2004, I studied at the Władysław Strzemiński Academy of Fine Arts in Łódź. In 2004, under the tutelage of prof. Grzegorz Przyborek, I obtained the certificate and title of Master of Fine Arts in asvertising photography. Since 2003, I have also participated in multimedia workshops held by prof. Konrad Kuzyszyn and Łukasz Ogórek, MFA. I was a post-graduate, free participant there. Since that time, my interests hav revolved around film and video. In 2007, I went on a three-month scholarship to France, organised by the Strasbourg Klub, the City of Strasbourg as well as the CAAC.

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

Rêvant de terres meilleures, de génération en génération, à cause de la pauvreté, de la faim ou des guerres, nous voyageons sur les mers. La géographie est notre destinée. Nos corps conservent-ils la mémoire de nos grands-pères? Les souvenirs de fugue à la recherche de terres meilleures sont-ils inscrits dans nos corps? "Porvenir" signifie "avenir" en espagnol. Porvenir est aussi la seule ville de la Terre de Feu, au bout du monde, fondée par des immigrants venus de Croatie au début du XXe siècle.

Renata Poljak (née en 1974 à Split, Croatie) est artiste visuelle et cinéaste. Elle a été diplômée de la Arts Academy of the University of Split (Croatie) en 1997, et a obtenu un Master à l'École régionale des Beaux-arts de Nantes(France), département cinéma et vidéo, en 1999. Ses réalisations ont été présentées dans le cadre de nombreuses expositions individuelles et collectives, de biennales et de festivals de cinéma, d’envergure tant nationale qu’internationale. Elle a reçu de nombreuses bourses et récompenses, dont le prix T-HT en 2012 - l'un des plus importants prix d'art contemporain en Croatie. Elle a été artiste en résidence, notamment au San Francisco Art Institute (USA); au Museumquartier, Vienne (Autriche); à Art In General, New York (USA); à la Cité Internationale des Arts, Paris (France); aux Récollets, Paris (France). Ses films ont été projetés notamment au Prospectif cinéma du Centre Pompidou, Paris (France) [2010], et au Palais de Tokyo, Paris (France) [2012].

Tales from the Source propose un regard sur les paysages de la République démocratique du Congo afin de traduire quelque chose de leur puissance, de leur diversité et de leur savoir insondables. Le paysage y apparaît comme un personnage à part entière — une entité vivante, habitée par les symboles des traditions congolaises. L’approche visuelle emprunte aux techniques de l’imagerie multispectrale, produisant une expérience d’un autre monde, traversée de lumières et de couleurs surréelles. Associée à une composition musicale originale de Bear Bones, Lay Low, l’œuvre nous plonge dans un dialogue sensoriel avec le paysage, un être intelligent et sans âge, en transformation constante, qui vient défier notre perception.

Léonard Pongo (né en 1988 à Liège, Belgique) est un artiste visuel et cinéaste vivant et travaillant entre la Belgique et la République démocratique du Congo. Son travail explore les complexités de la perception et de la représentation, tout en remettant en question les représentations conventionnelles de la RDC, en s’attachant aux récits et symboles traditionnels et à leur relation au territoire. Formé à l’origine au photojournalisme, Pongo entame son parcours artistique en 2011 lorsqu’il se rend en RDC pour couvrir les élections présidentielles. Cette expérience transforme profondément son approche : il passe d’une documentation objective à une pratique plus subjective et expérientielle. Sa famille et les communautés locales l’encouragent alors à dépasser sa perspective initiale pour développer un regard plus nuancé et intime sur la vie congolaise. Pongo est reconnu pour ses installations multimédias combinant textiles, photographie, techniques d’impression variées et images en mouvement. Son travail s’enracine dans les cosmologies et traditions orales congolaises, en particulier dans l’idée que « tout n’est pas visible ». Grâce à des techniques spécialisées — dont la photographie en spectre complet, qui capte des longueurs d’onde invisibles à l’œil humain — il révèle des dimensions du paysage et de l’expérience habituellement dissimulées. Son projet au long cours The Uncanny (2011–2017) explore le quotidien en RDC à travers des images en noir et blanc empreintes d’une atmosphère onirique, tandis que Primordial Earth (2017–en cours) se concentre sur le territoire, mobilisant photographie couleur, textiles et installations vidéo pour évoquer une sensation de spiritualité et d’interconnexion. Son dernier film, Tales from the Source (2021–2024), prolonge cet ancrage dans les récits traditionnels, en s’attachant aux cultures luba et en soulignant l’imbrication profonde entre culture et environnement. Sa démarche collaborative implique un travail étroit avec les communautés à travers la RDC, puisant dans leurs savoirs, récits et traditions, afin de créer des formes visuelles qui prolongent la lignée des traditions luba en forgeant des expressions contemporaines liées aux concepts et visions ancestraux. Son travail a été exposé à l’international dans des institutions majeures telles que le Bozar – Palais des Beaux-Arts de Bruxelles, la Tate Modern à Londres, la Biennale de Dakar (Sénégal) ou encore le Nasher Museum of Art à Duke University. En 2023, sa première monographie The Uncanny est publiée chez Gost Books, et en 2025 il est sélectionné parmi les « Future Greats » d’ArtReview par le photographe Roger Ballen.

Every winter the Yurungkash River in western China dries up, revealing an expanse of river-worn stones. There, hidden within the rock, lies a buried treasure forty times more valuable than gold?jade. Hundreds of people gather in the riverbeds, endlessly scrabbling at rock in search of a jewel they are unlikely to find. Still, the small glimmer of hope prevails over weary backs and frozen figures. As we watch the countless poverty-stricken men and women in unrequited pursuit, we are perhaps left to ponder our own failed quests for diamonds in the rough, as well as the extraordinary?and quixotic?measures we`ll resort to in pursuit of wealth.

A graduate of the National Film & Television School, Urszula is a Polish-born, London-based cinematographer/director and stills photographer. With a continuing career in feature film drama she is also currently developing a feature length documentary which tackles similar issues to ?China?s Wild West?, but this time across several continents.

Levi, a young craftsman, drifts through the city streets with a restless sensitivity. He wanders day and night through dimly lit bars, pulsing clubs, and silent playgrounds, crossing paths with friends, strangers, animals, and even inanimate objects along the way. Each encounter is fleeting, each moment fragmented. Levi listens, touches, remembers—yet nothing fully coalesces in his grasp. Through Levi’s quiet journey, the film explores the trauma of displacement and the uncanny ways it warps memory and perception. Time loses its shape as past and present blur into a multitude of overlapping narratives. Voices, smells, and sensations from different moments merge together—at times overwhelming, at other times hyper-specific. As Levi seeks to feel and understand amid this blur, the film quietly meditates on the act of observation itself and on the emotional resonance of longing and transience. No one came from Afar was created during the director’s own exile in Germany. It draws upon the different yet emotionally similar experiences of displacement shared by the filmmaker and the lead actor, Levi Hartmann. This personal context subtly shapes the film’s perspective, grounding its poetic exploration of longing and transience in lived reality.

Mohammad Poori (b. 1987, Sari, Iran) is a filmmaker and curator based in Hamburg and currently a Master student in Film and Time-Based Media at HFBK. His work focuses on collective trauma, exile, and the politics of memory, with particular attention to how narratives are fragmented and reactivated under conditions of displacement. He is a recipient of the Neue Kunst in Hamburg travel grant (2024–25) and will be a fellow of the MAK Schindler Scholarship Program at the Mackey Apartments in Los Angeles (2026–27).

Le travail de vidéo "On the 16-th of February 2005" ressemble à une peinture basée sur le temps (documentaire) décrivant une femme assise à une table. Au premier regard, le regard semble complètement immobile. L?image éveille la curiosité et la contemplation plus que ce qui se passe vraiment, plus le temps avance. Par conséquent, le spectateur pourrait déceler que les objets changent de place, bien que leur processus de mouvement reste inaperçu. Á la fin, le temps bouge ?plus vite?, révélant un peu de ce qui l?entoure et de l?auteur en train d?enregistrer ce qui se passe devant ses yeux. La pellicule vidéo n?a pas été retouchée afin d?atteindre cet effet "immobile", tout est absolument véridique au lieu réel et au temps.

Je suis né et j?ai été élevé à Plovdiv, en Bulgarie. J?ai commencé ma formation aux beaux-arts à l?âge de douze ans avec des cours de peinture et de dessin. J?ai été diplômé du College of Theater and Fine Arts à Plovdiv, en Bulgarie en 1991. Plus tard, j?ai étudié à la National Academy of Fine Arts, à Sofia en Bulgarie où je me suis spécialisé en esthétique de la scène dans le cours du professeur Svetoslav Kokalov. Je me suis concentré principalement sur la dramaturgie classique comme Sophocle, Shakespeare et Tchekhov. J?ai été diplômé en 2001 du MFA Photo and Digital Imaging program du Maryland Institute College of Art, à Baltimore aux Etats-Unis. J?y ai suivi la classe du professeur William Larson et du théoriste des médias Timothy Druckrey. J?explore dans mon travail actuel les limites de la perception, tentant d?exprimer les différentes formes de présence du visible et de l?invisible. Depuis 2001, je vis à Chicago, dans l?Illinois.

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. The film is part of a show by Carles Santos: El compositor, la cantante, el cocinero y la pecadora (The composer, the Singer, the Cook and the Sinner).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

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.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

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 bronze sculptures weigh 1200, 800 and 650 kilos respectively and were cast in one piece in a kiln specially constructed for the occasion.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The film was commissioned by the Galeria Maeght for the Joan Miró exhibit organized by the French Ministry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film was shot in six days in Montroig del Camp (the Miró country home) and in Tarragona during the process of elaboration of an original tapestry for eight months using 1200 kilos of wool and 600 kilos for the warp. The tapestry was 6 meters wide and 11 meters long and weighed a total of 3,500 kilos. A special loom had tobe built to weave it. The day the twin towers of the World Trade Center in New York were attacked, September 11, 2001, the tapestry was hanging in the hall of the one of the towers and was destroyed along with it.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

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.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Carles Santos plays one 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.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Playback is presented as a short rehearsal in a double sense. It is a satellite of the constellation of works that Portabella dedicates to the analysis of the "materiality" of aesthetic and cultural languages (Vampir-Cuadecuc and Miró l`Altre among others can also be understood in this manner). At the same time, he analyzes the rehearsals that Carles Santos carries out for the playback recording of a film on the work of Antoni Gaudi. The choir of the Gran Teatro del Liceu of Barcelona reads fragments from Wagner`s Tannhauser, Lohengrin and the Valkyries. The film was shot in the theater "Lluïsos de Gràcia".

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).