The children wolf and Perfect as cats have competed in the Nest section, a category for international students. The first is a Cuban exile led by Otávio Almeida, the second is American and is led by Kevin Vuk. Both have double protagonists and an imaginary that exceeds what you see.

The wolf children represent the game between two brothers representing excerpts from the Angolan war in the struggle between them. They are memories that are known through a parent who does not speak and that make more sense through their acts. It is a work done with great pleasure at the San Antonio de los Baños de Cuba school.

The film of the VU director is starred by two sisters living in the summer barnetegi of Donostia. They are inseparable, used to sleeping together and keeping distance from each other. When one of them starts sharing his intimacy with a boarding school girl, special things start to happen, like a cat jumping out the window or her sister dragging down the ground. The reflection on the relationship between families reflects with a surreal image what happens in emotions, in the little that becomes fun.

Jo ta ke de Aitziber Olaskoaga

Above all, we have been able to see the film that we had hoped for. Jo ta ke is a film by Aitziber Olaskoaga that has been developed over the past year in the Ikusmira Berriak program. The half-film proposes to look from the present past of the Basque conflict and is full of obstacles to imagine it.

The film starts with an impossible VHS from the concert offered by Herrera de la Manchan Negu Gorriak. When Muguruza refuses to use it, Olaskoaga will go behind that impossibility, moving to the place where the prison is on a summer day. There, witnesses will refuse to go out in the film and be allowed to shoot the jail, provided they are kept in the surroundings and the building does not appear. With the intention of using in favour all those who oppose it, it will create a parallelism of issues that are still taboo today. The weight of the past makes it difficult to look at what happened in the face, and the director will complete this work by creating imaginaries across the edges. Unlike work on emotional overdose, Olaskoaga proposes an inner journey to personal memory, more than answers, more questions than answers. A decent and necessary work in the aspect of our imaginaries, which contributes to the question of how we can make the representation of what is so close to us.

Exchange of letters from Carla Simon and Dominga Sotomayor

The short film Correspondence proposes a visual exchange between the Catalan woman Carla Simón and the Chilena Dominga Sotomayor. This is a custom work that was proposed to six filmmakers to create a dialogue "between people who may find themselves in a similar situation". Simon and Sotomayor tell the women of their family, looking for the way it demands them.

Even though they get beautiful, intimate images, there's something that's repeated on this topic. "What is being a woman filmmaker?" Many female filmmakers have chosen not to answer the question, not because the answer is not important, but because it is often a central and unique question, throughout their career. In addition to that, in this brief question he becomes a filmmaker and a mother to get the issue of motherhood (how not), because they are worlds impossible for some and a right for others. I would like to see such a colloquium between male filmmakers, and if someone takes the idea and runs it, that round table, welcome; the debate will be enriched far beyond this loop that is going to run out. The fire broke out in the midst of these cinematic letters during last year's riots in Chile, and the spectator is portrayed by the film as a brutal shake. This forces the inmates to act suddenly and to strengthen ties between one's own life and the collective. It is a call to action and to abandon personal issues.

Medellin in San Sebastian

The film The Ducts of Zabaltegi-Tabakalera has closed today. The work of Colombian Camilo Restrepo focuses on the vicinity of the city of Medellin and part of a getaway that has taken place. The protagonist has just been freed from a religious sect and in one way or another seeks places of sleep and work, just in case, protecting all the steps. This is the author's first feature film, which was awarded at the last film festival in the city of Berlin.

The work has been rooted in 16mm, working with mastery what appears in each plane: duration, action, color and frame. They are fixed images whose link must be made through the association of the spectator, which requires commitment. It is a story that is told with few words, with visual narrative being the most important element of the film: things are built without saying anything. The title plays with the beliefs that may exist in a sect, referring to the hidden channels that are not the main streets of the city. There are paths that are not known but that are in the slits. The film focuses on human behavior, morality, hypocrisy and different ways of living. Restrepo’s careful work brings us to very different places and rightly gives birth to the existential doubts one may have, proposing a way to see what one cannot see. We are still in time to catch the drivers that are between the walls...