The Punto de Vista festival of Pamplona/Iruña last Saturday offered the director José Luis Guerin almost all day, before the closing of the tenth edition. In the morning he presented L’Accademia delle muse with good entry: “We’ve met more people than at the PNV event and that’s not easy,” jokes Oskar Alegria, director of the festival, referring to the Jeltzale General Assembly that was held on the same day in Baluarte. The fiction film of the Catalan filmmaker was accompanied by another type of fiction – which is what our great cultural equipment offers.

What does a fictional job look like at a documentary film festival? Because he has had no choice, otherwise they would not be projected in the halls of Pamplona. However, it is a history far from conventional, as the bill is closer to the documentary and the working method is also very special: ringing without a script and as in the film, with the protagonists truly students of the University of Barcelona. It is, therefore, a work that asks where the limits are between the invented plot and the factual story.

An Italian teacher, especially teaching at a musas academy composed of women. Reflections on high-level literature, numerous classical references, scholarly discussions… and a series of relationships that will gradually be incorporated into the students. Everything happens on a very intellectual level and at first you think that they will come up with some non-normative approach to couple relationships. Keba: Little by little we realize that students become subjects of the master's fallacious authority and, in the end, reproduce the relationship codes of a reality show – reciting Dante, that’s right.

A cultured version of a prince for three princesses? Well, at least it's a job that requires seeing in an ironic distance. Or with purple glasses: L’Accademia confirms the complex mechanisms that the submission of women in partner relationships can have, which are effective even against empowered women in the film – the only exception is the character called Carolina, which is freed in some way by questioning the professor’s intellectual authority.

In the afternoon, Guerin premiered a very different job. Le Shapir de Saint-Louis is a custom work that I was reminded of by the Guernica de Alain Resnais, which is counted with the mere help of the text and the recording of a painting. It is a film of another time, almost a tribute to the film made by Resnais himself or by Chris Marker. Then, in the talk with the director, the viewers were able to see which of the two films they were asking, and it became clear that most of us thought it was a small job.