Today, for the first time, I've realized that I've organized the chronicles by unconscious departments. The day before yesterday was the Pearls series, yesterday Horizontes Latinos and today is the turn of Zabaltegi-Tabakalera. In the words of the festival’s website, the latter “is a section that allows the cinema to look for new looks and ways, an open and risky space in fact.” In the colloquial language, who is behind the strangest films, he will be able to satisfy his desires here.

I went out to Tabakalera in the morning to watch the first films of the day. Outside the building, like an evil genius, I've come across a strange scene, which can no longer be Zabaltegi-Tabakalera. I've observed two of the most curious urban tribes that have occupied several streets in San Sebastian these days. On the one hand, the young people who do not take away the Zinemaldia accreditation card to enter the bed, and on the other, the last survivors of the Egia festivities. With the smile of the show, I went to the room and there I was also very surprised when I discovered that I was surrounded by another very peculiar human species: the Argentinians. What lightning do they do in Tabakalera this Sunday morning, at least fifty percent of the Argentine population?

Curiosities, turn on the screen and the short film Strings directed by Estibaliz Urresola. In a village contaminated by dust and smoke from the factory, members of the women's choir must make an important decision: to accept the subsidy from the polluting company and to give up the company's alms that guarantee the survival of the crown or poisons its neighbours and, for lack of money, to see the group of choirs disappear. On an apparently simple premise, Urresola hits an absolutely blunt blow, as the vulnerable aspect of the protagonist, Rita (Begoña Suarez of 91 years), retains raw truths. At the heart of the decision before us is nothing simple: it opens the door to the debate on the existence of ethical companies. When what you mean is clear and meaningful, neither long ribbons nor eye-catching adornments are needed, this is the finest example.

Ropes, which I applaud strongly, is over and then the film Diario, by the Argentine director Andrés di Tella (perhaps the answer to the question I have asked myself?) has begun. contribution. The generalist recordings, experimental videos and the historical archives of the house, complete the spacious day to day of Di Tella. These are images that combine the director's voice-over, usually unrelated to each other. Tella's proposal is very risky and I do not think it achieves its goal. Thus, although the rays of excellence blink from time to time, the lack of coherence between one image and another seriously hurts the film. Unfortunately, it becomes a mess of sasi-philosophical images and reflections that pretend to be poetic.

I went back to Tabakalera in the afternoon to see German Piaffe. Attention to the summary: Eva (Simone Bucio) is obsessed with the commission of a foley (or sound effect engraved later) that must perfectly reproduce the horse’s trot. Besides the obsession, the ponytail grows to the protagonist and thanks to its sensual tail, both sensual and sexual, seduces the botanical doctor expert in duendes. The reverse, no? But, contrary to what seems, Piaffe, Ann Oren’s first feature film, is far from the arbitrary absurdity. The initial idea of Oren is original and worked to the last detail, an uncomfortable and exciting final product. The surprising visual beauty of each plane, the cynical humor that appears here and, in general, the indifferent narrative that leads to the absurd make this film as attractive as the impulses of techno music that dances Eva.

In conclusion, I would like to dedicate the last words of today’s chronicle to the endearing grandmothers sitting in front of me, who have approached the film session to spend a quiet afternoon. For them it has been a strange afternoon today.