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Elías Querejeta Zine Eskola is an international centre for thinking, research, experimental practice and pedagogical innovation based around the past, present and future of cinema

Created and financed by Provincial Council of Gipuzkoa, Elías Querejeta Zine Eskola is opening in 2017 with a passionately regenerative spirit: its ultimate purpose is not to train technical staff by following traditional standardised training models, but to encourage the emergence of filmmakers with a comprehensive vision of cinema who are able to produce new (working, conceptual, creative, professional) realities on film.

EQZE is taking shape based on the fields of knowledge of the three agents that are taking part in its conceptualisation: the Basque Film Archive, San Sebastián International Film Festival and the Tabakalera cultural project . It is based in Tabakalera International Centre for Contemporary Culture where these institutions are also located.

The institutions involved in the development of the School are not teaching institutions but film institutions. This is why the School that they are promoting is also basically a film project: an idea of cinema that is taking shape as an educational project. This is the reason why the EQZE does not have a range of training programmes, but a single educational project made up of three postgraduate programmes: Film Preservation Studies, Film Curating Studies and Filmmaking Studies.

The unique nature of its origins and location, its idea of cinema and its teaching project make this centre an exceptional case internationally, which doesn’t prevent it, for the same reasons, from aspiring to become an aesthetic and professional laboratory for Basque cinema.

From 2019 the UPV/EHU recognises the postgraduate degrees as University accredited Master degrees. The courses run by the school will have the same academic value and (where appropriate) the same professional value as those run by internal UPV/EHU faculties and colleges. 



Specialised training has often led to a certain kind of neutrality in teaching cinema, in which it seemed that the only thing that mattered was to definitively adapt professionals to meet the demands of the market. At the opposite extreme, this is a school that stands for an idea of cinema that is passionate and close-to-life, with a clear aim to experiment and revitalise society.


EQZE has a single, unified vision of cinema, in which the function of projecting images is not that far from the task of recording them, as occurred in the early days of filmmaking when the same camera fulfilled both functions. The unitary nature of the camera is the metaphor that best sums up the vision we have: we want to conjugate the three ages of cinema in a single phrase, and dissolve the categories, genres, disciplines and fragmentation of the old functions. We are also committed to expanding cinema towards secondary fields of knowledge and linking it to other arts.


We imagine a single kind of cinema, without genres or classifications, but at the same time we consider the many ways of being a filmmaker. Because being a filmmaker nowadays does not just consist of creating images but also of making them visible: the images that existed, already exist and will exist.


Our idea of cinema is far removed from the strict necessity to “make films” and is more open to the need to “film”: to think, touch, preserve, restore, imagine, smell, review, programme, remember, save and project... Yes, to project cinema in every sense of the word: to imagine the films that are still to be made, but also to think about the future and present of those films that already exist.


At EQZE we understand that the aim of training filmmakers must be constantly reflected on and questioned. In actual fact the School itself is the primary expression of the critical spirit that it is based on, because it is framed as an open pedagogical project in permanent progress. We believe in a school that is venturing into the complex permanent art of a (theoretical, emotional, experimental, practical) quest starting with itself.


The training project is aimed at people who in the future will create, research and curate cinema. Its three pathways are postgraduate immersion programmes that continually combine teaching, experimental practice, professional transit areas and the development of personal projects. One of the vital aspects of the pedagogical project is that it breaks down horizontal barriers (inside and outside the film school), so that citizens can get actively involved through open sessions in the creative training debate at the school itself.


EQZE aims to be a collective experience (of the academic but also the social community). However it is also an individual journey, as it devises individualised pathways for each student. It is a only one school, but has as many kinds of teaching as students. Because if each individual is different, why create a school that is the same for everyone?


EQZE implements a pedagogical methodology that combines research, a passionate experience of filmmaking, experimental practice and the dissolution of vertical categories, between the professional and amateur realms, and horizontal ones between cinema and other creative disciplines.


One of the essential features of our pedagogical model is the non-separation between film praxis and theory, because we understand that there is a specific way to think through the camera. As Aristotle’s maxim says: “to learn what you have to do; you have to do what you want to learn”.


EQZE offers an experience that is both educational and based on real-life situations. The Project that structures the course appears to be the comprehensive implementation of this personal and cinematic projection towards the future. At the same time, professional practical training permeates the entire academic year (we only need to go up ,or down a few steps to come across the real working space of the Basque Film Archive, Tabakalera or the Festival), and become permanent opportunities to pass from the amateur to the professional world, from curiosity to experience. We like to think that this transition is not just one-way, but is a round trip, and that at the School, future filmmakers must include this in their lives as a natural habit that favours revitalisation and reflection.