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The faculty is made up of cinema professionals with a proven reputation in the three areas of specialisation and a marked international profile. Also involved in teaching are some of the professionals from Filmoteca, the Festival and Tabakalera, because we see the school as a space for transferring everyday experience at these institutions. This is part of the teaching team at the school.

  • Adrian Martin

    Adrian Martin, an arts critic and audiovisual artist based in Vilassar de Mar (Spain), is Adjunct Professor of Film and Screen Studies at Monash University (Australia). He is the author of eight books on cinema (the latest being Mysteries of Cinema: Reflections on Film Theory, History and Culture 1982-2016 from Amsterdam University Press), and co-editor of LOLA journal online.

  • Ana Pfaff

    Film editor, teacher of film editing and filmmaker. She graduated in film editing at the ESCAC and then took a Master's degree in Contemporary Film and Audiovisual Studies at the UPF. In recent years, she has edited films that have done well at international film festivals and won a number of awards such as Con el viento (Facing the Wind), Ainhoa: yo no soy esa (Ainhoa: That’s Not Me), Trinta Lumes (Thirty Souls), Niñato (Kid) and the multi-award winning Estiu 1993 (Summer 1993) directed by Carla Simón, which earned her the Gaudí Award for Best Film Editing and nominations for the Goya, Platino and Fénix Awards, among others. She often collaborates with the artists Juan Carlos Bracho and Momu & No Es. She has worked with both on works for a number of exhibitions at major national and international galleries and art centres. As a teacher, she gives classes for the Postgraduate Film Editing Course at the UPF/BSM, the Master’s Degree on Documentary Making at the ECIB, the degree course at ESCAC and the Master’s at FRAME. In 2018, she was selected to attend the Editing Station of Berlinale Talents.

  • Anna Manubens

    Anna Manubens is an independent curator and producer with a preference for hybrid roles at the intersection between writing, research, programming, project development and exhibition making. She was head of public programmes at the CAPC musée d’art contemporain in Bordeaux and previously she used to combine her independent activity as a curator and programmer with a regular job at the Belgian artist-run organisation, Auguste Orts, dedicated to the production of, and thinking about artists’ films. She was the Project manager with them for On & For Production that intended to facilitate the production of audiovisual work. Either through Auguste Orts or as a freelance she has recently worked on films by Sven Augustijnen, Manon de Boer, Emily Wardill, Wendelien van Oldenborgh, Fiona Tan, Joachim Koester, Dora García and Alex Reynolds among others. In parallel to this, she taught at Pompeu Fabra University and has curated exhibitions such as When you Fall Into a Trance with Emily Wardill (La Loge, Brussels, 2014), Moving Image Contours, co-curated with Soledad Gutiérrez, (Tabakalera, San Sebastián, 2015), Hacer cuerpo con la máquina: Joachim Koester, (Blue Project Foundation, Barcelona, 2016) or Visceral Blue (La Capella; Barcelona, 2016). She was the artistic director of the LOOP festival in 2011 and 2012 and with Hamaca she developed Apología/Antología, an on-line publishing project that analyses and provides access to 60 years of video-creation in Spain. 

  • Asier Armental

    Gaffer eta argazkilaria. Zinematografiako masterra (The London Metropolitan University), argazki zuzendaritzako graduduna (The London Film School). Gaur egun, argazkiak egiteko pasioa eta gaffer gisa duen lana uztartzen ditu industria zinematografikoan. 

  • Beatrice Gibson

    Beatrice Gibson (b.1978, U.K) lives and works in London. Recent solo screenings and exhibitions include: Collective Gallery, Edinburgh (2015); Statements, Art Basel (2015); Laura Bartlett Gallery (2014); CAC Bretigny (2013), Index -The Swedish Contemporary Art Foundation, Stockholm (2013); The Showroom, London (2012); Kunstlerhaus Stuttgart (2010); The Serpentine Gallery - Sackler Center (2010). Gibson’s films have screened at numerous experimental film venues and film festivals nationally and internationally including The Rotterdam International Film Festival; Experimenta, The London Film Festival; Wavelengths The Toronto Film Festival, Projections The New York Film Festival, Light Industry, NY, Anthology Film Archives NY and LA Film Forum; Gibson’s work was recently included in Assembly, A Recent Survey of Artist’s Film and Video in Britain, 2008-2013, Tate Britain (2014). Gibson has twice won the Rotterdam International Film Festival Tiger Award for short film. In 2013 she was shortlisted for the 2013-15 Max Mara Art Prize for Women and in 2015 won the 17th Baloise Art Prize, Art Basel. 

  • Bárbara Mateos

    Director, producer and colourist. She holds a degree in Fine Arts and a Master's degree in New Formats of Digital Cinematography from the ECAM (Madrid Audiovisual and Film School). Since 2006 she has worked in the colour restoration and correction department at RTVE (the Spanish Radio and Television Corporation), which is equipped with three Spirit DataCine telecines, DaVinci 8:8:8 systems, Baselight and DVNR with Oden software. As a colourist, she has worked on a number of projects, including the colour correction of 'Lorca, muerte de un poeta', 'Cuentos y leyendas', 'Cañas y barro', 'Celia', 'Curro Jiménez', 'Crónicas de un pueblo' and 'NO-DO'.  In 2016 she joined rtve.es as the producer and editor of the documentary NOSOTRXS SOMOS for the digital platform Playz.es. She currently combines her work as a freelance colourist with that of film director. In 2017, her first documentary 'Ad Ventum. Hacia el viento' (2015) premièred in theatres after two years on the festival circuit. Her second documentary feature film, 'Tócala otra vez, Toni' is currently completing its production phase.

  • Camilo Restrepo

    Born in Medellin (Colombia) in 1975, Camilo Restrepo has lived and worked in Paris (France) since 1999. He has a Master's in Plastic Art from the National University of Colombia (1998) and l’École Supérieure des Beaux-Arts in Paris (2004). His films have been screened at some of the world's most important film festivals (Cannes, Berlinale, Toronto FF, Rotterdam FF, Viennale, New York FF, New Directors/New Films) and have been analysed many times by the specialist press and journal publications (CinemaScope, Variety, Cineuropa, Desistfilm, The Hollywood reporter, Sight & Sound, Screendaily). In 2015, his short film 'La Impresión de una guerra' won the Pardino d’argento at the Locarno Film Festival. The following year he won the same prize with 'Cilaos'. His latest short film to date, 'La Bouche', premièred at the Cannes Director’s Fortnight in 2017. His first feature film, 'Los Conductos', was included in the new international competitive section of the Berlinate 2020: Encounters, winning the award for best début work.

  • Carlo Chatrian

    Journalist, author and programmer, Carlo Chatrian worked regularly as a film critic for several magazines. He has published numerous essays and monographs on filmmakers and has run film courses at various schools and institutions. Deputy director of the Alba Film Festival (2001-2007) he has been a member of the selection committee for the Florence Festival dei Popoli and the Nyon Festival Visions du Réel. Carlo Chatrian started working with the Festival del film Locarno in 2002 and from 2006 - 2009 was part of the selection committee. Currently he is the artistic director of the festival. He also curated Locarno’s last few years’ retrospectives (Nanni Moretti, Manga Impact -about the impact of the japanese comic-, Ernst Lubitsch, Vincente Minnelli, Otto Preminger). Since 2010 he has been a consultant to the Swiss Cinematheque in Lausanne and since 2011 has been director of the “Film Commission Vallée d’Aoste” Foundation.

  • Carlos Muguiro

    Filmmaker, teacher and film curator. Doctor of Humanities (Extraordinary Doctoral Award) from the Universitat Pompeu Fabra in Barcelona, graduate in Communication from the University of Navarra and in Film Directing from the ECAM (the Madrid Film School). Together with Sergio Oksman, he made Goodbye, America (2007), Notes on the Other (2009), A Story for the Modlins (2012) and O futebol (2015). Visiting Scholar at the Cambridge University Department of Slavonic Studies, he edited the publications Ver sin Vertov. (1955-2005) Cincuenta años de no ficción en Rusia y la URSSErmanno Olmi. Siete encuentros y otros instantesEl hombre sin la cámara / The Man Without the Movie Camera. El cine de Alan Berliner / The Cinema of Alan Berliner and, more recently, Las formas de la Estalgia (cubana) and Mi abuelo murió leyendo a Pushkin (Antología de escritores cubanos post soviéticos). He founded the Punto de Vista Festival in Navarra and was its director until 2009. He is head of the documentary cinema speciality at the ECAM. Since 2017, he has been directing the Elías Querejeta Zine Eskola, the new study centre on film archiving, curatorship and creation in San Sebastian.

  • Carolina Cappa

    Carolina Cappa (Buenos Aires, 1982) is an audiovisual archivist specialising in the history of technology and restoration. She studied Image and Sound Design at the University of Buenos Aires. She has participated in the restoration of silent movies such as "El bolillo fatal" (1927, Bolivia, restored in Desmetcolor), "El último malón" (1918, Argentina) and the work of Domingo Mauricio Filippini (La Pampa, 1920s), among others. She was head archivist at the Bolivian Film Archives in La Paz (Bolivia), where she also set up the non-conventional film dissemination group called Kinetoscopio Monstruo. Since 2005 she has taught audiovisual media, recently forming part of the team on the Audiovisual Techniques course and the IDIS Project, both at the Faculty of Architecture, Design and Town Planning at the University of Buenos Aires. She gives seminars on audiovisual conservation and runs various cameraless film workshops, as well as the Small Audiovisual Archives workshop, which focuses on decentralised audiovisual archives. Carolina Cappa is the editor of "Nitrato argentino. Una historia del cine de los primeros tiempos".

  • Clara Sánchez-Dehesa

    Specialist in the conservation and restoration of audio-visual material after studying at the L. Jeffrey Selznick School of Film Preservation, New York, where she received The Hague Film scholarship 2011, and in audio-visual heritage through a Master’s degree from the Complutense University in Madrid. She has carried out her work as a conservator in various projects in both Spain and in Bolivia, the USA and Mexico and has taken an active part in the development of the Home Movie Network, an association that she is currently the president of, where her current projects to restore and disseminate home movies and amateur cinema are included. In addition to coordinating the EQZE Archive Department, he is also responsible for the technical supervision of the school's research projects.

  • Cristina Álvarez López

    Film critic and co-founder of the online magazine Transit: Cine y otros desvíos. Her articles and audiovisual essays have appeared in Notebook MUBI, Sight and Sound, De Filmkrant, Trafic, LOLA, Caimán, Screening the Past, The Third Rail and [in]Transition. She has participated in books on Chantal Akerman, Paul Schrader, Max Ophüls and Philippe Garrel, and has collaborated on DVD extras and booklets published by Arrow Films, Carlotta, Kino Lorber, Eureka/Masters of Cinema and Belgian Cinematek. She has given conferences, workshops, and courses on film and film criticism in different schools and universities.

  • Dan Kidner

    Curator and writer. He was previously Director of Picture This, Bristol (2011 - 2013), and Director of City Projects, London (2004 - 2011). Over the past 10 years he has produced projects by many artists including Knut Åsdam, Anja Kirschner and David Panos, Cara Tolmie, Emily Wardill, James Richards and Jimmy Robert. His books include, with Petra Bauer, Working Together: British Film Collectives in the 1970s (2013) and with George Clark and James Richards, A Detour Around Infermental (2011). He writes regularly for Frieze and other magazines and journals. He most recently curated the exhibitions The Inoperative Community, Raven Row, London (2015-2016) and Rozdzielona Wspólnota (The Inoperative Community II), Muzeum Sztuki, Łódź (2016).

  • Enrique Fibla

    PhD in Film Studies from Concordia University (Montreal), with a thesis on noncommercial cinema and institutional politics during the Spanish Second Republic (1931-1936). His research has been published in international journals such as Journal of Spanish Cultural Studies, 1895 Revue d’Histoire du Cinéma and Scree", among others. He recently co-edited the special issue Towards a Global History of Amateur Film Practices and Institutions in Film History (2018) and the book Global Perspectives on Amateur Film History and Culture for Indiana University Press (fall 2019). He currently leads the research and exhibition project Out of home! Amateur cinema beyond the domestic space at the Catalan Film Archive and is the co-director of the project Amateur Movie Database: investigación sobre cine amateur vasco at Elías Quejereta Film School.

  • Erika Balsom

    Erika Balsom is a senior lecturer in Film Studies at King's College London, focusing on the moving image in art and experimental documentary practices. Her most recent book, After Uniqueness: A History of Film and Video Art in Circulation, was published by Columbia University Press in 2017. She is author of Exhibiting Cinema in Contemporary Art (2013), the co-editor of Documentary Across Disciplines (2016), and a frequent contributor to Artforum and Sight and Sound. Her work has appeared in publications such as Grey Room, e-flux, Cinema Journal, and numerous exhibition catalogues. She holds a PhD in Modern Culture and Media from Brown University.

  • Esperanza Collado

    Esperanza Collado (Valencia, 1976) works with installation, environment-performances, 16mm film and critical writing that engage with the philosophical vocation of cinema and the spacial and choreographic possibilities of projection. Her book Paracinema: la desmaterialización del cine en las prácticas artísticas received the Spanish prize ‘Escritos sobre arte’ in 2011. She has shown recent works in Light Field (San Frascisco), Close-Up Cinema (London), BEEF (Bristol), Palais des Beaux-Arts (Brussels), MACVal (Paris), Art Cinema OFF-off (Ghent), Images Festival (Toronto), Biennial of Havana (Cuba), Lajevardi Foundation (Tehran), Art Centre Ongoing (Tokyo), etc. She is a co-founder of LEVE, a record label that releases annual editions of field recordings by invited artists on 45rpm vinyl. She lectures at the Fine Arts College in Cuenca (Spain). Picture: Isabel de Naverán.

  • Esther Urlus

    Esther Urlus is a Rotterdam-based visual artist working with motion picture film formats Super-8, 16mm. and 35mm. Resulting in films, performances and installations, her works always arise from DIY methods. Kneading the material, by trial, error and (re) inventing, she creates new work. Urlus’ work has been exhibited and screened at film festivals worldwide, among other 25FPS festival Zagreb, Ann Arbor Film Festival, Oberhausen Short Film Festival, Sonic Acts, and the International Film Festival Rotterdam.

  • Florian Wüst

    Florian Wüst is a Berlin based film curator, artist, and publisher. He has curated film programmes for numerous international art institutions, cinemas, and festivals such as the International Short Film Festival Oberhausen, the European Media Art Festival in Osnabrück, the Impakt Festival in Utrecht, 25fps, Zagreb, and the Werkleitz Festival in Halle (Saale). From 2016 to 2020 Wüst was the film and video curator of transmediale. He is co-founder of the Berlin Journals–On the History and Present State of the City, an ongoing series of publications that address the social, cultural, and economic changes occurring in Berlin and other cities. For Tabakalera, he recently curated the exhibition Zin Ex. From Abstraction to Algorithm. 

  • Garbiñe Ortega

    With a degree in Audiovisual Communication from the University of the Basque Country, and specialising in experimental and non-fiction film, her practical experience focuses on curatorship, education, building audiences, and the creation of specific frameworks that amplify collective cinematographic experience. In recent years she has lived in California and Mexico, and her curatorial work has been displayed internationally at different festivals in the US and Europe. She is currently a space programmer at the Montehermoso Cultural Centre in Vitoria-Gasteiz, a programme adviser for Azkuna Zentroa in Bilbao and artistic director of the festival Punto de Vista.

  • Gema Grueso

    Gema has a BA in Business Administration and a Master’s Degree in the Preservation and Restoration of Modern and Contemporary Art. She has been restoring our art heritage since 2006 and preserving and restoring different types of modern and contemporary art since 2012. Since 2013 she has been working in Museo Nacional Centro de Arte Reina Sofía, beginning as a sculpture restorer and then moving to the audiovisual archives, joining the Presto Centre in 2015.

  • Giovanna Fossati

    Giovanna Fossati is the Chief Curator of Eye Filmmuseum (Amsterdam) where she supervises a collection of 50,000 titles.  She is also Professor of Film Heritage and Digital Film Culture at the University of Amsterdam where she has taught on the MA Preservation and Presentation of the Moving Image Programme since it was established in 2003. She has recently led the research project The Sensory Moving Image Archive (SEMIA). Boosting Creative Reuse for Artistic Practice and Research. She also coordinates the research group Moving Images: Preservation, Curation, Exhibition (ASCA). Fossati is the author of From Grain to Pixel: The Archival Life of Film in Transition (Amsterdam University Press, 2009 and 2018 – revised edition), co-author with Tom Gunning, Joshua Yumibe and Jonathon Rosen of Fantasia of Color in Early Cinema (Amsterdam University Press, 2015), co-editor with Annie van den Oever of Exposing the Film Apparatus. The Film Archive as a Research Laboratory (Amsterdam University Press, 2016), and co-editor of the volume The Colour Fantastic. Chromatic Worlds of Silent Cinema (Amsterdam University Press, 2018). Her book From Grain to Pixel has also been translated into Spanish in Argentina in 2019: Del grano al píxel. Cine y archivos en transición (Imago Mundi). A new expanded edition by Filmoteca Española and an Italian edition will be published in 2021.

  • Harkaitz Cano

    With a degree in law from the University of the Basque Country, he focused early on writing and covered almost all genres, from poetry to novels, including theatre. As a result of his reflections on the audiovisual, he published the essay Ojo y medio (2010), as well as numerous articles in the press. He has been a scriptwriter for TV, radio and comics. He is always open to multidisciplinary work and is a regular lyricist for groups on the Basque scene. He has translated authors such as Hanif Kureishi, Anne Sexton and Allen Ginsberg into Basque. His work, which has been awarded the Euskadi Prize three times, has been translated into a dozen languages.

  • Helena Girón

    Filmmaker. Her work investigates the relations between mythology and materialism. Together with Samuel M. Delgado, she has directed the films Plus UltraMontañas ardientes que vomitan fuego and Sin Dios ni Santa María. Her films have been screened at international festivals like: Toronto International Film Festival, Locarno Film Festival, New York Film Festival, San Sebastián Film Festival, Mar del Plata, International Film Festival Rotterdam, FIC Valdivia, Curtas Vila do Conde, L’Âge D’Or, Ann Arbor or Media City Film Festival.

  • Helena Wittmann

    Helena Wittmann was born 1982 in Neuss, Germany. Originally studying Spanish and Media Studies in Erlangen and Hamburg, she went on to attend the Academy of Fine Arts in Hamburg (HFBK), where she graduated in 2014. Her works, including her first feature film DRIFT (2017) and the short films ADA KALEH (2018), 21,3°C (2014) and WILDNIS (2013), were shown internationally at film festivals and exhibitions. From 2015-2018 she worked as artistic research assistant at the Academy of Fine Arts in Hamburg. Helena Wittmann works and lives in Hamburg, Germany.

  • Jessica Sarah Rinland

    An Argentine-British artist filmmaker, Jessica Sarah Rinland’s work has been screened and exhibited internationally at the Toronto Film Festival, the New York Film Festival, the BFI London Film Festival, Rotterdam, Oberhausen, Cinema du Reel, Somerset House (2016) and Bloomberg New Contemporaries (2011). She has won awards including Special Mention at the Locarno Film Festival for her first Feature Film (Those That, at a Distance, Resemble Another, 2019), Primer Premio at Bienale de Imagen en Movimiento (Black Pond, 2018), the Arts + Science Award at the Ann Arbor Film Festival (2014), ICA’s Best Experimental Film at LSFF (2013), and M.I.T’s Schnitzer prize for excellence in the arts (2017). Residencies include the Film Studies Center at Harvard University, Somerset House Studios, Flaherty Seminar Fellow, MacDowell and Ikusmira Berriak. She holds a BA (Honours) in Fine Art from Central Saint Martins, University of the Arts London, and an MSc in Arts, Culture and Technology from Massachusetts Institute of Technology. 

  • Jorge Fin

    Artist. Painter of clouds. Cloud Watcher (Palacio Almudí, Murcia, 2003). Teacher of Nephelococcygia, the art of interpreting the shapes of clouds (Gustavo de Maeztu Museum, Estella, Navarra 2005). An honorary member of the London Cloud Appreciation Society, his work has been shown in many gallery and museum exhibitions all over Spain, from San Sebastián in 1989 to the most recent in Madrid's Gurriarán Gallery in 2020. He is the founder and alma mater of the Mediterranean Iceberg Association (Matadero, Madrid, 2015), for which he manages the digital publication. Inspired by an analysis of Henry David Thoreau's Walden; or Life in the Woods (Palacio Almudí, Murcia, 2018), in 2018 he started studying meadowland and wild grass. He frequently collaborates with filmmakers through matte painting (Filmayer). His clouds can be seen in the works of Iciar Bollaín, Manuel Gómez Pereira and Santiago García de Leaniz, director of Nube del sol naciente (2011), a documentary that narrates how Jorge Fin creates his clouds and which made the shortlist at the Action/cut Hollywood International Film Festival. As an illustrator, he has collaborated since the 1980s with the group El Canto de la Tripulación, as well as with numerous cultural magazines such as Sur Express, El Europeo and Vogue, etc. As a muralist, he has painted everything from small pieces in private homes to huge murals measuring over 100 square metres in public spaces, company headquarters and institutions. His work is featured in collections held by the Caixa Galicia Foundation, La Coruña; the BBVA Foundation, Ministry of Culture and Sport, Madrid; the Murcia City Council; the Ramón Gaya Museum, Murcia; the Madrid City Council's Contemporary Art Collection; and the Marbella Engravings Museum, among others. It also forms part of numerous private collections in Spain, France, Switzerland, Italy, Belgium, Germany, Russia, USA, Canada, Mexico, Japan and Singapore.

  • José Luis Sanz

    Photographer, theatre and TV lighting engineer and director of photography for more than 25 years, having trained at the Instituto Oficial de Radiotelevisión Española and the International Film and Television School of Cuba, among others. He has also worked as a teacher at the IORTVE, CES, IES Puerta Bonita and other audiovisual training centres. He has spent the last few years digitising, recovering and restoring film material as manager of the company “Ocho y Pico”.

  • José Luis Torres Leiva

    José Luis Torres Leiva is a director, scriptwriter and film editor. In 2003 he received the Andes Foundation grant to make the documentary Ningún lugar en ninguna parte. His short film "Obreras saliendo de la fábrica" received, among other accolades, the best short film prize at ZINEBI Bilbao and the Drama Short Film festival. "El Cielo, la Tierra y la Lluvia", his first fictional feature film, premièred at the Rotterdam Film Festival in 2008, where it was well received, as indeed it was also at the Mexican and Korean Film Festivals. His second feature film, "Verano" (2011), premièred at the Vince Film Festival within the section 'Orizzonti'. More recently, he premièred the documentaries "El viento sabe que vuelvo a casa" and "Sobre cosas que me han pasado". He is currently finishing his latest feature film, entitled "Vendrá la muerte y tendrá tus ojos". He has lectured in fictional and documentary film at Valparaíso University, the University of Chile, Andrés Bello University, Universidad del Desarrollo, the Catholic University of Chile and the Universidad Mayor.

  • Joxean Fernández

    Director of the Basque Film Archive since December 2010 and member of the San Sebastian International Film Festival Management Committee since January 2011. He is a Lecturer, on leave of absence, at the University of Nantes, specialising in Contemporary History and Film History. He received his doctorate degree from the University of Zaragoza and the University of Nantes with a jointly-supervised doctoral thesis entitled Film and Civil War in the Basque Country (1936-2006). Since 2001, he has been a member of the Management Committee of the Festival du Cinéma Espagnol in Nantes. He co-directed, with Marta Horno, the documentary A las puertas de París (2008). He has written numerous articles on contemporary history in the Basque Country and film and has co-ordinated the following books: Federico Fellini (with Jesús Angulo), Cine y Guerra Civil en el País Vasco (with Santiago de Pablo), Conservación audiovisual en la era digital (with Alfonso del Amo), De Lumière a Kaurismäki. La clase obrera en el cine (with Carlos F. Heredero). He is also the editor of Cine vasco: tres generaciones de cineastas and wrote the book Euskal Zinema-Cine Vasco-Basque Cinema. He collaborated in setting the Elías Querejeta Zine Eskola film school in motion and is a member of its Academic Directorate.

  • Koldo Almandoz

    He has a degree in Journalism and Audio-visual Communication, and graduated in Cinema at the Tisch School of New York University. He has been writing and directing films for the last 25 years. His films have been selected and have won awards at important international festivals (Cannes, Rotterdam, Zinemaldia, Bafici...). Editor of the magazine The Balde. Programmer at the Punto de Vista festival. He has written fiction for radio and has curated various cultural and artistic events. He also collaborates with various media.

  • Laida Lertxundi

    Artist, filmmaker and currently teaches Fine Arts and Humanities at the Art Center College of Design in Pasadena after having given classes at the University of California San Diego and at the California Institute of the Arts (CalArts), where she took a Master’s degree in Fine Arts. Her work, shot mainly on 16 mm, moves between internal spaces of intimacy and the large scale of great open landscapes, with the aim of encompassing a geography transformed by subjectivity and affective states. Her work has been shown at festivals and galleries all over the world: only in the last few years at the Museum of Modern Art (New York), CICC Tabakalera, Tate Modern (London), Havana Biennial and Temporary Gallery (Cologne), among others, and at prestigious biennials such as L.A. Hammer Biennial (Los Angeles), The Lyon Biennial and Whitney Biennial (New York).

  • Laura Cortés

    Laura Cortés Selva is an assistant lecturer (certified by the ANECA as a lecturer in Audiovisual Communication) at the University of Castilla La-Mancha's Faculty of Communication. She holds an international PhD in Cinematographic Visual Style as well as degrees in Audiovisual Communication and Cinematography from the University of Navarra and the Catalonia Advanced Film and Audiovisual School (respectively).

  • Luciano Berriatúa

    A director of fictional feature films (El buscón, 1976 and El lado oscuro, 2002) short films, documentaries and cartoons, he has had a wide-ranging film career as a director of photography, scriptwriter, editor, actor and film restorer specialising in the work of F. W. Murnau and Orson Welles and in animated films and silent Spanish cinema, and has worked for the Spanish Film Library, Film Library of Catalonia and the F.W. Murnau Stiftung (Wiesbaden). As a historian and researcher he has published various books about F.W.Murnau and numerous articles in Spanish, French, German and Italian magazines. He teaches film restoration and production at Paris 8 University (France) (12 years as an associate professor) and Cordoba University (for 6 years). He has also taught scriptwriting at the ECAM.

  • Luis Macías

    Artist, filmmaker, composer of images and film researcher. He is a member of the duo Crater and a co-founder of CRATER-Lab, an independent analogue film laboratory managed by artists - . His proposals in film and/or video format are designed for single-channel projection and for performances or installations. At the same time, he also works on theoretical-practical workshops, specialising in different variants of experimental cinema - appropriation, cameraless cinema, Super 8 and 16 mm. and/or experimental films - at film schools, art centres and museums. His works have been seen at festivals and art centres in cities around the world.

  • Lur Olaizola Lizarralde

    Lur Olaizola Lizarralde (San Sebastian, 1988) is the Audiovisual Programme Coordinator at Tabakalera-International Centre for Contemporary Culture. She worked as visual artist and cultural manager in NYC, where she collaborated with the production company Horns&Tails and co-directed the film 71%, selected by MoMA PS1 for EXPO 1: NY. She also coordinated theArchitecture & Design Film Festival (with editions in New York and Los Angeles) and co-curated the first edition of The limit of our gaze, Women Filmmakers and Contemporary Documentary in Spain at New York University. Between 2011 and 2012 she worked at the Center for Contemporary Culture of Barcelona (CCCB) as an audiovisual archivist, videographer and editor.

  • Maialen Beloki Berasategui

    Deputy Director of the San Sebastian Festival since 2016. Graduate in Audiovisual Communication from the University of Navarra (Pamplona) 2002-2005. Doctor in Film Theory, Analysis and Documentation (doctoral thesis Between Antonio and Antxon Eceiza. Cinema and politics) from the Public University of the Basque Country, Leioa, 2006-2010. She collaborated in setting the Elías Querejeta Zine Eskola film school in motion and is a member of its Academic Directorate. She was a lecturer in communication at the HUHEZI faculty of Mondragon University. She collaborated with the electronic magazine Pausa and participated in the book Antxon Eceiza, cine existencialismo y dialéctica (Jesús Angulo, Maialen Beloki, José Luis Rebordinos, Antonio Santamarina, Filmoteca Vasca, 2010). She participated in the short film selection Kimuak, the Basque government programme for the international promotion and distribution of Basque short films (2012, 2013) and was formerly a member of the Basque Government Council on Culture.

  • Maider Oleaga

    She has a degree in Audiovisual Communication (University of Navarra), a diploma in Film Direction (ECAM) and a Master's degree in Feminist and Gender Studies (UPV-EHU). She wrote and directed the documentary Iragan Gunea Berlin, which premièred at the 2016 San Sebastian International Film Festival, Esperanza (Bolivia-Spain, 2012), Amaren Ideia (Mexico-Basque Country, 2010) and the short fictional films Sitios prestados al aire (Mexico, 2010), En coincidencia (Spain, 2003) and Sarah. Mirándote (Spain, 2001). She is currently working on the post-production of her next feature film, Muga deitzen da pausoa, which has been selected for the Ikusmira Berriak programme. She is also continuing to work on Agur/Henffych!, a film correspondence project with the Welsh visual artist Naomi Heath.

  • Manuel Asín

    Film Department Coordinator at the Círculo de Bellas Artes de Madrid, producing seasons for Filmoteca Española, MNCARS, Xcèntric-CCCB, Zinebi, MUN, etc. He has published articles in Caimán Cuadernos de Cine (where he is a member of the production board) as well as in El viejo topo, Blogs & Docs, Cahiers du cinéma España,Trafic, etc. He has written and edited two books on the films of Jean-Marie Straub and Danièle Huillet: Escritos (2011) and Hacer la revolución es también volver a colocar en su sitio cosas muy antiguas pero olvidadas (2016). He was director at the book and DVD publisher and distributor Intermedio (2011-2015), and is the auteur of the short film Siete vigías y una torre (2005) and several short films produced by the Oteiza Museum.

  • Mariano Llinás

    Mariano Llinás (Buenos Aires, Argentina, 1975) is a director and screenwriter and—along with Laura Citarella, Alejo Moguillansky and Agustín Mendilaharzu—a member of the El Pampero Cine group of film-makers. In 2002, he made his first feature-length film, entitled “Balnearios”. In 2008, he directed “Historias Extraordinarias”, his second film, acclaimed by the critics and a big hit with Argentinian audiences. His latest feature film—“La Flor” (2018)—premiered at BACIFI in April this year, where it walked away with the top award. It later competed at such prestigious international festivals as Locarno and Toronto and will soon be screened at the New York Festival and it has been a great success with both audiences and critics so far.

  • Mark Webber

    Mark Webber is an independent curator of artists’ film and video who has been responsible for screenings and events at Tate Modern, BFI, ICA, Whitney Museum (New York), Centre Pompidou (Paris), and many other international museums, arts centres and festivals. He is a co-founder of The Visible Press, and the editor of books on or by Owen Land (formerly known as George Landow), Gregory J. Markopoulos, The London Film-Makers’ Co-operative, Peter Gidal and Thom Andersen. An archive of curatorial work is online at www.markwebber.org.uk.

  • María Palacios Cruz

    María Palacios Cruz is a film curator, writer and educator based in London. She has curated retrospectives of Ute Aurand, Alia Syed, Luke Fowler, Robert Beavers, Morgan Fisher & Ken Jacobs and worked closely with artists including Laida Lertxundi, Beatrice Gibson, Ana Vaz, Basma Alsharif, Mary Helena Clark, Kathryn Elkin & Lis Rhodes to present their work in the form of screenings, exhibitions, publications and other events. She is course leader for Film Curating at Elías Querejeta Zine Eskola in San Sebastian and was formerly Deputy Director of LUX, the UK agency for artists’ moving image. She is a programmer for the Punto de Vista and Courtisane festivals and in 2019 she edited an anthology of writings by British artist Lis Rhodes. Together with Erika Balsom, Beatrice Gibson and Ben Rivers, she programs The Machine That Kills Bad People, a bi-monthly film club at the ICA in London.

  • Matías Piñeiro

    A graduate of the Universidad del Cine in Argentina, where he later taught classes on cinematography and film history, Matías Piñeiro (Buenos Aires, 1982) is a film maker, screenwriter and performer (Rosalinda, The Princess of France, Hermia & Helena) renowned as one of the greatest exponents of his generation of new Argentine cinema.

  • Michael Warmann

    Michael zuzendaria eta ekoizlea da. Montevideon (Uruguai) jaio zen, eta 2004az geroztik Brasilen bizi da. 2007an, zinemagintzan graduatu zen Sao Pauloko FAAP institutuan. Avós (2009), Oma (2011), eta The Beast (2016) film laburrak, eta Avanti Popolo (2012) film luzea estatu-mailako eta nazioarteko hainbat zinemalditan aurkeztu dira, honako hauetan, adibidez: Canneseko Zinemagileen Hamabostaldia, Berinale, Rotterdam eta Brasiala. Urteetan zehar, 60 sari baino gehiago jaso ditu. Ekoizle gisa, Sancho&Punta sortu zuen, zeinetan film luze hauek ekoitzi zituen, besteak beste: Los Territorios (Ivan Granovsky); Invisible (Pablo Giorgelli); eta Elon Não Acredita na Morte (Ricardo Alves Jr eta beste batzuk). He is currently developing a project with the title "Sem Dor" selected in 2018 in Ikusmira Berriak.

  • Mikel Gurrea

    He works between San Sebastian, Barcelona and London. He has a Degree in Audiovisual Communication (Universitat Pompeu Fabra) and Master’s in Arts FIlmmaking from the London Film School. His works include the playwriting for Automatic Flesh, by the Rambert Dance Company, which premièred at the Queen Elizabeth Hall in London, the playwriting for Soka, selected by the Antzerkigintza Berriak programme and chosen by the Victoria Eugenia Theatre for its production in 2017, the short films Txoria (UK, 2013), Chessmates (2013), nominated for a Prix Europa and Foxes (UK, 2015), awarded at the Montreal World Film Festival, among others. Selected by the programme "Ikusmira Berriak" (where he received the post-production award) and Sam Spiegel Film Lab, his feature film project Suro is at an advanced stage of development. Since 2017, he has been part of the Zinema (h)abian/ Cinema en curs team, a film education and cinema project at educational centres.

  • Mitxel Gaztambide

    Mitxel Gaztambide is a scriptwriter for film and television. He has participated in the writing of a dozen feature films, including Vacas, by Julio Medem, La caja 507, La vida mancha and No habrá paz para los malvados (for which he won a Goya) by Enrique Urbizu, Chatarra, by Félix Rotaeta, El idioma imposible, by Rodrigo Rodero, and Petra by Jaime Rosales. He has also worked on television series (Gigantes, La línea invisible, Libertad) for Mediaset and Movistar. He has extensive teaching experience and, in addition to his work at the EQZE, has also taught a Master's course in scriptwriting and directing at the Escac, a Master's course in scriptwriting at the University of Navarra, a Master's in scriptwriting at the International Menéndez Pelayo University (Valencia) and a Master's in film and television at the Carlos III University in Madrid. He has given scriptwriting classes and master-classes at Bande à part (Barcelona), CECC (Barcelona), Pompeu y Fabra University (Barcelona), Gandía University, the Valencia Polytechnic University, Carlos III University (Madrid), Larrotxene (Intxaurrondo, Gipuzkoa), the SAROBE film school (Urnieta, Guipuzkoa), the Juan de Antxieta Scriptwriting School (Bilbao), Lycée René Cassin (Bayonne, France), SGAE (Valencia, Bilbao, Barcelona, Madrid, Zaragoza), DAMA Tutorial  (Madrid), and Carolina-Ibermedia Foundation Tutorial (Madrid), among others. He directed the short film Hombre sin hombre (2002) and is the author of various collections of poems, including Ternura blindada and Moscas en los incunables.

  • Mona Jiménez

    Educator, scholar, and artist who is expert in the collection management, conservation, and preservation of cultural heritage existing as video, digital media and multimedia. Associate Director in the Moving Image Archiving and Preservation Program in the Department of Cinema Studies at New York University from 2003-2017. She led the development of MIAP's laboratories and curriculum in video and new media, teaching these and other core courses. She has worked extensively with museums, libraries and archives holding media collections. She founded Audiovisual Preservation Exchange (APEX). She also developed a model for Community Archiving Workshops that has been used extensively in the US, and she has led these workshops in Mexico, Japan and the Philippines. She is the co-editor, with Kathy High and Sherry Miller Hocking of The Emergence of Video Processing Tools: Television Becoming Unglued (Intellect Books, 2013).

  • Nagore Portugal

    Nagore Portugal is a projectionist, technician and artist who is completely in love with film. She is a nostalgic who is passionate about 8mm, 16mm, 35mm and 70mm films and has worked in a number of different festivals, as well as in the commercial film industry. In 2010 she was offered a job as a projectionist at the San Sebastián Film Festival, and will be back again this year, working this time in the technical department. She has also projected digital, 35mm and Betacam films at the Seville, Las Palmas and Malaga festivals and in 2018 she visited Barcelona to screen a series of 70mm films. In her free time she is one of the visible faces of the Ozzinema film club and is a member of the selection committee for several different short film festivals. She has worked as an artistic assistant on a number of short films and is currently responsible for the cinema theatre at the Tabakalera Cultural Centre.

  • Natalia Marín

    Natalia Marín Sancho (Zaragoza, 1982) is a filmmaker and teacher. She is a project tutor at the ECAM (Madrid Film and Audio-visual School) and since 2015 has run the 'Hybrid Forms' workshop at the San Antonio de Baños Film and Television School (Cuba). Her work as part of the ‘Los hijos’ experimental film collective has been widely shown at national and international festivals and art centres such as the Georges Pompidou Centre in Paris, the Queen Sofía National Art Centre, and FID Marseille, among others. 'New Madrid', the project that received the 1st BBVA Foundation Grant for Video Art creation was her first solo project and has been shown at festivals such as Seville European Film Festival, the Las Palmas International Film Festival or the Anthology Film Archives in New York. She currently lives in New York and works at the Pratt Institute as a researcher after winning a Fulbright Scholarship 2017.

  • Oliver Laxe

    Oliver Laxe lives and works between Spain and Marocco. With his first feature, Todos vós sodes capitáns, he won the Grand Prize of Cannes' Critics' of the Directors' Fortnight in 2010. In Cannes 2016 he won the Grand Prize of Critics' Week with his second feature film Mimosas. He is one of the founders of Zeitun films.

  • Oskar González Mendia

    Doctor en Química Analítica por la UPV/EHU. Tras realizar un postdoc en la Universidad de Leiden (Holanda) volvió a la UPV/EHU para trabajar como profesor en la Facultad de Ciencia y Tecnología y en la Facultad de Bellas Artes. Fruto de esa experiencia surgió su interés por indagar sobre la conexión entre Ciencia y Arte, lo que le ha llevado a realizar varias actividades de divulgación. Es colaborador de la Cátedra de Cultura Científica y de los programas de radio “Norteko Ferrokarrila” y “La mecánica del caracol”."

  • Pablo La Parra

    Pablo La Parra Pérez is a researcher specialized in film and visual studies. He holds a PhD from New York University (NYU), where he has also taught. He holds a M.A. in Comparative Studies of Literature, Art, and Philosophy (Universitat Pompeu Fabra) and B.A. in Art History (Universitat de València). His academic work has been published in international journals such as Journal of Spanish Cultural Studies or Sociologias and in volumes such as 1968 and Global Cinema (Wayne State University Press, 2018), Antoni Abad: megafone.net/2004-2014 (Turner-MACBA, 2014), and Facing Humanities. Current Perspectives from Young Researchers (Universitat Pompeu Fabra, 2014). He has received research and graduate fellowships such as the International Dissertation Research Fellowship (Social Sciences Research Council), the MacCracken Fellowship (Graduate School of Arts and Sciences, NYU), and La Caixa Masters Fellowship, as well as different awards for academic excellence, including the Spanish National University Award. In 2016 he directed an artistic research project about the militant film archives entitled Europa, futuro anterior, co-sponsored by Tabakalera and Donostia-San Sebastian European Capital of Culture Foundation.

  • Pamela Vizner

    Expert in the management, care, and handling of media collections, particularly of those in magnetic tape format, and specialises in their digitalisation. She holds an MA degree in Moving Image Archiving and Preservation from New York University and is currently teaching Digital Preservation at the University of Chile, as well as being the Associate Director of the archival solutions consultancy company Second Run Media Preservation. Pamela has participated in the Audiovisual Preservation Exchange (APEX) since 2013 and is also a member of the XFR Collective in New York. She holds a BA in Music and Sound from the University of Chile and is an expert in audio mixing, editing, reconstruction and restoration.

  • Paulino Viota

    Filmmaker and auteur of Contactos (1970, restored by Filmoteca Española in 2010 and part of the Collection of the Museo Nacional Centro de Arte Reina Sofía), Duración (1970, part of the Collection belonging to the Museo Nacional Centro de Arte Reina Sofía), Con uñas y dientes (1977-78) and Cuerpo a cuerpo (1982). His complete works, which include several short films produced between 1966 and 1974, have been published by Intermedio DVD. Regarding Contactos, one of the most radical and unorthodox films in the history of Spanish cinema, Noël Burch wrote: ‘one of the best avant-garde European films of the 70s, together with Jeanne Dielmann by Chantal Akerman and Deux fois by Jackie Raynal’. Since the beginning of the 80s, Vioto has dedicated himself to studying and teaching film. He has lectured at Universitat Pompeu Fabra in Barcelona, at CECC-Centre d'Estudis Cinematogràfics de Catalunya, at Bande à part Escuela de cine (Barcelona) and at the Filmoteca de Cantabria, as well as speaking at conferences held by the main cultural and film organisations in Spain.

  • Peio Aguirre

    Peio Aguirre is an art critic, independent curator and editor. His writing emcompasses critical theory, art, film, design and other areas of popular culture. He has published a book on art criticism, La línea de producción de la crítica (consonni, 2014). Also published in newspapers such as Mugalari Gara, Cultura(s) La Vanguardia, Babelia El País, and specialized magazines as Flash Art, Afterall, A Prior Magazine, e-flux journal , El Estado Mental and Concreta. Among others exhibitions, he has curated "Asier Mendizabal", MACBA, Barcelona (2008); "Néstor Basterretxea, Forma y Universo", Fine Arts Museum Bilbao (2013); "A singular modernity: New Art around San Sebastián 1925-1936”, Museo San Telmo San Sebastian (2016). Since 2006 he writes cultural criticism at his blog Crítica y metacomentario.

  • Peter Bubestinger

    Peter Bubestinger-Steindl studied Media Computer Science at the Technical University in Vienna. He has worked as a project leader and developer in the field of digital archives since 2002. As employee of NOA, he set up and developed solutions for both television and radio archives and service-providers (ORF, RTV-Slovenia, Memnon, YLE, etc). From 2010 to 2015, he managed the video digitization development at the Österreichische Mediathek (Austria's national A/V archive) and was instrumental in discovering and improving the lossless video codec FFV1 for long-term preservation. In recent years he has specialized in coordinating and deploying paid Open Source solutions for high-quality, demanding use cases and has been invited as a trainer, speaker and lecturer by memory institutions, universities and companies around the globe. In 2015 he founded the company "AV-RD" which offers services and development around professional Open Source use in the archival sector.

  • Ramón Andrés

    Ramón Andrés (Pamplona, 1955) is a music essayist and scholar. His best-known books include Johann Sebastian Bach. Los días, las ideas y los libros (2005), El mundo en el oído. El nacimiento de la música en la cultura (2008), No sufrir compañía. Escritos místicos sobre el silencio (Siglos XVI y XVII) (2010), Diccionario de música, mitología, magia y religión (2012), El luthier de Delft. Música, pintura y ciencia en tiempos de Vermeer y Spinoza (2013), Semper Dolens. Historia del suicidio en Occidente (2015), Pensar y no caer (2016), and Claudio Monteverdi. Lamento della Ninfa (2017), all published by Acantilado. He has also written Diccionario de instrumentos musicales. Desde la Antigüedad a J. S. Bach (Peninsula, 1995/2009, with a foreword by Sir John Eliot Gardiner), as well as a range of other publications, including Tiempo y caída. Temas de la poesía barroca (Sirmio-Quaderns Crema, 1995; 2 vols), Juan Eusebio Nieremberg; Oculta filosofía (Acantilado, 2004) and Poesía reunida y aforismos (Lumen, 2016). In 2015 he received the Príncipe de Viana Prize for Culture and in 2018 he was inducted into the Sant Jordi Royal Catalan Academy of Fine Arts.

  • Reto Kromer

    Having graduated in mathematics and computer science, Reto Kromer became involved in audio-visual conservation and restoration more than thirty years ago. He was head of preservation at the Swiss National Film Archive, and lecturer at the University of Lausanne and the Academy of Fine Arts Vienna. He has been running his own preservation company and lecturing at the Bern University of Applied Sciences. His current research includes colour spaces, look-up tables and codec programming and emulation.

  • Ricardo Matos Cabo

    Ricardo Matos Cabo is an independent film programmer and researcher. Since 1999 he has programmed and organised screenings at various festivals and institutions. In Portugal he collaborated with Culturgest, DocLisboa, the Cinemateca Portuguesa – Museu do Cinema and the Serralves Museum of Contemporary Art. From 2001 until 2007 he curated the film programme of the Lisbon Biennale – experimentadesign and for four years he co-programmed Doc's Kingdom – International Seminar on Documentary Cinema. He has curated screenings at the Goethe-Institut London, the Birkbeck Institute for the Moving Image / Essay Film Festival, the Institute for Contemporary Arts [ICA], and Tate Modern. Recently he collaborated with the Courtisane Film Festival in Ghent and the Cinéma du réel / Galerie du Jeu de Paume in Paris. Among others he has organised retrospectives of the work of Peter Nestler, Raymonde Carasco and Régis Hébraud, Ogawa Shinsuke, Pedro Costa…

  • Salomé Lamas

    Salomé Lamas studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in Contemporary Art Studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Reina Sofia, FIAC, Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA, Guggenheim Bilbao, Pacific Film Archive, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal, Viennale, Hong Kong FF, Serralves, Tate Modern, Centre d’Art Contemporain de Genève, Bozar, Tabakalera, ICA London, TBA 21 Foundation, Mostra de São Paulo, CAC Vilnius, MALBA, SESC São Paulo, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship – Harvard University, The Rockefeller Foundation – Bellagio Center, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Künstlerprogramm des DAAD. She collaborates with the production company O Som e a Fúria and is represented by Miguel Nabinho Gallery - Lisboa 20.

  • Samuel M. Delgado

    Filmmaker. Her work investigates the relations between mythology and materialism. Together with Helena Girón, she has directed the films Plus UltraMontañas ardientes que vomitan fuego and Sin Dios ni Santa María. Her films have been screened at international festivals like: Toronto International Film Festival, Locarno Film Festival, New York Film Festival, San Sebastián Film Festival, Mar del Plata, International Film Festival Rotterdam, FIC Valdivia, Curtas Vila do Conde, L’Âge D’Or, Ann Arbor or Media City Film Festival.

  • Santiago Aguilar

    With a degree in the Science of Images from the Complutense University in Madrid, he worked as a documentary maker for Filmoteca Española (the Spanish Film Library) between 1985 and 1995, and has continued to collaborate with the organisation as a researcher and defining the Archive Digitalisation Plan. A member of "La Cuadrilla", a duo of directors, he is a film director and screenplay writer, and a self-confessed Azcona fan. In collaboration with Felipe Cabrerizo, he has worked on several research projects related to Spanish and Italian comedy film and literature of the twentieth century. As a freelancer, he has been a scriptwriter for television, has produced documentaries and published books and articles on little-known aspects of the history of Spanish cinema.

  • Santiago Torregrosa

    Santiago Torregrosa (Valencia, 1971) is the director of the Translation Area and project manager of the subtitling studio Subtitula’m S.L. in Valencia, founded in 1997, which makes subtitles for film festivals, film libraries, producers and distributors. He specialises in all areas of subtitling and audiovisual translation, on which he has been working professionally as a translator and editor since 1993. He holds a BA in Anglo-German Philology from the University of Valencia, and for some years has been the Work Placement Supervisor for students from the Universitat Jaume I de Castellón and External Educational Placement Tutor for the Universitat de València. He has taught courses on subtitling at the UJI in Castellón, the UV in Valencia, the School of Public Translators in Buenos Aires and EQZE in San Sebastian.

  • Santos Zunzunegui

    Emeritus Professor of Audiovisual Communication and Advertising (University of the Basque Country). Semiologist, film analyst and historian.He has been a visiting professor at different universities of Europe, the USA, and South America. His main books include: Mirar la imagen (1984); El cine el País Vasco (1985); Pensar la imagen (1989); La mirada cercana. Microanálisis fílmico (1996; new revised and expanded edition 2016), Robert Bresson (2001); Historias de España. De qué hablamos cuando hablamos de cine español (new revised and expanded edition, 2018); Metamorfosis de la mirada. Museo y semiótica (2003); Orson Welles (2005); Las cosas de la vida. Lecciones de semiótica estructural (2005); La mirada plural (2008), winner of the “Francisco Ayala” International Essay Prize. In 2013, he published Lo viejo y lo nuevo (Cátedra) which included five years of his work at Caimán. Cuadernos de Cine, a journal where he is a member of its Editorial Board. In November 2014, he was awarded the prize from the Groupe de Recherche et Investigation de l’Image dans le Monde Hispanique (GRIMH), comprising French Hispanists and image scholars. In 2017, his Bajo el signo de la melancolía. Cine, desencanto y aflicción, an ambitious study on the film dimension of that "cultural illness" called melancholy, was published. He is currently working with Imanol Zumalde on a far-reaching essay on the notion of “documentary truth” and its film derivatives.

  • Sergio Oksman

    A Brazilian resident in Madrid for the past twenty years, Sergio Oksman is a director and a teacher at ECAM. His career is closely tied to documentaries, and Elías Querejeta has produced six of his works. Films he has directed include A Esteticista (2004), Goodbye, America (2006), Notes on the other (2009), A story of the Modlins (2012) or O Futebol (2015).

  • Silvia Casagrande

    Having graduated in film studies (Études cinématographiques) from the University of Udine (Italy) in conjunction with Université Sorbonne Nouvelle - Paris III, Silvia specialised in film preservation at the film archive of the Österreichisches Filmmuseum in Vienna. She has also been an archivist for the Filmoteca de Navarra, working on the preservation of home movies, and organising annual showings in Pamplona and Tudela to celebrate Home Movie Day.

  • Sonia García López

    PhD in Film and Media Studies at the University of Valencia and lecturer on the bilingual degree course in Film and Media Studies at the Carlos III University in Madrid, where she forms part of the Tecmerin group (Television-Cinema: memory, representation and industry). She has spent time carrying out research at New York University (Tisch School of the Arts and Department of Spanish and Portuguese Languages and Literatures) and at the Paris-Sorbonne University (CRIMIC, Centre for Interdisciplinary Research into the Contemporary Iberian World) and has written the books, El cuerpo y la voz de Margarita Alexandre (Tecmerin, 2016), Spain is US: la guerra civil española en el cine del Popular Front (1936-1939) (PUV, 2013) and Ser o no ser. Ernst Lubitsch (Paidós, 2005), and co-edited the collective work, Piedra, papel y tijera: el collage en el cine documental (Ocho y medio, 2009). She is currently a member of the editorial board at Kamchatka. Revista de análisis cultural.

  • Takashi Makino

    Takashi Makino graduated in Cinematography / Sound Recording from the Film Department at the Nihon University College of Art (Japan) in 2001, and studied film, lighting and music under the Quay Brothers at Atelier Koninck in London in 2001. Makino gained his skills in film and videos while he was collaborating as a Colourist on various filmography, CF, and music videos, from 2001 to 2011. He has been screening his works since 2004. He captures video of ready-made objects, including natural and human phenomena and cities, using various formats. He then layers and configures them during editing. His organic yet imaginative films, which seem to burst all boundaries, are highly regarded internationally. Makino is currently based in Japan and presents movies, music, installations and audiovisual performances around the world. Makino was awarded the Tiger Award at the Rotterdam International Film Festival in 2011 and has also received various awards at several international film festivals, including the Hamburg International Short Film Festival and the Moscow International Film Festival. He was also awarded the Grand Prix at the 25FPS International Experimental Film and Video Festival. His cinema works have been screened in over 120 cities around the world.

  • Ute Aurand

    Born in 1957 Frankfurt/Main, grew up in Berlin. Filmmaker. Studied at Deutsche Film- und Fernsehakademie Berlin 1979-85. Her films have been shown internationally e.g. TIFF Wavelengths; Media City Film Festival; Berlinale Forum Expanded; IFFR; Kurzfilmtage Oberhausen; Courtisane Festival; Tate Modern London; Robert Flaherty Seminar; PFA Berkely; HFA Cambridge; NGA Washington; Punto da Vista; DocLIsboa. 1990-96 presenting exclusively female filmmakers at the monthly Filmarbeiterinnen-Abend and Sie zum Beispiel. Co-founder of the monthly FilmSamstag 1997-2007. Published Maria Lang – Texte zum Film, 2017.

  • Uxue Jiménez

    With 20 years' experience in the field of film, Uxue Jimenez defines herself as a ‘camera person’. She has handled almost every type of camera and accessory in the world, working as a clapper loader/2nd AC and focus puller/ 1st AC. She has lived in Europe and the US, where she has worked with renowned cinematographers on all types of production, including fiction, documentary and advertising. Driven by her love of the medium, she has sought to combine this activity with her work in education and at film festivals.

  • Victor I. Stoichita

    Victor I. Stoichita (Bucharest, 1949) studied art history at La Sapienza University in Rome (earning a PhD in Arts), the University of Munich (Humboldt scholarship) and the University of Paris 1 Pantheon-Sorbonne (PhD in Arts). From 1991 to 2019 he was a Professor of Modern Art History at the University of Fribourg (Switzerland) and is currently a guest lecturer at the Freie Universität in Berlin and the Harvard University Centre for Italian Renaissance Studies (Villa I Tatti, Florence). In 2014 he was appointed to the Louvre Chair, in 2015 to the International Francqui Chair at several Belgian universities and in 2016 to the Erwin Panofsky Chair at the Munich Zentralinstitut für Kunstgeschichte. In 2017 he was invited to give the Berenson Lectures at Villa I Tatti (Florence) and in 2018 was appointed to the European Chair at the Collège de France. He has written various works on history of art which have been translated into around fifteen languages (including Spanish and English) and is also the author of an autofiction novel entitled Oublier Bucarest (Actes Sud, 2014), which won the Académie Française Award (Spanish translation by Anna Maria Coderch: Olvidar Bucarest, Madrid, Abada, 2016).

  • Victor Iriarte

    Graduate in Journalism from the University of Navarra, Post-graduate in Basque Contemporary Art from the University of Deusto and Master in Creative Documentary from the Pompeu Fabra University in Barcelona, today he is Head of Audiovisual Programmes at San Sebastian’s Tabakalera Centre for Contemporary Culture, having belonged to the coordinating team of the International Film Students Meeting since 2013. He began as a programmer at the Bilbao Fine Arts Museum Cinematheque, was a teacher of audiovisual language at the UM (Uruguay) and was resident artist and audiovisual programmer at the Arteleku art centre in San Sebastian. In 2001 he was second assistant director to Isaki Lacuesta on the feature film Cravan vs Cravan and in 2010 director of photography on the feature film Buenas noches, España, by the Filipino director, Raya Martin. Since 2005 he has been combining programming with his own creation, having directed several short films (Decir adiós, Kimuak catalogue 2007) and a feature film, Invisible (premiered at the FID Marseille in 2012). He collaborated in setting the Elías Querejeta Zine Eskola film school in motion and is a member of its Academic Directorate.

  • Xabier Erkizia

    A musician, sound artist and producer, for the last 25 years he has presented a large number of musical compositions, installations, workshops and lectures all over the world. In parallel to this, he has also written more than 60 soundtracks for films, and dance and theatre pieces, and continues to collaborate with various media, especially on creative work for radio. He also works as a curator for various cultural institutions, museums and festivals.