Cinema of tomorrow
The creative production area focuses on the materialization of projects developed by EQZE students, either during their time at school or later, once they graduate. The department supports the materialization of projects of both Creative students, as well as Curatorial and Archival. The school behaves in this phase as a motor producer that allows studying the viability of the projects, looking for external partners and leading the materialization of these initiatives.
Anoche conquisté Tebas Gabriel Azorín
António and Jota go to some Roman thermal baths to spend the afternoon. There they have an impossible encounter with Aurelius and Pompey, two of the soldiers who built them. Although they are separated by more than 2000 years, António and Aurelius share a fear: losing their best friend forever.
Direction: Gabriel Azorín
Y así seguirán las cosas Marina Palacio
In a small, almost uninhabited town, where the fields that surround it stretch out flat and endless, German, a 12-year-old boy, runs after a crane that takes to the scrapyard the motorcycle of 'S' that has just died. Thus begins a story that runs for five years the life of this boy on a journey against time. It is a story that will run in reverse, in which we will see how Germán goes from adolescence to childhood. In this journey backwards, other children who once left the village and were part of the group of friends of the protagonist will be incorporated every year.
Direction: Marina Palacio
La hiedra Ana Cristina Barragán
At the age of 31, Azucena decides to search for the son she abandoned when she became pregnant at 13. Julio, her 18-year-old son, is in his last year at the orphanage, and they both seem to be the same age. La Hiedra (The Ivy) explores the relationship between mother and son from the instinctive, sleeping bodies, these bodies’ relationship with nature.
Direction: Ana Cristina Barragán
El viaje de Salazar Lester Álvarez
After taking part in an Inquisition tribunal, Alonso de Salazar and Frías travels through the Navarrese Pyrenees for eight months and based on this experience writes a series of reports that forever change the Inquisition's criteria on witchcraft.
Direction: Lester Álvarez
Estrany Riu Jaume Claret
Siblings Dídac (14) and Biel (12) travel by bicycle following the course of the Danube river with their family. In the agitated waters of the river and the dark woods of the Black Forest they meet the mysterious Alexander. When the river broadens, Alexander seduces Dídac who, like the Danube, is rapidly growing. Biel sees how his brother's body is starting to change and tries to keep him by his side, but the crack between the two siblings widens.
Direction: Jaume Claret
Misión a Marte Amat Vallmajor del Pozo
In a post-apocalyptic Basque Country, two siblings leave on a mission to Mars. A futuristic road trip through a family past.
Direction: Amat Vallmajor
Historia de pastores Jaime Puertas
In the afternoons, Mari explores the countryside while she works on her end of degree project, the creation of a digital archive that compiles all the farmhouses in the area that started going through a process of decline and neglect in the 1980s. Among the ruins of these constructions, now inhabited mainly by drones, José, a shepherd who lives with his mother and daughter, keeps his sheep. He has started to develop a strange skin rash on his arm. Mari and José meet by chance out in the countryside. Also by chance, José's mother invites Jonás to dinner. He, who was once a shepherd, seems to know an ancient story that connects the searches, disappearances and sheep.
Direction: Jaime Puertas
Argileak Patxi Burillo
In June 1931, the Virgin Mary appeared to two brothers as they were returning home. Groups of people from around the region began to travel to the small Gipuzkoan town of Ezkio with a defined ritual. That event changed the paradigm of faith, which went from “believe in what you can’t see” to “believe in what you see”.
Direction: Patxi Burillo Nuin
Hasta que el lugar se haga improbable Magdalena Orellana
The film is a series of assumptions that revolve around the life of a group of characters… A speculative science, or a group of scientists exploring an imagined territory. Explorers setting out into the unknown not as a professional pursuit, but rather as a leisure activity (which others might consider a waste of time). It is also a film of magic tricks performed after dinner, of fortuitous encounters that we would have liked to avoid, of endless siestas and excessive sunscreen.
Direction: Magdalena Orellana
Al oriente José María Avilés
Atahualpa works on the construction of a road leading East. In the area there is a rumour about a treasure hidden at the beginning of the colony. One afternoon, after his girlfriend Rocío has left the city, Atahualpa feels a provocation, a distant rumour that takes him a hundred years back.
Direction: José María Avilés
Zehn minuten vor mitternacht Mario Sanz
Biting your nails.
Eating a whole apple, seeds and all.
The yellow pill.
Your golden watch.
And performing for people.
Ten minutes to midnight,
and it’ll be the last time we see each other.
Direction: Mario Sanz
¿Cuáles son nuestros años? Clara Rus
A group of film school students face a colossal task: to research the archives of a festival with a decades’ old history. “Which ones are our years?” asks one of them, when faced with piles of boxes with documents. But that question reverberates throughout the film, and expands beyond it: the youth of the students, their cinematographic and vital impetus, the will to film and understand the present and the past are deployed in a film that contains, above all, moments of beauty. That of those who joyfully face the past to understand their present and their future.
Direction: Clara Rus
Trazos de silencio Valentina Pelayo
Trazos de Silencio (Traces of Silence) structures two narrative lines with sensory depth: the first is the narration of the director's journey in a taxi through Mexico City; the second is the story by Bernal Díaz del Castillo about the conquest of Mexico in The True History of the Conquest of New Spain, published posthumously in 1632. These two interwoven narrative lines highlight not only the history of colonialism in Mexico, but also its sensitive density.
Direction: Valentina Pelayo
Un viento roza tu puerta Jorge Castrillo
In Un viento roza tu puerta (A Wind Brushes Your Door), tradition is mixed with the singing and voices from the past and the present, which start to emerge from the earth like small dusty memories, speaking of a violence that is perhaps premonitory, perhaps forgotten.
Direction: Jorge Castrillo