Green Icon: Free sessions (on a first come first served basis)
Tubular Bells: The Mike Oldfield Story: 5,50 €
I Need a Dodge! Joe Strummer on the Run: 4,50 €
This is the Unfinished Story of The Missing Leech: 4,50 €
Rest of sessions: 6,50 €
For the second consecutive year, the Festival will be present at the Cines Golem in Madrid, Bilbao and Pamplona from today, Thursday to Sunday with a highly representative selection: 8 of the main titles from the Barcelona program + a special screening of Mistaken for Strangers to celebrate the concert by The National in Madrid tomorrow, Friday, as part of the Mad Live! festival (and what’s more there will be discounts in Madrid for all those that show their tickets to this festival, in the same way that there will be discounts in Bilbao for those show their tickets for the BIME Festival).
Check out the films, timetables, prices and cinemas here.
Following yesterday's Radio Show the extravaganza continues at the Sala 2 of the Aribau Club cinema with a visit by Cachitos de hierro y cromo , the Channel 2 program that plunges a submarine robot into the Televisión Española archives to bring us musical treasures every Sunday night.
We'll welcome Jero Rodríguez (director), Virginia Díaz (presenter), Arantxa Soroa (producer) and Joan Pons (scriptwriter), to show a selection of videos that represent the program (in 4-5 minute blocks, taken from different episodes) and to explain the secret behind them, if that's what you'd call it.
As mentioned it's going to be at the Sala 2 of the Aribau Club cinema, at 21:30h (free entry until bums are on all seats).
The Dutch director will be at Hangar (C/ Emilia Coranty, 16 - Metro Poblenou) at 12:30h. Entrance is free; you just need to register here (the virtual registration desk will be open all day today)
This is a highly promising Master Class, given as Frank Scheffer is a director with very unusual methods, which he’s applied throughout his career in order to – as Roger Roca puts it in his text in en In-Edit Beat – draw the map of 20th Century sound.
“4-0. Great result and you played well, right? One always likes to hear “I’d love you to ask me a question” – as an answer. To ask, to be interested in something, to contrast the preconceived idea of the person asking the question with the answers of the person responding… to generate new avenues, other knowledge, different focuses, more baggage. The documentary is image, but it’s also old-school journalism, that which asks while listening to the answer, that which doesn’t fire off a list of questions one after another, that which changes the script when an answer opens windows to other landscapes. We need look no further than the Mike Oldfield documentary, which is well answered. Through answers to pertinent questions, we discover an artist that has lived chained to a hit, which has never been repeated, the same drama that must have plagued Malik Bendjelloul, deceased director of Searching For Sugarman. Well questioned also, are Nick Cave and Kevin Rowland of Dexys, two enormous egos. Cave responds positively and we discover the person that palpitates behind the ego, while Rowland refuses to lose his ego, given as the world, in his view, revolves around hm. But in both cases, we see what the protagonists are really like, because the documentaries ask the questions well, without autopilots. And ain’t it a great question that the sixty-something year old in the Pulp documentary dares to ask. “I’d like to know where Jarvis gets his motivation from, because to achieve what he has take a lot of motivation. By the same token, Stewart Lee, the comedian who asks excellent questions in Taking a Dog For A Walk, manages, among other things to get one of the musicians to answer that what he wants is for the audience to grasp the notion that when he plays, he’s working, and that beyond whether his music is more or less complex, or well or badly executed, what counts is that its treated like a job. It appears to be a simple answer, but it’s loaded: after all, don’t many folks think that a Miró piece could have been painted by a child, that a sax improvisation could be performed by a breathless drunk? You have to imagine what you want to hear in order to know how to ask the questions, and if the answer doesn’t match what you envisaged, you have to follow the thread of this answer, something that can prove even trickier. Miguel Angel Blanca said Un lloc on caure mort was originally a fan documentary about a band he liked - Autodestrucció. In the editing room, they saw that the answers given in the documentary didn’t cut the mustard and they’d have to go back and ask them again to get meaty answers. Question and re-question. In Johnny Winter, there’s a question that seems straightforward, but ends up explaining the entire documentary: “When did you realize you were an albino?”. Johnny responds that it was when he asked his mother and she replied, confirming it. Until that instant, he didn’t know that the word albino existed, he didn’t know - as he did from that moment on - that he was different and this was how he’d be treated. Ask questions. Always ask questions, balsam of curiosity, source of knowledge, and key to surprises: one of the bases of great documentaries.