Beefeater In-Edit 2014 starts today. Welcome!

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Today's program


Aribau Club 1
Multisalas Sala 5
Aribau Club 2

The Festival's program in 5 minutes

Spandau Ballet en Barcelona

Next Monday, October 27th, at 20:30, Beefeater In-Edit premieres in Spain the documentary Spandau Ballet: Soul Boys of the Western World, with the presence of all the members of the band.

Us, ecelctic?

Never trust anyone that says they're eclectic. Generally speaking (with certain exceptions), all those that make such a claim have an inner person/festival/political party that's trying to please everyone, knowing full well that their character and/or programme only appeals to one sector and ends up pleasing nobody; the festival wants to sell all the tickets it can and the party wants to achieve a landslide majority. Therefore, we, at Beefeater In-Edit, are not eclectic. Or are we? Ain't it the truth that this year we've got documentaries by artists as diverse as John Cage, Frank Zappa, Johnny Winter, Fela Kuti, Pulp, Gustav Mahler, English improvisers, a punk from Hostalric (Càndid to be precise), Nas and various losers like Mateo, a Yankee that sings Cuban songs with a more American accent than Nat King Cole performing "Quizás, quizás, quizás"? So we're eclectic, right? And the best sort of eclectic, the sort that doesn't pull the wool, the cool sort, right? Well no, actually. Here at Beefeater In-Edit we aren't and we've no desire to be eclectic, at least in the dictionary definition of the word, which labels eclecticism a "way of judging or behaving that adopts an intermediate stance, rather than following extreme or well-defined solutions". At Beefeater In-Edit, we want to be well defined, and this definition permits us to mix all types of artists, because being a music documentary festival and not a music festival, we naturally lend ourselves to variety, not just in terms of the artists but also the filmmakers' focus. For example, we have chronological documentaries like My Secret World, about Sarah Records, or Beautiful Noise, about "shoegazing"; we have documentaries about music scenes, in other words, examples like those we mention above, but explained in a less academic manner, like, for example Gabbers! – pill-popping madness explained in the past and present –, or Taking The Dog For A Walk, where a presumably arid subject like improvised music is explained in terms of human experience and trimmed with fine humour. Then, we have canonical documentaries that explain works like the paradigmatic records by Nas, Mike Oldfield and Slint. We offer various takes on legends that veer away from the mystification treatment, instead approaching the human facet of these musical legends, a model into which the documentaries on Nick Cave, Pulp, Alice Cooper, Angel Dust and Duke Ellington fit – among others. There are pieces that bask in the light, like the Spandau Ballet documentary, and others that linger in the shadows, like the film about Killing Joke. Those that celebrate the honesty of the iron-willed, like Revenge of the Mekons, and others the poetry of image, Gozaran: Time Passing and Varèse: The One All Alone, both by the homaged Frank Scheffer. Documentaries that explain how some people mature while their youthful dreams to triumph in rock, rot, like in We Don't Wanna Make You Dance and highly political documentaries such as that on Fela Kuti or American Interior - in the background, a search for the small thing, for cultures which, like Welsh, are drowned by the expansion of a single model for living. There are hybrids like Pete & Toshi Get a Camera, a type of travel documentary with an international soul that simultaneously delivers a humane and political portrait of Pete Seeger and his wife. Hell, we have a great variety of angles on different artists belonging to different styles. But we're not eclectic. We want to be meticulous within the variety. We're not into a single colour, or a single focus. We like documentaries and we like music.


Beefeater In-Edit 2014 Artistic Department

Let's go for it

Is the first thing that came into my head when thinking about this text: "Let's go for it!"Many things are happening in very little time (to be honest, perhaps too many things). But that's just the way we are: we made a running start and summoned up the courage to bring forth our boldest edition in the festival's history. On first glance the festival's appearance is unchanged from the 2013 edition (there are 50 documentaries, the same venues, the same general philosophy) but many things are happening that we feel will mark our path onward for the following years. If after reading this text you do the same with the marvelous text that Roger Roca has written in this catalogue about Frank Scheffer you'll better understand what I mean. The first part of the madness is called Beefeater In-Edit (spelt like that, with name and surname): which is the festival that serves as an a pretext for everything else. Last year we spoke of re-setting and this year we speak of moving forward because what began to take shape last year is gaining momentum in this edition. In-Edit Fast Forward is back again (thanks to Ray-Ban for their repeated support and thanks to our new allies) and we hope that this mixed event of music, audiovisuals and technology will consolidate itself this year, because to us it's a key element of our area for professionals, which we're broadening with two activities: Distribution with Foresight (a discussion about independent distribution, because we're invested in the future developments of our film-makers works) and a master class by Frank Scheffer, which I want to highlight as we're going to make a big deal of it and have it showcase the birth of In-Edit Films (yes, this is an exclusive!). A big deal. I mentioned it was big right? Well now that's all out in the open I'll make a point of letting you know what the "most important" point of this year's festival is: live shows, the desecration of the projection room. Because this year we'll "sacrifice" projections and some very different live acts will take their place.


For example, we've broadened our scope to include short duration audiovisual capsules-which we like to call "Shots"- and we'll be visited by BUG (videoclips) and the television programme Cachitos de Hierro y Cromo from TVE 2 (in other words how to use a public television's musical archive with intelligence and flair) and we go a step further still and

turn IN-EDIT into a radio (radio show+ live Q&A sessions). And let's not forget the live music in the theatres (Gruff Rhys in Doc Alive and many musical surprises during the screenings). Phew! When you say it all one thing after another like that it's a handfull! Right, now the second part, which only concerns IN-EDIT (now just the name) and the world. Because we want to bring music documentaries to the whole world and allow no excuses for you not to join us.


Which is why we're taking 20% of the festival to Madrid, Bilbao and Pamplona, and-get this!-70% of the programme (yes, I said 70%) will also premiere at (you know: our very own Video On Demand website). In Barcelona, besides we continue to experiment and this year we're adding variable prices according to times and sections. The national side is covered, but what about the rest of the world? Well, the festival inaugurates the 2014-2015 season of IN-EDIT abroad and our presence will extend over Chile, Brazil, Colombia, Greece, Mexico, Poland and possibly more countries. How about that? So many things to explain, so many dots to join, it's a big deal. It's so big that we have to invent something that can help us to bring all those audiences together. Ok, we have it. It's called In-Edit Beat ( and it's our IN-EDIT of the future.


Happy Beefeater In-Edit 2014. 


Cristian Pascual, Director of the Festival

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