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Z365" or "Festival all year round" is the new strategic point of the Festival in which converge investigation, accompaniment and development of new talents (Ikusmira Berriak, Nest); training and cinematic knowledge transfer (Elías Querejeta Zine Eskola, Zinemaldia + Plus, Filmmakers' dialogue); and investigation, disclosure and cinematic thought (Z70 project, Thought and Discussion and Research and publications).
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It must be a bummer to be a woman surrealist, a tradition that is rarely acknowledged to exist, at least among American and European writers and filmmakers. In Mexican painting, there’s Frida Kahlo and Remedios Varo. But when it comes to fiction writers like Shirley Jackson or Flannery O’Connor, other affiliations such as “gothic” or “southern” always take precedence, much as “feminist” does when it comes to Jane Campion, Chantal Akerman, or Leslie Thornton. Possibly all of this is due to the abiding sexism of André Breton, Luis Buñuel, Salvador Dalí and other talented, macho Latin ideologues, but it seems in any case that David Lynch and Raul Ruiz are automatically deemed honorary members of the club, while Sara Driver is usually deprived of any tradition at all, except maybe “weird” and “independent”.
I have to admit, though, that she makes things difficult – and difficult in the best sense– by being so contrary, even when it comes to only three extended narrative films to date [You Are Not I (1982), Sleepwalk (1986) and When Pigs Fly (1993)]. While we can readily speak about the surrealist “worlds” of a Buñuel, a Lynch, or even an Akerman (at least if we think of Belgian surrealism), the three films of Driver, even if we can easily call them all surrealist as well as “Driveresque”, clearly take place in three distinctly different worlds. That doesn’t mean that there aren’t various stylistic, thematic, and temperamental connections between them going well beyond the recurrence of various collaborators. Think of the dense and hyperactive soundtracks of all three, the downscale milieus, the trancelike rhythms, the layered relation of distant past to present (bringing to mind the fact that Driver spent her junior year in college abroad, studying archaeology in Athens), the depictions of bullying power-mongers and solitary children, the dreamy passivity of seemingly hapless protagonists and the prominent attention given to their dreams, and chaotic eruptions of various kinds occurring in the midst of their compulsive routines, leading to the major plot developments in all three cases.
Excerpt from Sara Driver’s Dream Dog, by Jonathan Rosenbaum.
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