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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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The 61st San Sebastián Film Festival was officially opened last night in a ceremony hosted by Cayetana Guillen Cuervo and Unax Ugalde at the Kursaal. Against a backdrop modeled on this year’s festival poster the gala provided an opportunity to preview all the major sections in the festival, with interventions by some of the artists who are taking part this year.
The retrospective to Nagisa Oshima was introduced by director Hirokazu Kore-eda whose film Like Father, Like Son is being screened in the Pearls section, followed by a moving tribute from Oshima’s widow,Akiko Koyama, who thanked the festival for organizing this section and stressed how delighted her husband would have been about it.
Oliver Stone came on stage during the presentation of the Zabaltegi section, in which he has both Alexander: the Ultimate Cut and his series on the recent history of the United States being screened, to urge us to watch his films, while Annette Benning, like Stone another Donostia Award winner, introduced her film The face of love in the Pearls section by thanking the Festival for having her back: “we all share a love of cinema that really unites us.”
Even more enthusiastic was Terry Gilliam who praised the passion and energy of the festival. He didn’t even mind being criticized here: “you feel just like Saint Sebastian himself; you’re proud to be a martyr to your art”
The Official Section jury also played a prominent role in the proceedings. Their chairman, the director Todd Haynes, confessed that this was his first time at the Festival but that its reputation preceded it as his colleague Cristine Vachon, who chaired the jury in 2012, had told him it was one of the best experiences in her life.
As in previous years the opening ceremony also included the presentation of the Fipresci Award by the International Federation of Film Critics which this year went to La vie d’Adèle. It was picked up by its director Abdellatif Kechiche, who thanked the critics for having understood the meaning of his film and having disseminated it among the audience.
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