YEAR: 2024
ID APARTADO: 7
APARTADO: industria
SUBAPARTADO:
SECCION: news_flash
TABLE: 1
ID: 21612
LANGUAGE: in
MAQUETACION:
TITULO:
RULE: 1
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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Agenda Programme and tickets Search 
Hiver à Sokcho / Winter in Sokcho
“Through animation filled with poetry, Kamura illustrates the protagonist’s struggles with her identity and, making use of light and shadow, creates a delicate portrait of a young woman in the process of self-discovery.” U.A.L, BERRIA
Kita no syokukei / Northern Food Story
“With the help of the beautiful landscapes of Hokkaido, this film leads us to an appreciation of food and to a respect for the rhythms of nature.” Uxue Arzelus Lasa, BERRIA
The Last Showgirl
“Outstanding for the construction of the atmosphere and the delicate and tender way of portraying a world that is falling apart.” Luis Martínez, EL MUNDO
Ulysses
“Ulysses is a quiet film, and it moves forward slowly, giving each thing the time it needs.” Itziar Ugarte Irizar, BERRIA
Querer
“It is a panic that cuts the viewer to the quick every second of the 212 minutes spread over the four episodes with which Alauda Ruiz de Azúa confirms herself as one of the leading filmmakers of her generation.” Luis Martínez, EL MUNDO
La habitación de al lado / The Room Next Door
“Almodóvar coats the essentials of his story with the best of his visual taste, with delicate and delineated settings and with his special eye for combining space and feelings, so that the narrative reverberates with ideas that take you back to Joyce or bring moods strongly reminiscent of Edward Hopper.” Oti Rodríguez Marchante, ABC
Hard Truths
“Nothing and everything explains her state of mind. A tension very much of our time and with which we can identify.” Mikel G. Gurpegui, EL DIARIO VASCO
“The charisma in the gymnastic torsion of Pansy’s insults and the elastic sense of the plot itself, which stretches out her unhinged state while revealing the emotional ruptures behind the events, are perfectly in tune with a film structured ‘like life itself’, that is to say, conceiving the family as a sum of tangible, immanent links.” Mariona Borrull, GARA
Megalopolis
“He has made a chaotic film, full of ideas – too many of them. But far from backfiring, the result is a delirious audiovisual ‘trip’, baroque at times, deformed and tacky, and deliciously erratic.” Borja Crespo, EL CORREO
“Francis Ford Coppola may have fired his last arrows in this visually unrepeatable neoclassical, ambitious, free – absolutely free – and progressive fable in which the lines of the architecture of imperial Rome blend with the angles drawn by the DC comics authors.” Begoña del Teso, EL DIARIO VASCO.
Le dernier souffle / Last Breath
“Elegant and lucid consideration of life and death, the siege of illness and the palliative solutions that make it possible to cross this frontier in a natural way and without being pushed or tormented when it is inevitable.” Oti Rodríguez Marchante, ABC
“It is an intense film, narrated without a faltering moment by a master who is not afraid to advocate euthanasia.” Oskar Belategui, EL CORREO
En fanfare / The Marching Band
“Everything is so musical, human, joyful and fun, everything is so attached to real things and the vagaries of life, that you come out happy and whistling Ravel’s ‘Bolero’.” Oti Rodríguez Marchante, ABC
Bound in Heaven
“Hats off to the photography from the beginning of the film to the end.” U.U. BERRIA
“It stands out as much for its beautiful aesthetics as for its cold characters. Visual delicacy of the highest order in a production whose photography is worthy of an award.” Mikel G. Gurpegui, EL DIARO VASCO
I Saw the TV Glow
“Like the main characters, I felt as if I was sitting in front of the television as I did when I was a child, trapped by its light and without fully understanding what was happening, but unable to look away.” Uxue Arzelus Lasa, BERRIA
El llanto / The Wailing
“A film that could be assigned to the horror genre, but the highlighting of socially sensitive issues such as feminicide and male violence against women magnifies its importance and frees it from being easily pigeonholed.” M. Moleón, LA RAZÓN
Los domingos mueren más personas / Most People Die on Sundays
“A film that tells a minimal story around which great existential themes quietly orbit.” Alfonso Rivera, CINEUROPA
On Falling
“The script dispenses with winding twists and turns to captivate the viewer, and moves forward fluidly in the simplicity of its approach.” U.U., BERRIA
“A possible candidate for one of those surprises in the awards that this festival enjoys so much.” Oti Rodriguez Marchante, ABC
El hombre que amaba los platos voladores
“Lively fun based on a tale of visiting extraterrestrials, skilfully told by Lerman”, Urtzi Urkizu, BERRIA
“The use of wide angles that deform the image and the charisma of Leonardo Sbaraglia, capable of making us feel surprise, compassion, rejection and sympathy for a blatant manipulator all at the same time”, Mikel G. Gurpegui, EL DIARIO VASCO
Yeohaengjaui pilyo / A Traveler's Needs
“A story that, without you understanding what is going on, manages to completely capture you.” Uxue Arzelus Lasa, BERRIA
Tardes de soledad
“Leaves on the screen the purity of his images without written script, the only text provided by the scenes themselves, and the suspicion that this meeting of liturgies between bullring, bull and bullfighter has never been filmed as he has done it.” Oti Rodríguez Marchante, ABC
All We Imagine as Light
“Kapadia constructs the story through the eyes of women who question what seems unquestionable in a Bombay in constant change and which at times seems suffocating, demonstrating that struggling together eases the load.” U.A.L, BERRIA
The End
“It is a one hundred per cent festival film, tremendously risky (...). It immerses the spectator for almost two and a half hours in a unique, bittersweet, emotional and desolate, indefinable ambience, which can irritate or move, or even both at the same time.” Mikel G. Gurpegui, EL DIARIO VASCO
El jockey / Kill the Jockey
“Fascinating contrivance populated by fabulous beings.” Begoña del Teso, EL DIARIO VASCO
Los destellos / Glimmers
“A great rarity, one of those films that undresses you on the inside with an astonishing delicacy”, Oti Rodríguez Marchante, ABC
“An intimate, simple proposal about love between people, about care, about the end of life … And a ray of light yesterday for public and critics alike”, Martín Ruiz Egaña, EL DIARIO VASCO
“It is a formidable film in all its questions and uncertainties, an exercise in cinema sustained by blind trust in a simple look, in a fleeting brightness, in the quiet, sotto voce reading of Platero and I by Juan Ramón”, Luis Martínez, EL MUNDO
La virgen roja / The Red Virgin
“A fascinating story in which no one will get bored.” O. Belategui, EL CORREO
Bird
“Andrea Arnold has a sixth sense for handling a hypnotic mixture of social and magical realism at the edge of more than one precipice”, Begoña del Teso, EL DIARIO VASCO
Quand vient l'automne / When Fall Is Coming
“A skilful strategy of revenge, with its suspense and its blind spots.” I. Mateo – A. Artola, GARA
Soy Nevenka / I Am Nevenka
“The director narrates the details of the event in an extraordinarily thorough way and without the slightest temptation to take the story away from Nevenka’s point of view, exploring the pain of the victim and her path to catharsis with great sensitivity”, Oti Rodríguez Marchante, ABC
“It presents the chronology of the details of the case and establishes a chilling portrait of the in crescendo abusive obsession of Álvarez, of how the patterns that determine the exercise of harassment operate and fluctuate”, Marta Moleón, LA RAZÓN
Conclave
“An intelligent and highly entertaining game of power, ambitions and danger”, Oti Rodríguez Marchante, ABC
Memoir of a Snail
“A beautiful fable, full of grace and sharp teeth, which aims to tear things apart but to surprise and entertain even more”, Oti Rodríguez Marchante, ABC
Brûle le sang / In the Name of Blood
“Good French film noir. Heir to the great French ‘polar’ films of past decades. Brought up to date. Very up to date”, Begoña del Teso, EL DIARIO VASCO
“Advances at speed, balancing on the edge of the abyss and buoyed by a powerful screenplay”, Fabien Lemercier, CINE EUROPA
Emmanuelle
“The eroticism of the film does not lie in the explicit, but in the texture that runs through the film and its sound direction, which makes the skin tingle with something like ASMR vibrations in order to convey to the audience the pleasure felt by the protagonist (…)”, Harri X. Fernández, DEIA
“Starring an imposing and sensual Noémie Merlant in the role of a woman who is apparently rigid, confident, with a certain irony, but with that latent eroticism, visceral inside, (...) the film manages to reflect with subtlety, courage and great visual power that female exploration of pleasure and desire” Júlia Olmo, CINE EUROPA
Emilia Pérez
“It is musical, drama, intrigue, thriller and a deep reflection on transition”, Oti Rodríguez Marchante, ABC
“In a quite legitimate and noble way, Emilia Pérez plunders all the usual ingredients of the traditional soap opera from top to bottom, starting with an implausible plot, followed by unexpected twists, improbable coincidences and some vulgar songs, to end with high drama. The ingredients are first class and the mixture of them all is right on target”, Alberto Moyano, EL DIARIO VASCO
La guitarra flamenca de Yerai Cortés
“It is a curious artifact that offers much more than you first expect: it is presented as a documentary about the gypsy guitarist but, in the style of the film Searching For Sugar Man, it gradually uncovers an exciting and impactful family secret” Mitxel Ezquiaga, EL DIARIO VASCO
“The director tells this family story in a moving way. It is touching to see how he explores and narrates all this intimacy through the testimonies of its protagonists and their environment, their voices, their words, their ways of speaking, their contrasting memories.” Júlia Olmo, CINE EUROPA
Dahomey
“Mati Diop, who claims to be indebted to Weerasethakul or Cassavetes, summons not only the real spirits but also the ghosts of colonization”, Begoña del Teso, EL DIARIO VASCO
Cerrar los ojos / Close Your Eyes
“A film where everything is endings: friendship, love, film, memory, except precisely the latter, which is not an end but a beginning, the announcement of something we can't see, nor know, but we feel that the images on the screen leave the whole universe in order”, Oti Rodríguez Marchante, ABC.
La Mesías
“Only The Javis are capable of mixing terror and sectarian fanaticism, the drama of a mother who devours her offspring and Almodóvar's costumbrism. If the seven hours of 'The Messiah' were a film, we would be looking at a Golden Shell”, O. Belategui, El Correo.
El otro hijo / The Other Son
“The drama permeates everything, but so does love and respect for people who we empathise immediately, thanks the excellent writing and, above all, the enormous commitment of the entire cast.”, Miguel González, Cineuropa.
Great Absence
“Everything runs with admirable precision according to the extremely complex structure proposed", Luis Martínez, El Mundo.
Mamántula
“Mamántula goes far beyond its chaotic initial proposal and transforms into an experience that is as groundbreaking as it is entertaining, combining the best of experimental film's imaginary with the tension of a narrative thriller", M. G. Rebolledo, La Razón.
Aku wa Sonzai Shinai / Evil Does Not Exist
“The ability of the Japanese filmmaker to create with little and only use what is essential is amazing: every word is necessary to build the characters, every character is necessary for the development of the story, and there is nothing to spare, nothing is ornamental.” Uxue Arzelus, Berria.
“The effect is beautifully restful – less an introduction than an overture – as though Hamaguchi is unstoppering a bottle of calming scent and inviting us to breathe deep.” Jessica Kiang, Variety.
Chun xing / A Journey in Spring
“The great virtue of Tzu Hui and Ping-Wen’s film lies in the deliberately small scale they have taken as a reference, which allows them to skilfully employ a bouquet of simple and clear ideas.” Mariona Borrull, Gara.
L'île rouge / Red Island
“Campillo accurately captures the eloquence of the silences and glances, and the infinite sadness hidden behind an apparently banal family photo.” Nando Salvà, El Periódico.
Le successeur / The Successor
“With a formal neatness and the darkness of a thriller, The Successor surprises us as the protagonist breaks down, fleeing from the human gaze of his father’s friend, of the neighbour, and the eyes of society in general, which watch him and misinterpret his disconsolate crying.” Itziar Altuna, El Diario Vasco.
The Royal Hotel
“A psychological thriller on the verge of being a slasher, in the style of those films in which the villains meet their match, such as Quentin Tarantino’s Death Proof (2007) or Craig Zobel’s The Hunt (2020).” Harri X. Fernández, Noticias de Gipuzkoa.
O corno / The Rye Horn
“A beautiful story full of sorority.” Urtzi Urkizu, Berria.
“A touching portrayal of a genuinely feminine form of solidarity and the kind of survival story that can keep is on the edge of our seats as we watch it.” Nando Salvà, El Periódico.
“Camborda presents motherhood and childbirth in a personal way, focusing on the female body and using intuition for support.” Iraitz Mateo and Amalur Artola, Gara.
“It follows that ‘traditional’ style of rural intimist cinema that in recent years has constantly driven Spanish cinematography to draw visual maps composed of embraces between women, shared pain and territories of hope in which it is not only possible to imagine a different life but also to live it.” Marta Moleón, La Razón.
Mother, Couch!
“It couldn’t have been more enjoyable getting into the fun and games of this world that is incomprehensible to me, to enjoy the discomfort. The Swedish filmmaker makes the humour even easier, sometimes adding an aura of mystery.” Uxue Arzelus, Berria.
“Larsson builds a story with a nice balance of surreal and very identifiable situations, including sofas, beds and dressers.” Uxue Arzelus, Berria.
Un amor
“Coixet has taken the liberty of modifying the literary original, giving it a braver dimension and providing a restorative conclusion to a story that's harsh to a fault, making the viewer feel simultaneously uncomfortable and astonished”, Alfonso Rivera, Cineuropa.
“Un amor is built around the emptiness and uncertainty of its central character whose only escape plan is to run.” Luis Martínez, El Mundo.
La estrella azul / The Blue Star
“Is just what it claims to be, a small, honest film, at times moving and beautiful; a journey through the life of a character who could have been famous but chose not to be, and beyond that, a film about how we become the people we are”, Dario Caruso, Cineuropa.
Alemania
“Alemania is not a sad film; on the contrary, it is –narrated from an adolescent perspective – a love letter to her family, a celebration of resistance, affection and resilience that unfolds during a time prior to the digital revolution, when cassette tapes were a vehicle used to pass on songs, emotions and feelings”, Alfonso Rivera, Cineuropa.
Puan
“The film is a delight, with situations full of humour and depth, skilful handling of ‘clever’ dialogue and a cynical and stimulating development.” Oti Rodríguez Marchante, ABC.
“Puan is a film with a frenetic pace and a story well told by the directors. The dialogue is also spot on throughout.” Urtzi Urkizu, Berria
La práctica / The Practice
“Rejtman places his protagonist in a series of comic situations that he always resolves with a humorous but deadpan wisecrack, in the style of Jim Jarmusch and Aki Kaurismäki, who, by the way, he is quite as good as.” Mariona Borrull, Gara.
Un silence / A Silence
“Once the film is over, A Silence leaves us still thinking about what the images have shown us. This is something that only happens with a good script, which the film has, in addition to the skill of the director.” Urtzi Urkizu, Berria
La memoria infinita / The Eternal Memory
“A very human chronicle of the gradual loss of consciousness and memory, safety pinned to mutual and loving feelings.” Oti Rodriguez Marchante, ABC.
All Dirt Roads Taste of Salt
“It is narrated with a meticulous treatment of images and words that could be described as exquisite.” Oti Rodríguez Marchante, ABC.
“Embraces, tears and a background sound of rain and occasional thunder contribute to creating the special atmosphere of the film.” Alberto Moyano, El Diario Vasco.
“A delicacy, precision and taste for stopped time that captivates.” Luís Martínez, El Mundo.
El sueño de la sultana / Sultana's Dream
“There are films whose existence is a miracle, and ‘Sultana’s Dream’ is one of them.” Oskar Belategui, El Correo.
“The aesthetic and sensory aspects of ‘Sultana’s Dream’ are outstanding. It is refreshing to immerse oneself in the watercolours of its two-dimensional animation, with the minimum use of technology so as not to lose the meticulous care of its craftsmanship.” Mikel G. Gurpegui
“No film in recent years has even come close to the freedom with which Isabel Herguera presents this kind of intimate, fantastical and philosophical correspondence.” Mariona Borrull, Gara.
Los colonos / The Settlers
“Gálvez and his team literally ‘erect’ a world with a very fairy-like, phantasmagorical and diabolical nature.” Begoña Teso, El Correo.
Blondi
“Dolores Fonzi’s amusing debut film is filled with freshness and talent, built on the possible kinds of families and enlivened with hits from The Velvet Underground & Nico”, Alfonso Rivera, Cine Europa.
Mientras seas tú / Mentre siguis tu / While You're Still You
“It is a film shot with a great deal of respect, from a close and affectionate point of view, and attempting not to dramatise.” Amalur Artola, Gara.
They Shot the Piano Player
“A film full of knowledge, character and expression, also suspense, humour and a hard look at what's serious, and something that could be defined as elegance within the genre of animation”, Oti Rodríguez Marchante, ABC.
“In a mystery and the injustice of that mystery, where the film takes hold to surprise, hurt and, in spite of everything, marvel”, Luis Martínez, El Mundo.
Fingernails
“It uses small elements of science fiction to narrate the experiences of a love triangle with some dark humour”, Alex Zubiria, Deia.
Kalak
“Brave from the opening scene in some formal choices and in the development of the script. A circular story”, Urtzi Urkizu, Berria.
“When everything seems to have been said, it's nice for a film to tell something different or in a different way. In that sense, Kalak manages to surprise the audience”, Mikel G. Gurpegui, El Diario Vasco Especial.
Perfect Days
“Perfect Days turns out to be a surprisingly charming, haunting, moving work with deliberate echoes of Japanese cinema legend Yasujiro Ozu.”, Stephen Dalton, The Film Verdict.
Kimitachi wa Do ikiruka / The Boy and the Heron
“A way of making, understanding and enjoying animated films with a unique visual and spiritual style.” Oti Rodríguez Marchante, ABC.
“Miyazaki’s film can be seen as a fable about life, death and imagination, which may also have an autobiographical tone.” Ainhoa Sarasola, Berria.
“It will appeal to children and adults alike because it speaks of primal feelings such as orphanhood.” Oskar Belategui, El Correo.
La sociedad de la nieve / Society of the Snow
“Bayona’s film, with its impressive accident scenes and locations, is more interested in the soul than in the flesh and blood.” Oti Rodríguez Marchante, ABC.
The Zone of Interest
“Delicate and diabolical architecture of everyday life.” Begoña del Teso, El Diario Vasco Especial
“Overwhelming drama that represents a departure from the typical registers we usually associate with films that address the extermination camps created by the Third Reich.” Koldo Landaluze, Gara
Kong Xiu / A Woman
“A demonstration of both formal correctness and aesthetic timelessness,” Juan Zapater, Noticias de Gipuzkoa.
La consagración de la primavera / The Rite of Spring
“The most complex and courageous Spanish film [at the festival]”, Elsa Fernández-Santos, El País.
Black is Beltza II: Ainhoa
“The premiere of Black is Beltza II: Ainhoa has turned out to be the most popular, clamorous and exciting event at Zinemaldia”, Amaia Ereñaga, Gara.
Pornomelancolía
“An audacious film where fiction and reality come together to shine a light on issues rarely explored in contemporary auteur cinema”, Cristobal Soage, Cineuropa.
La amiga de mi amiga / Girlfriends and Girlfriends
“A story overflowing with humour”, Uxue Arzelus, Berria.