Fokua : zinemaren historiak. Santos Zunzunegui (2019) = Foco : historias de cine. Santos Zunzunegui (2019) = Focus : histories of cinema. Santos Zunzunegui (2019)
Image: The Devil is a woman. Josef Von Stemberg
HISTORIES OF CINEMA 2.
"Cycles return, like seasons, and they are not similar to each other. Or, rather, they are not similar to each other on the surface; but, they respond to the same basic impulse: Settling accounts with those stories that the cinema has brought to us and which have accompanied us throughout our lives, more or less secretly. As Godard says in his Histoire(s) du cinéma (remember, this was seen in Histories of Cinema 1), to paraphrase the philosopher, “the cinema, like Christianity, is not founded on historical truth; it gives us a story, a history, and it tells us: believe, believe in what has happened”.
That is why I propose that you accompany me on a return to the jungle of the cities by following the path of corrupt lawyers influenced by Cain, or the jungle of the young people who are trying to make a living on stage or behind the scenes in the theatre in a world dominated by money; to dedicate a portion of our time to wandering through the baroque labyrinths of a frenetic carnival, or exploring the most unfathomable territories of a desert with no reference points. But I would also like to invite you to recognise that the world can take —for an unforgettable hour and a half— the form of a spy series or of an exotic melodrama, celebrating the tireless narcissism of a genius storyteller. Or to attend the transmutation that turns the desolate wasteland –destroyed by the relentless wind of Yorkshire– into the warm land of colonial Mexico, turning summits into depths, or to be the witness of a relentless fire that devours the wheat fields of Ukraine's fertile countryside while the invader of the homeland is fiercely fought off.
Because the highest peaks don't always offer the greatest rewards; at times, great things are reserved for more modest heights. I propose that you explore seldom visited territories in thirteen sessions, as well as works that are, in some cases, secret and whose condition of “masterpiece” is yet to be decided. Even so, all of these pieces do good on the phrase which says that “the cinema substitutes for our gaze a world more in harmony with our desires”. Histories of Cinema 2 is a possible illustration of that magical mutation of space and time. A time that is not lost but unfolds into an unexpected depth that we would not have been able to reach alone".
25 October, Friday, 19:00, Spione, Fritz Lang, Germany, 1928, 144'
24 November, Sunday, 19:00, Gold Diggers of 1933 (Berkeley)
20 December, Friday, 19:00, The Devil is a Woman, Josef von Sternberg, USA, 1935, 85'
12 January, Sunday, 19:00, Le roman d'un tricheur, Sacha Guitry, France, 1936, 81'
24 January, Friday, 19:00, Shchors, Aleksandr Dovzhenko, USSR, 1939, 92'
9 February, Sunday, 19:00, Force of Evil, Abraham Polonsky, USA, 1948, 78'
14 February, Friday, 19:00, Deadly is the Female (Gun Crazy), Joseph H. Lewis, USA, 1950, 87'
6 March, Friday, 19:00, Stars in my Crown, Jacques Tourneur, USA, 1950, 86'
22 March, Sunday, 19:00, Abismos de passion (Wuthering Heights), Luis Buñuel, Mexico, 1953, 91'
17 April, Friday, 19:00, Ukigumo (Floating Clouds), Mikio Naruse, Japan, 1955, 123'
26 April, Sunday, 19:00, Ride Lonesome, Budd Boetticher, USA, 1959, 73'
8 May, Friday, 19:00, Red Line 7000, Howard Hawks, USA, 1965, 110'
5 June, Friday, 19:00, Two-Lane Blacktop, Monte Hellman, USA, 1971, 101'
Organizer : CICC - Tabakalera