Arima scoops the top prize at Gijón’s Push Play
- The FICX Industry Days have shone a spotlight on five Spanish (co)productions in the second edition of its works-in-progress platform
Now in its second year, Push Play, the works-in-progress platform organised by FICX Industry Days at the Gijón International Film Festival, has drawn to a close with an awards ceremony. The main prize, the DCP DELUXE Work-in-Progress Award, went to Arima [+see also:
interview: Jaione Camborda
film profile], a project by Basque director Jaione Camborda, who is based in Galicia. The award, consisting of the DCP mastering of the film and valued at €6,000, was awarded to this project because, in the words of the jury, it is “a substantive film that explores the meanings inside the narrative.”
Arima is the story of five women and a little girl whose lives are touched in different ways by the arrival of two men in their peaceful and atmospheric Galician village. It has been described by its director as “a means of exploring femininity; a story that is really an excuse to talk about the boundaries between the real and the imaginary, and our way of perceiving the world through our own gaze.” Produced by Camborda for her own company, Esnatu Zinema, the film was backed by of AGADIC and TVG. It is now nearing completion and on the lookout for post-production support and festival opportunities.
Meanwhile, the platform’s second award, the OpenECAM Work-in-Progress Award, was presented to The perseids [+see also:
film profile], directed by Catalan filmmakers Alberto Dexeus and Ànnia Gabarró. The prize grants the winner the opportunity to make use of all the ECAM film school’s equipment free of charge for 18 months. According to the jury, the pair “succeed in tackling the present and the past, history and the generations, in the space of a single film.”
The perseids follows a teenage girl who makes a holiday visit back to the village where her father grew up, awakening the ghosts of her family’s past, and Spain’s, by opening old wounds still festering since the Civil War. In the words of its directors, it’s “a genre film, told like a horror story from the young girl’s perspective, rather than from a political or historical angle.” Produced by Boogaloo Films, the project is seeking funding for post-production and distribution.
Three other projects were also singled out by the jury: Niño de Elche, a documentary on the eponymous musician (otherwise known as Francisco Contreras Molina) — a unique figure on the Spanish music scene, who reinvents and experiments with traditional flamenco music with all its cultural baggage — is directed by Marc Sempere and Leire Apellániz and produced by Apellániz for Señor y Señora, with the participation of Código Sur. Another documentary, Pacífico Sur, directed by journalists Inés Paz and Marta Mira and produced by Chester Media Producciones, explores the consequences of the peace agreement signed between the Colombian government and the FARC in Nariño, a historical guerrillero stronghold, by taking an intimate, less journalistic approach to the ordinary people who live there. Last but not least is the most sizeable production among the five projects, Blanco en blanco, directed Théo Court, produced by Chile (Don Quijote Films) and co-produced by Spain (José A. Alayón for El Viaje Films), France (Pomme Hurlante Films) and Germany (Kundschafter). The film, which we wrote about back when filming was getting under way (read more here), takes us on a journey to early twentieth-century Tierra del Fuego. While Niño de Elche is looking for support to enable further filming, the other two are scouting for funding to complete post-production.
Making up the jury were Eva Sangiorgi, director of the Viennale; Charlotte Serrand, artistic director of the Roche-sur-Yon Festival and a judge for the Directors’ Fortnight at Cannes; and Lorena Morín, coordinator of the MECAS Festival in Las Palmas de Gran Canaria.
(Translated from Spanish)
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