Meritxell Colell, Lucía Vassallo and Celia Viada Caso receive awards at the FICX Industry Days
- Two works-in-progress, Transoceánicas and La calle del agua, were singled out for commendation and support at the industry section of the Gijón International Film Festival
Back for a third year, FICX Industry Days, the industry section of the Gijón International Film Festival, launched a new edition of its Push Play Work-in-Progress Session, culminating yesterday with an awards ceremony. Two projects were hand-picked by the jury, made up of Ana David, programme director at IndieLisboa and the Berlin International Film Festival; Leo Soesanto, short film selection coordinator at Cannes Critics’ Week and programme director of the IFFR; and Georgia Mouton-Lorenzo, head of sales and festivals at Stray Dogs.
The top prize, the DCP Deluxe - Push Play Work-in-Progress Award (DCP mastering for the film, valued at around €6,000) went to Transoceánicas, a joint project by Meritxell Colell and Lucía Vassallo. The film is based on letters between the two directors (Collel previously directed Facing the Wind [+see also:
film profile], whereas Vassallo’s earlier work includes La cárcel del fin del mundo). Friends living on different sides of the globe (Barcelona and Buenos Aires, respectively) the two are determined to keep making films together regardless of the distance between them. Describing the project, producer Serrana Torres of Intropía Media spoke of “film as a space for coming to an understanding of things we don’t allow ourselves to understand in real life; film as a form of communication”. This poetic offering already has Paraiso Production (France) and Pensilvania Films (Argentina) on board as co-producers, while international sales have been entrusted to Italian company The Open Reel. Now at the final editing stage, it will soon be ready to present to festivals, and is currently seeking distributors.
The other big prize of the session, the OpenECAM Work-in-Progress Award (the chance to make free use of all of the resources available at ECAM, Madrid’s film school), was presented to La calle del agua, a documentary by young Asturian filmmaker Celia Viada Caso. The film will reveal the story of Benjamina Miyar, a pioneer of photography in Asturias cast into obscurity by the Civil War and the Franco dictatorship. In Caso’s words, the project “is a way of continuing the work that she started through me, establishing a dialogue between two women and two very different times.” The film is part of Caso’s work for the Master’s in Creative Documentary at Pompeu Fabra University in Barcelona, and she hopes to begin editing in January. She is currently searching for backers to help with post-production and distribution (possibly also featuring a visual installation).
The other projects selected for this year’s event were: Alén Mar, by Galician filmmaker Andrés Sanjurjo (Acariño Films), an intimate account of the director’s journey to the island of Chiloé, accompanied by his partner; Tehran Blues [+see also:
film profile] (Quatre Films, Eddie Saeta), the directorial debut of journalist Javier Tolentino, where he immerses himself in contemporary Persian culture and gets to grips with its history; a new fiction film, this time virtually autobiographical, by Liliana Torres, ¿Qué hicimos mal?, starring the director herself alongside Xúlio Abonjo and a co-production between Spain (Matriuska Producciones, Avalon PC, Miss Wasabi) and Mexico (D-Raíz) (read more here); and finally, screening out of competition, Lámpara oscura, directed by José Antonio Quirós (El Nacedón Films, RTPA), which reunites him with the miners’ wives he met 25 years ago in Solas en la tierra.
FICX Industry Days is also celebrating record attendance at its other events, including round table discussions, informational talks and lectures.
(Translated from Spanish)
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