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(Total de votos recibidos 65)

(Puntuación 3,06)


  • The Esbilla and Llendes sections bet on Spanish and Asturian cinema with a programme full of risky and surprising productions
  • AnimaFICX will offer a neat selection of the most acclaimed titles by critics, with some of them premiering in the country

The 55th Edition of Gijón/Xixón International Film Festival presents the Llendes, Esbilla and AnimaFICX sections in their most hybridized version in years, three programmes with their own personality and characteristics, full of national premieres. This diversity will welcome the complicity of the audiences that attend the FICX year after year, from Japanese animation enthusiasts to those looking for the most radical and heterogeneous narratives, to those who want to find the most surprising works and others that expect their Festival to show the most highly criticized works by the critics and audiences in other international festivals. Although the programme is still open to new additions, FICX puts forward a risky and surprising programme.


It means border, frontier… in Asturian, and it's in that no man's land in a cinematographic level, in the confines of narrative and experimental cinema, where the films appearing in Llendes can be located, the most unclassified section out of all the ones from Gijón/Xixón International Film Festival:

Quiero lo eterno (Miguel Ángel Blanca, 2017). The singer from the band Manos de topo will present in Gijón his first fiction feature film, a brilliant abstraction about a group of teenagers that start a trip to find themselves in another reality.

Those Shocking Shaking Days (Selma Doborac, 2016). A 16mm study about the circumstances that originated and led to war in the former Yugoslavia. A premiere in Spain of the debut feature of this Bosnian director, who saw its global release at the prestigious FIDMarseille.

Nocturno: fantasmas de mar en puerto (Álvaro Fernández-Pulpeiro, 2017). European premiere for the debut feature of this young director from Galicia, whose shortfilm Sol mihi siempre lucet was seen in festivals like Alcances, L'Alternativa or Play-Doc. A narrative full of lyricism about sailors stuck in a port, which will see its international debut at New York this same week.

Moctezuma-Grau: descendencia mortal (Kikol Grau, 2017). One of the most punk and renegade filmmakers in the national cinema scene comes back to Gijón with his personal way of understanding history, in this case with the last descendant, or maybe not, of legendary Mexica emperor Moctezuma.

Cocote (Nelson Carlo de los Santos Arias, 2017). One of the most important Latinamerican films of the year. Presented in Locarno, where it acquired the award for best film from the prestigious section Signs of Life, Cocote is a travel to the sends of violence present in the core of the modern Dominican society.

Perrolobo (Lycisca) (Gerard Ortín, 2017). A fascinating and fragmented trip through the Karranza valley in Biscay. It is a valuable anthropologic look accompanied by a powerfuel visual treatment. A work that denotes a considerable maturity in the film calligraphy of its young director.

Alongside these feature films, Llendes will also present a selection of shorter works but just as important to complete its programme. We are talking about titles like Martin Pawley and Marcos Pérez's Fogo, the same duet that signed the notable Ilusiones Virtuales, or Fajr, from Lois Patiño, one of the best known authors from the novo cinema galego. The well-renowned Portuguese filmmaker João Pedro Rodrigues will premiere in Spain his short film Où en êtes-vous, João Pedro Rodrigues?, a sort of continuation of his award-winning feature film O Ornitólogo. Virginia García del Pino's documentary Improvisaciones de una ardilla, a critical look about national politics from two images that are apparently random, finishing with an exposition of our section more bustling and stimulating.


The 55th FICX brings back the traditional Asturian denomination to a space dedicated to the compilation of the most prominent features seen in the international circuit. Alongside this selection, Esbilla will also offer the audience a mix of international and national premieres that due to some reasons we consider of special interest. A good example are the already announced documentaries related to Asturias: the one dedicated to the club and supporters of the U.C. Ceares (El equipo de mi barrio, Ramón de los Arcos, 2017) and the one that refers to the emigration of our people to the American city of Tampa (La plomada, 2017).

Completing the films for Esbilla, we are adding the world premiere of Casa de nadie, directed by the teacher, cultural producer and filmmaker Ingrid Guardiola. Guardiola reflects about old-age, taking as a base two communities the residents are aging rapidly: the mining colony of Ciñera at León, and Sant Andreu Palomar at Barcelona.

The list of films from other Festivals, Esbilla has so far confirmed the following:

Western (Valeska Grisebach, 2017). Sehnsucht's director brings her cinema back to Gijón, where she had already achieved the Award for Best Film in 2006 for said film. On this occasion, Grisebach presents a tale full of tension where she shows inequalities still present in the European Union, using as an excuse the story of a team of German construction workers tasked with some works in Bulgaria.

How to Talk to Girls at Parties (John Cameron Mitchell, 2017). The American director, whom some of the Festival's enthusiasts will remember thanks to the unforgettable Hedwig and the Angry Inch, receiving in 2001 the Award for Best Actor, adapts the great Neil Gaiman's on this travel to London's punk scene with leather jackets, where even aliens are welcome to the party. Free and roguish cinema with stellar interpretations from Nicole Kidman and Elle Fanning.

A fábrica de nada (Pedro Pinho, 2017). Without a doubt, one of the most audacious proposals of the year is this exuberant mix of musical comedy and social drama, where workers from a Portuguese factory rebel against the sabotage caused by the factory's own managers. A valiant work that obtained the FIRESCI award in the previous Cannes Director's Fortnight.


Despite being one the youngest sections in the Festival, AnimaFICX, the Festival's section dedicated to animation, has become one of the local audience's favourite sections. The assistance received throughout the years has made it one of the most important animation spaces in our country. AnimaFICX will present a careful selection of international works in 2017, with five of them premiering in Spain.Some of the titles share a spot in another section of our Festival, Enfants Terribles, like Rabbit School: Guardians of the Golden Egg (Ute von Münchow-Pohl, 2017), the highly anticipated Zombillenium (Arthur de Pins & Alexis Ducord, 2017), the powerful Roald Dahl's adaptation Revolting Rhymes (Jan Lachauer, Jakob Schuh & Bin-Han To, 2016), or the interesting Ivan Tsarevitch et la princesse changeante, from legendary French animator Michel Ocelot (author of the Kirikú saga), who has chosen Gijón for the Spanish premiere of his new feature film.

Aside from these works, the following feature films will be part of the selection:

Loving Vincent (Dorota Kobiela & Hugh Welchman, 2017). The film that obtained the Audience Award at the last Annecy Film Festival is an exploration of Vincent Van Gogh's life and death and at the same time, a celebration of his art. A feature film oil painted that pays tribute to the style of the man behind the sunny landscapes of Arles, the madman with the red hair.

Have a Nice Day (Liu Yian, 2017). A sharp and violent portrait of modern Chinese society. A rotoscoping photography about the anxiety to obtain riches and power. It was presented in the official section of the Berlinale, and its black humour and irony have caused trouble to its director, with the authorities from his country withdrawing the film from its presentation at Annecy.

Tehran Taboo (Ali Soozandeh, 2017). One of the biggest surprises in animation from 2017 internationally, it premiered at Cannes Critics Week. The rotoscopic film as a narrative element to know the most hidden secrets of the Iranian's regime capital nights.

Lu Over the Wall (Masaaki Yuasa, 2017). The Japanese director's comeback to feature films 13 years after Mind Game meant acquiring the Cristal for Best Film in the most important animation festival in the world (Annecy's) thanks to this environmental fable where a kid and a mermaid will work together to save a city in danger.

As a complement to these feature films, Animaficx will also present several short film from some of the Festival's spectators favourite authors. Names like Bill Plympton, who will bring us Cop Dog ( the sixth work from the Guard Dog series), David O'Reilly and his new incursion in the videogames world with Everything, or Don Hertzfeldt, with World of Tomorrow, who will preface one of the surprise premieres at 55FICX.

Palabras clave Festival de Cine, 2017