Utilizamos cookies propias y de terceros para mejorar la experiencia de navegación y ofrecer contenidos y servicios de interés.
Al continuar con la navegación, entendemos que se acepta nuestra política de cookies.



(Total de votos recibidos 128)

(Puntuación 2,87)

The festival from Gijón will have the presence of prestigious names from contemporary cinema like Eugène Green, VALIE EXPORT, Paul Vecchiali, Isabel Coixet, Constanza Novick, Lisandro Alonso, John Carroll Lynch, Caroline Deruas and Arnaud Desplechin
  • The great female presence on this edition is credited to fifty titles made by female directors, with the opening film by Constanza Novick, El futuro que viene, and the closing one, the Julia Solomonoff's Spanish co-production Nadie nos mira.
  • Artist Rodrigo Cuevas and journalist Sonia Avellaneda will present the opening ceremony at Teatro Jovellanos, where the Nacho Martínez Award will be given to Verónica Forqué, whil Whit Stillman will receive the Honours Award
  • Stillman will preside the International Jury, composed of filmmaker Andrea JAurrieta, producer Eugenia Mumenthaler, actress Cuca Escribano, and Programme Director at the Film Society of Lincoln Center, Dennis Lim
  • The Festival is releasing a brand new trophy for its 55th edition: for the first time the Festival's logo will be physically given to the prize-winners of 2017, an original 3D printed trophy made by 3D Room Made
Gijón/Xixón International Film Festival presents in the 55th edition a programme with 177 titles, with 26 world premieres and 4 European ones. From November 17th to the 25th, FICX will focus on the renovation lived by the Spanish and international cinema, without forgetting proposals from the great masters. This year the event will have prestigious guests from the cinematographic industry like Eugène Green, VALIE EXPORT, Constanza Novick, Lisandro Alonso, Paul Vecchiali, John Carroll Lynch, Marc Recha, Caroline Deruas, Arnaud Desplechin, Whit Stillman, International Jury President who will receive the Honours Award 2017, or Isabel Coixet, Mujer de Cine Award.

In the 55th edition, 85% of the programmed films in the international sections, both competition and non-competition, are Spanish premieres. This figure exemplifies the interest shown by FICX to offer exclusive content not just for Gijón/Xixón cinephiles, and those from the rest of Asturias, but to captivate the national and international cinema attention.

The considerable female presence at the 55th edition to fifty titles made by female directors, with the opening film by Constanza Novick, El futuro que viene, and the closing one, the Julia Solomonoff's Spanish co-production Nadie nos mira, and three specials dedicated to the artist VALIE EXPORT and directors Carla Simón and Elisa Cepedal.

In 2017, the Gijón/Xixón Festival's audience will have the chance to attend more than 80 meetings with directors presenting their films in the Festival, almost doubling the figure from last year.
Artist Rodrigo Cuevas and journalist Sonia Avellaneda will present the opening ceremony for the 55th edition, celebrated at Teatro Jovellanos (20:30h). The Honours Award 2017 and the Nacho Martínez Cinematography Award will be awarded that same night to Whit Stillman and Verónica Forqué respectively.

On this edition, FICX is once again leaving Gijón/Xixón. There are Extensions at Oviedo, Avilés, Cangas de Onís, Colunga, Langreo, Siero and Villaviciosa. The public will have the opportunity to match fourteen movies from the Sección Oficial, Pases Especiales, Rellumes, Enfants, Esbilla and AnimaFICX, as well as the Día d'Asturies short films competition and the programme dedicated to Elisa Cepedal. Outside of Asturias, the FICX programme will be present in cinemathèques from Cantabria, Valencia and Galicia, arriving first at the Tabakalera Art Centre in San Sebastián.

Sección Oficial: Feature Films

The Sección Oficial at 55FICX will see the Spanish premiere of 17 feature films, five of them debut films or from directors as respected as Paul Vecchiali, Eugène Green, Marc Recha, Ruth Mader, Arnaud Desplechin, Bruno Dumont, Petra Biondina Volpe, Abel Ferrara or Hong Sang-soo.

El futuro que viene (Constanza Novick - Argentina 2017)
A film can be kind and true and at the same time bitter and contrived. It happens in life, it happens in pop, and it happens in El futuro que viene, the feature film for Argentine filmmaker Constanza Novick, which narrates the story of two modelling best friends, Romina (Dolores Fonzi) and Florencia (Pilar Gamboa) from their pre-teen years to the post-divorce and maternity. Argentine cinema has seldom achieved such sophistication when it comes to costumbrismo and so soft in a frame of extreme precision (even in its footage). Dialogues, acting, soundtrack, generational allusions, and production: there is nothing redundant or missing in El futuro que viene. What has been missing for a long time is more films like this.

Destinos (Posoki, Stephan Komandarev - Bulgaria, Alemania, Macedonia 2017)
Third feature film from the Bulgarian director (one of the most important in the country) Stephan Komandarev. A choral film using as narrative nexus the day to day experiences of five Taxi drivers from Sophia and bringing us a psimistic vision about the Europe apparently blessed with the advantages of the Welfare State we live in. Presented in the Un Certain Regard section at Cannes 2017.

Did You Wonder Who Fired the Gun? (Travis Wilkerson - Estados Unidos 2017)
In 1946, S.E. Branch, a racist white Southerner and great-grandfather of Travis Wilkerson, killed Hill Spann, black, in rural Alabama. Wilkerson travels, shooting in first person style, looking for the secrets of that unpunished killing, because maybe it wasn't the only one. The result is a trip through those areas, physical as well as mental, ideological, sociological, of a United States where the rule of silence reigns and equality is an ever-farther away chimera. What is personal is politic, said feminists many decades ago, and Wilkerson picks it up. His personal history in a cruel portrayal through the names of all the people killed by hate.

El orden divino (Die göttliche Ordnung, Petra Biondina Volpe - Suiza 2017)
On many occasions people take Switzerland as the perfect example of what a democratic state should be: its federal republic configuration, its electioneering based on direct democracy and referendums, etc. However, what many probably ignore is that the exemplar Swiss country prevented half of its population from voting until the final stages of the 20th century. Yes, the perfect democracy was also the perfect patriarchy (ad pedem litterae).
Petra Biondina Volpe, armed just with her camera and her ironic yet friendly eye, with her tenacity unaffected by the humoristic background of her work, denounces that historic oblivion that omitted democracy, the paternalism imbued by the divine order that deliberately hid part of its population under the protective (?) mantle of chauvinistic domination.

En attendant les barbares (Eugène Green - Francia 2017)
This spring, Eugène Green carried out a workshop with twelve performers within what was called "Chantiers Nomades". The result of this formative experience was his new movie. It was filmed with the bare minimum and non-professional actors. En attendant les barbares is a show of the style from the Le pont des arts's director, highly depurated in its essence. Like in his other films, the protagonists face a process to search for light through the darkness, to connect with life after death, and has Baroque Art as its vehicle through Nicolas Tournier's paintings as well as the only Arturian cycle written in Occitan, Jaufré. It's not a coincidence that we are situated in the historic capital of Languedoc, Toulouse. Once it ends, it's clear that the workshop's objective was to prepare the alumni, through his anti-psychologistic interpretation method, for their reunion with the barbarism that Green identifies with the hegemonic American culture.

Jeannette, l'enfance de Jeanne d'Arc (Bruno Dumont - Francia 2017)
Overwhelmed by movies that repeat formulas and extend sagas, today's spectator has little opportunity to experiment discovering a savagely innovative film and genuinely radical. Who would have thought that a musical about Joanne of Arc's childhood with amateur actors, inexperienced in singing and dancing, would cause such profound emotions? Imagine an impossible fusion between the corporeal sanctity of Pier Paolo Pasolini and the indomitable hilarity of Monty Python, imagine the religious candour materialized in the sublime beauty of a school play. A miraculous film conceived by the French Bruno Dumont and help from Charles Péguy's poetry, Igorrr's music – between death metal and trip hop- and the choreography by Philippe Decouflé, in between ballet and rock lunges.

La vida lliure (Marc Recha - España 2017)
1917, Minorca, final stages of the First World War. More than thirty years after Robert Louis Stevenson published Treasure Island, we go back to an island, a hidden treasure and the absence of a father figure substituted by a character of questionable morality. In Marc Recha's film there is no "Long John" Silver, but the round figure of Rom (played by a plethoric Sergi López): a survivor of marine adventures and rovellon devourer. A figure that represents, much like what the English pirate did in the novel, the guide towards maturity for kids that are about to stop being children.

Les fantômes d'Ismaël (Arnaud Desplechin - Francia 2017)
After Trois souvenirs de ma jeunesse, Arnaud Desplechin doesn't abandon the excursus for the gardens, inhabited by love wounds impossible to heal from Paradise lost, by tales of ectoplasmic spies, metafictions about the spectres that surround a filmmaker :Mathieu Amalric, the alter ego, the centre of this fascinating game of mirrors, women that come back from the dead to exit the dreamlike loop and excite the mind even more and the amphetaminic organism that is Amalric/Ismaël. A family portrait with an emerging and revived person, daring to call herself Carlotta, like Kim Novak in Vertigo , Despelchin subjects us a to a fight of magnetisms between Carlotta/Cotillar and Sylvia/Gainsbourg. A tour de force magnified by an invigorating sequence where the first one dances to one of Dylan's songs before the other, mesmerized like Ismaël himself, like Amalric, and much like the spectator. A cinema that is between endogamy and centrifuge spasm. And it elevates its freedom flight towards the lands of truth and impudence of the illustrious Desplechin.

Les sept déserteurs ou la guerre en vrac (Paul Vecchiali - Francia 2017).
Seven deserters from a perpetual war which appears to date back to the depths of theirs memories. Seven journeys in an improvised and ruinous idyllic camp surrounded by the noise of machine gun fire and bomber airplanes. A staging, scenography and costumes that answer to a concept and a planning that tend towards abstraction.

The seven protagonists' lives are subjected to the power of rhymed word in the dialogues and parlays, with an unnatural theatricality underlining the metaphor, the parable and the exemplarity.Vecchiali, master libertarian, deus ex machina who plays with the threads of his characters, pruning the superfluous, placing us before animated altarpieces of their lives' absurd colophon, makes us face the disenchanted destiny of someone who voluntarily embraces marginality.

Life Guidance (Ruth Mader - Austria 2017)
In a not so far future, an apparently perfect society has been able to make all its components perfectly optimized for work. An organization called Life Guidance is charges with returning to the fold those that rebel. Ruth Mader returns to Gijón after conquering the audience at the 2003FICX with Struggle.

Lucky (John Carroll Lynch - Estados Unidos 2017).
John Carroll Lynch's debut directing is a spiritual trip taken by a 90 years old atheist. Said man is Harry Dean Stanton, a legend of the seventh art whose last step towards immortality is achieved in this last biopic dedicated to him. Script-writers Logan Sparks and Drago Sumonja take the more or less defining moments from their friend's life to concoct a funny and profound existentialist reflection. Thus, Lucky's apparently inconsequential daily life turns out to be a last goodbye, much deserved by Dean Stanton. Exciting yet humble on its last look towards the –little- time we have left.

On the Beach at Night Alone (Bamui haebyun-eoseo honja, Hong Sang-soo - Corea del Sur 2017).
An actress leaves her country to distance herself from her relationship with a married filmmaker. This reiterative argument in Hong Sang-soo's filmography is just an excuse to play in two times with repressed longings and regrets, as well as the prejudices about intimacy and intents about other people. With the director's personal scandal still fresh, On the Beach at Night Alone addresses the impossibility of becoming acquainted or assuming our feelings with honesty, and presents its own cinema as a metanarrative gadget, almost hidden, as a flashback that works like a memory – and vice versa- of its main character, a magnificent Kim Min-hee who won the Silver Bear at the previous Berlinale.

Patty Cake$ (Geremy Jasper - Estados Unidos 2017).You don't need to love rap to love Patti and follow her life's rhythm made of dreams, lyrics and especially her New Jersey working class reality. The dedicated granddaughter, the patient daughter, the loyal friend, the smiling waitress carries so many burdens she barely has time for her own projects an desires. On her first feature film, playful and musical, composer Jasper (with a lot of Patti on his past) achieves with dexterity and confidence a perfect equilibrium between emotion and sarcasm, illusion and clarity, with an irresistible heroine who breaths, sings and lives with passion.

Scary Mother (Sashishi deda, Ana Urushadze - Georgia 2017).
Manana, the mother from a Georgian family that fantasizes with having a literary career is the narrative pillar of Scary Mother. The same interest as the beginner filmmaker Ana Urushadze shows by describing the struggle between dreams and realities of her confused main character is perceived by mapping in detail the asphyxiating environment surrounding her. Thus, Tbilisi's grey scenery emerges as another character: the physical representation of our heroine's hopeless life, always there to remind her that there is no escape from those condemned to defeat. Urushadze conceives a legitimate heir to the best Polanski (the one from the Apartment trilogy) that rightfully received Locarno's Leopard for Best First Feature.

Until the Birds Return (En attendant les hirondelles, Karim Moussaoui - Francia, Argelia 2017).
The climate that seems to pace the tone in Karim Mossaoui's En attendant les hirondelles is that of tense calm. Said tense calm appears strange, especially if we think that Argelia is a great unknown country. To make known what is happening in Argelia in 2017, some years after an Arab spring that didn't get to the country, Karim Moussaoui creates a triptych whose protagonists want to reflect some of the social classes in the country. Thus En attendant les hirondelles is a surprising movie. The staging is stylish and the director even allows some curious faux pas that deviate towards a musical. Nevertheless, the film denounces, goes into politics and believes in the small gestures of humanity.

Nadie nos mira (Julia Solomonoff - Argentina, España, Colombia, Brasil, Estados Unidos 2017).Nadie nos mira is the first movie filmed in the United Status of America by Argentine director Julia Solomonoff, a territory the rosarina filmmaker knows well, since she lives in the Big Apple. The knowledge of the terrain she's stepping on is patent in the description of places and individuals from her film, her own experiences ploughing her way through that dense artistic landscape known as Manhattan are the same suffered by her troubled protagonist, always balancing on that fine line that separates comedy and tragedy. Solomonoff's success to find the difficult equilibrium between two opposites and Guillermo Pfening's by embodying it made him acquire the award for best male acting at the Tribeca Film Festival, becoming a prophet in a foreign land.

Alive in France (Abel Ferrara - Francia 2017)
Beyond the finely tuned musical moments, those of careful privacy on the stage with his two old partners Joel Delia and Paul Hipp, Alive in France, the documentary centred on Abel Ferrara's French tour, accentuates the continuity of the great survivor from New York's 80s underground. His small stooped figure in front of the microphone, the body marked by the scars of alcohol and heroin, stands despite the adverse circumstances with the same wisdom of old, amongst lights of colour that remind us of the rooms from New Rose Hotel, with the same tone of voice, with the scent of the lonely alleys from Ms. 45. Yes, Ferrara sings live because he's still alive. And will be for much longer.

Sección Oficial: Short Films

A careful selected assortment of sixteen audiovisual works both national and international make up the Sección Oficial de Cortometrajes for 55FICX. Works that go from the most absolute forefront to the more traditional narrative, traversing four continents, recopilating the works from dedicated artists and new talents in the business, using real action and animation as narrative elements; a spectacular trip through the best 2017 can offer with this short format.

Spanish cinema will have an important representation in the Short Films Competition, with five proposals out of the sixteen that make up the section. Amongst them, you can find the latest works from directors like Pablo Hernando, with Salió con prisa hacia la montaña, who will take us back to his own personal universe, or Luis López Carrasco and his Aliens, a trip back to the crazy years of the movida madrileña, starring Tesa Arranz (Zombies).

The Asturian Ramón Lluís Bande will represent our region with his film Áún me quedan balas para dibujar, a new reivindication of the historic memory as a key tool to understand our present, while Lluís Quílez will present in Gijón/Xixón the project that earned him the Movistar + / Pecera Estudio Award in 2016, 72%. We'll close the titles from our country with the ability for dramatic construction from Malaga´s Ramón Salazar and El domingo.

When it comes to international titles, the 55FICX will bring some of the most prized duing this seasons at prestigious festivals. A good example of that is A Gentle Night, from Chinese filmmamker Qiu Yang, the Palm d'Or winner at Cannes 2017, or You Will Be Fine from French director Céline Devaux, which obtained the same award in the Sección Orizonti at Venetia's Biennale. World of Tomorrow's first part (by Don Hertzfeldt) was Oscar nominated, and now he premieres in Gijón the continuation of this modern callisc: World of Tomorrow Episode Two: The Burden of Other People's Thoughts, which could very well become his third nomination to the golden award. The Turner Award winner, Duncan Campbell, will also be part of the official competition with The Welfare of Tomás Ó Hallissy, a false documentary about two American anthropologists visiting a rural Irish village in the 60s.

Portuguese director Salomé Lamas and her new work Coup de Grâce, the musical La Bouche from Colombian artist Camilo Restrepo, Greek Christos Massalas and his provocative Copa-Loca, the social drama by Adrian Silisteanu Written/Unwritten, the symmetric landscaped from Latvian Laila Pakalnina and his Hello Horse!, the delicate way with which Sofia Quirós Úbeda shows childish innocence with Selva and the fight between light and darkness in Wicked Girl by Alyce Kartal, close an official competition ready to satisfy the most exquisite cinephiles from Gijón and its visitors.


Oscar nominated American filmmaker Whit Stillman, Honours Award at the 55FICX, will be n charge of presiding the International Jury during this edition. Stillman is one of the biggest references in the most classic American indie cinema. His last movie, Amor y Amistad (2016) will be screened as a Special during the FICX. The American director will preside a jury made up of four other experts from the sector, amongst which we can find the young director, script-writer and actress Andrea Jaurrieta, who has just finished her first feature film Ana de día, which will premiere in 2018.

Next to them there will be Argentine producer and anthropologist Eugenia Mumethaler, who obtained a Golden Leopard at Locarno's festival in 2011 and the FIPRESCI Award with the film Abrir puerta y ventas ( Milagros Mumenthaler, 2011), actress Cuca Escribano, of Asturian descent, who throughout her career has worked with important directors like Chus Gutiérrez, Gerardo Herrero, Jaime de Armiñán, Azucena Rodríguez, Antonio Banderas or Manuel Gómez Pereira; The International Jury will close with the incorporation of Denis Lim, journalist and Programe Director at the Film Society of Lincoln Center, who will visit 55FICX to present the Lost Road (David Lynch, 1997) in one of the special passes, in collaboration with Laboral Cinemateca. Furthermore, the American journalist and critic will present his book David Lynch: El hombre de otro lugar at Gijón/Xixón.

The Jury for the short films will be made up of Maialen Beloki, vice-director at San Sebastian Festival since 2016, Carmen Gray, cinema critic, journalist and programmer from New Zealand, who has participated in more than 40 festivals, including Berlin, Locarno or Havana; and Laurent Crouzeix, programmer at Clermont-Ferrand International Short Films Festival, with which FICX has started a collaboration this year, and director of the Shortfilmdeport project.

Enrique Rivero, Paula Arantzazu Ruiz and Hiba Abouk will be parto f the Jury for the Spanish Cinema. Rivero obtained a Golden Leopard at Locarno's Festival with his debut film Parque vía (2008); Ruiz, a journalist specializing in cinema, writes for Cinemanía, Sensacine, Diari Ara, Levante EMV, and other media. Hiba Abouk, Spanish actress of Arab heritage, is known for her interpretation in TV series like El Príncipe (2014).For the third year in a row, the CIMA Award for Best Film directed by a woman will be given out of the films from the competitive sections. The jury giving this award is composed by director and script-writer Cristina Andreu, current vice-president at CIMA; Eva Lesmes, cinema and TV director, member of the Academia and CIMA founding member; and actress and voice and diction Julia Oliva, founding member of the Academia de las Artes Escénicas de España and CIMA representative in Andalusia.

The FIPRESCI Jury will be made of three writers an critics from the International Federation of Critics: Romanian script-writer and visual anthropologist Giulia Dobre, who has been collaborating with several international film festivals as art director for the last twenty years; Silvestar Mileta, cinema critic, member of the Croatian Soiety of Film Critics and jury member at festivals in Thessaloniki, Zagreb and Split; and finally, Pablo de Vita, a collaborator at CineArte magazine and member of the Spanish Association of Cinema Press.

Dennis Lim, Carmen Gray, Laurent Crouzeix and Silvestar Mileta will be present at the FICX thanks to the support from Acción Cultural Española (AC/E) through its Spanish Culture Internationalization Programme (PICE) through its Visitors modality.

A 3D Trophy

The FICX will release a new trophy on its 55th edition: for the first time in the history of the Festival, its logo will be given physically to the awarded in 2017.3D Room Made, belonging to the Buena Tinta group, has been tasked with creating this original and different trophy, both in design and elaboration process. The 3D printing technique is being currently used to create all types of pieces (as long as the printer's size allows it), basing it in a complex set of previous actions to develop its settings. The material used has as its main characteristic its thermoplastic quality. Each trophy has been made with 121 meters of material and 17 hours. The trophy is made of three pieces, each one created independently to put it together manually later on. An intricate and slow process that has resulted in an original trophy of which there'll be 20 copies. In total, more than 14 continuous days of printing.

Palabras clave Festival de Cine, 2017