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  1. A quem se lhe conte... (Alberte Pagán, 2011)

    In November 2002 the oil tanker Prestige was wrecked off the coast of Galiza causing a black tide that covered in tar one thousand kilometres of beaches and rocks. The incompetence of the government, who indirectly provoked the spillage and were unable to handle it, was the trigger which sparked a wave of indignation and the biggest ever popular demonstrations in Galiza. Under the motto Never Again the Galizan citizenry, traditionally submissive to power, rose up against the ruling class: the vassals rebelled against their lords because the lords failed to comply with their duty to defend their vassals. Thus the medieval bonds between power and subjects were broken, albeit temporally. The opposition parties, afraid of the continuation and/or radicalization of the movement, and facing an election they aspired to win, did all they could to soften and defuse the popular protests.

    What is left of all this? Some physical and psychological, individual and collective remains here and there. A quem se lhe conte… has no text (besides some graffiti and signs) because the images must speak for themselves. Landscape is the repository of history (and of the story) in various degrees. We have the immediate image (tar on rocks) and we also have the faded graffiti on the walls that tell us about past events. And we also have the cleaning squads, with their double function: as cleaning volunteers, independent of power, and as a symbol of popular indignation and political activism. The cleaning squads are simultaneously an image of the ecological catastrophe (perhaps the most recognizable icon of those black months) and a consequence of previous events (the oil spillage). A quem se lhe conte… is a film on the footprints of history in reality: tar on the rocks, faded graffiti on the walls; reality as a palimpsest.

    More info: albertepagan.eu/cinema/filmografia/a-quem-se-lhe-conte/

  2. A quem se lhe conte... (double screen) (Alberte Pagán, 2011)

    What is left of all this? Some physical and psychological, individual and collective remains here and there. A quem se lhe conte… has no text (besides some graffiti and signs) because the images must speak for themselves. Landscape is the repository of history (and of the story) in various degrees. We have the immediate image (tar on rocks) and we also have the faded graffiti on the walls that tell us about past events. And we also have the cleaning squads, with their double function: as cleaning volunteers, independent of power, and as a symbol of popular indignation and political activism. The cleaning squads are simultaneously an image of the ecological catastrophe (perhaps the most recognizable icon of those black months) and a consequence of previous events (the oil spillage). A quem se lhe conte… is a film on the footprints of history in reality: tar on the rocks, faded graffiti on the walls; reality as a palimpsest.

    More info: albertepagan.eu/cinema/filmografia/a-quem-se-lhe-conte/

  3. Urgent Film for Palestine (Arabic, English subtitles) (2012)

    This is the anti Description d'un combat, Chris Marker's sionist film.
    More info: albertepagan.eu/cinema/filmografia/palestina/

  4. Película urgente por Palestina (español) (2012)

    Esta es la anti-Description d'un combat, la película sionista de Chris Marker.
    More info: albertepagan.eu/cinema/filmografia/palestina/

  5. Película urgente por Palestina (galego) (2012)

    Esta é a anti-Description d'un combat, a película sionista de Chris Marker.
    More info: albertepagan.eu/cinema/filmografia/palestina/

  6. A realidade (COSAL-Galiza, 2012)

    LA REALIDAD

    “NO ESTOY EN LAS MEJORES
    CONCICIONES PARA ASISTIR A
    ESTE JUICIO. NO SOLO SON LAS
    ESPOSAS, ES QUE ESTOY
    ENCADENADO A LA CINTURA. ADEMÁS
    TENGO CADENAS EN LOS PIES Y TENGO
    UN CINTURÓN EN LA PIERNA CON UNA
    BATERÍA DE MILES DE VOLTIOS
    QUE A JUICIO DE CUALQUIERA DE LOS
    CARCELEROS QUE ESTÁN AQUÍ,
    PUEDEN ACCIONAR EL MECANISMO Y
    PRODUCIRME UNA FUERTE
    DESCARGA ELÉCTRICA.”

    (SIMÓN TRINIDAD DESDE UNA
    CÁRCEL DE LOS EEUU)

    Programa de televisión sobre la lucha de las FARC y los procesos de paz realizado con material de las televisiones españolas, de la televisión de las FARC, de Youtube y material propio.

    Película sobre la verdad y la mentira de la información, sobre el poder de los medios, sobre la manipulación de la realidad.

    La realidad de la imagen no es la realidad social. La mentira contada mil veces: esa es la realidad de la televisión, esa es la verdad de la televisión.

    More info: albertepagan.eu/cinema/filmografia/a-realidade/