Pere Portabella’s latest film Informe general II. El nuevo rapto de Europa (General Report II. The New Abduction of Europe) addresses the political, economic, social and ecological dimension of the crisis from a perspective of networks and culture. Informe general II, premiered in the Museo Reina Sofía with this screening, engages with a new restored version of the film that precedes it, Informe general sobre algunas cuestiones de interés para una proyección pública (General Report on Some Interesting Facts for a Public Showing). Pere Portabella will be present on December 2.
In 1976 the Catalan film-maker filmed a moving monumental fresco that shone a light on the final embers of the Franco regime and the process of founding a democratic State. In a general climate of mass turmoil and disorder, Informe general sobre algunas cuestiones de interés para una proyección pública documents the final years of lead in Spain, the emergence of new political and social agents on the urban and industrial landscape, the return of abandoned memory from the time of the Republic and citizens’ aspirations of new ways of life. Over a three-hour running time, shifting between montage and documentary, history and interpretation, Portabella constructs a work that always makes the viewer aware of the filmic device and the type of account it produces.
Forty years on, Informe general II. El nuevo rapto de Europa examines that legacy in the light of the current institutional and political crisis, the margins of an account articulated during the Transition to democracy in Spain and the horizon of change culture offers as a space of discordance and critical imagination. Informe general II reacts to another hurried, unhinged and pressing time in history, in which the map of nascent politicians and institutions in 1976 have been replaced with a diagram of multiple nodes that are open and evolving. How can this new civil society be reorganised to recover the founding and transformative role of politics? In what way do institutions respond to this challenge? How does cinema connect and engage with these new processes?