This film season continues a series of programmes that have addressed the change to structures, narrations and methods of film-making in recent Spanish cinema. With three editions to date, the series has looked to reflect the shake-up in what has been coined “other cinema” in Spain, characterised by the use of precarious images, the employment of events within fiction and the permanent inquisition of reality. Under the title The Memory of Disrepute, this year’s edition reflects how “other cinema” invents its own genealogy, exercising a discontinuous and partisan audiovisual history, where contemporary films enter into dialogue in double sessions with past films, reviewing and negotiating their debates and approaches.
At the end of the 1960s and during the 1970s, a significant number of film-makers focused on a stylistic and discursive break-away from the cinema produced in Spain at the time. Although it was multi-directional cinema, it shared the same subversive attitude, one of resistance towards cultural frivolity and political deactivation imposed by the late Franco regime. From 1982 onwards, a new legislation dismantled networks and the people that upheld this cinema, replacing this model with one of public funding and “consumption” in theatres. Thirty years on, the demolition of this paradigm has prompted the return to another form of production, another circuit of exhibition and, primarily, another language. This film series sets out how “other cinema” echoes the imagery, themes and poetics directly related to cinema from the 1960s and 1970s, produced at a time of unrest, with a political regime that was coming to an end and another, now thought of as highly fragmented, that emerged disillusioned.
Similar to the precedents of vindication, “other cinema” is regarded as a document of the present. Produced by a generation born during the Transition to democracy in Spain, its function has been to demolish received ideas that defined education and a broken horizon. The formal end product stands out among them; thus, all of these films are characterised by their search for a cinema of takes, as opposed to shots, following Dominique Noguez’s directive: another way of showing will bring another way of thinking.