The films in this program deal with remnants of war and conflict. The title – which is also the name of one of the films – is taken from Walter Benjamin’s essay from 1928 and points out that the filmmaker and artists become “translators” in that they make visible themes and stories that are both difficult and indescribable to the film’s language and media.
Lynne Sachs pays tribute to Walter Benjamin’s essay “The Task of the Translator” through three studies of the human body. First, she listens to a doctor who in wartime reconstructs corpses. She then witnesses a group of academics who are confronted with the task of translating a newspaper article about Iraqi funeral rites into Latin. And finally, she lets us listen to a radio news report about human remains.
Red Rubber Boots Country: Bosnia and Herzegovina Year: 2000 Length: 18 min Directed by: Yasmila Zbanic
A mother is looking for her children who were killed by the Serbian army in the civil war in Yugoslavia.
3 Logical Exits Country: Denmark Year: 2021 Length: 15 min Directed by Mahdi Fleiffel
In the summer of 2019, the Palestinian-Danish director returns to the refugee camp Ain el-Helweh, which is the place where he grew up, and where he has previously filmed his friend in A Man Returned (2016) and A World Not Ours.
The Russell Tribunal Original title: Russell Tribunal Country: Sweden Year: 2004 Length: 10 min Directed by Staffan Lamm
During the Vietnam War, several intellectuals, including Simone de Beauvoir and Jean-Paul Sartre, set up a tribunal in Stockholm. The “trial” raised the question of whether the United States violated international law when it attacked North Vietnam.
The Berlin Wall Country: Norway Year: 2008 Length: 24 min Directed by Lars Laumann
Portrait of a woman who falls in love with and marries the Berlin Wall.
Following her feature documentary Film About a Father Who, director Lynne Sachs has set her sights on a market and playground in Elmhurst, Queens withher new short Swerve, inspired by former poet laureate of Queens, Paolo Javier, and his Original Brown Boy poems, and fittingly world-premiering at NYC’s BAMcinemaFest later this month. We’re pleased to exclusively premiere the first trailer.
Wearing the tell-tale masks of our daunting now, five New York City performers (Emmy Catedral, ray ferriera, Paolo Javier, Jeff Preiss, Inney Prakash, and Juliana Sass) search for a meal at the Hong Kong Food Court while speaking in verse. The film itself transforms into an ars poetica/ cinematica, a meditation on writing and making images in the liminal space between a global pandemic and what might come next.
The film was inspired by Sachs’ reading of Paolo Javier’s sonnets in his new 2021 book O.B.B. aka The Original Brown Boy, and she started to hear them in her head, cinematically. In her imagination, each of his 14 line poems became the vernacular expressions of people walking through a food market full of distinct restaurant stalls. She re-watched Wong Kar-wai’s Happy Together, a favorite of both of theirs, and immediately thought of the Hong Kong Food Court in Elmhurst, Queens, a gathering spot for immigrant and working-class people from the neighborhood. The five performers were then invited to devour Paolo’s sonnets along with a meal from one of the market vendors.
See the exclusive trailer below.
Swerve premieres at BAMcinemaFest on June 26 as part of Shorts Program 2.
Preamble kicks off June with screenings of the Lynne Sachs Retrospective
Preamble kicks off June with the presentation of the Lynne Sachs Retrospective as a preview of the American filmmaker’s visit to the Costa Rica International Film Festival to be held June 9-18.
To kick off the billboard on Thursday, June 2, starting at 7:00 pm, an exhibition of Film About a Father Who (United States, 2020) .
From 1984 to 2019, Lynne Sachs filmed her father, a lively and innovative businessman. This documentary is the filmmaker’s attempt to understand the networks that connect a girl with her father and a woman with her brothers. The show is for ages 12 and up.
On Friday June 3 starting at 7:00 pm screening of short films. A selection of short films by Lynne Sachs that shows her aesthetic and thematic searches and the experimentation that characterizes a good part of her creations.
The program includes the works: DRAWN AND QUARTERED, STILL LIFE WITH WOMAN AND FOUR OBJECTS, FOLLOWING THE OBJECT TO ITS LOGICAL BEGINNING, THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS, PHOTOGRAPH OF WIND, SAME STREAM TWICE, 2012, CUADRO BY CUADRO , CAROLEE, BARBARA AND GUNVOR, A MONTH OF SINGLE FRAMES, E•PIS•TO•LAR•Y: LETTER TO JEAN VIGO and MAYA AT 24.
For Saturday, June 4, at 7:00 pm presentation of the documentary Tip of my Tongue . To celebrate her 50th birthday, filmmaker Lynne Sachs brings together other people, men and women, who have lived the exact same years but hail from places like Iran, Cuba, Australia, or the Lower East Side of Manhattan, but not Memphis, Tennessee, where Sachs grew up.
The documentary takes place with all these people discussing the most remarkable, strange and revealing moments of their lives, in a brazen and self-reflective examination of the way events outside our own domestic universe impact who we are.
SPANISH
Costa Rica Festival Internacional de Cine que se realizará del 9 al 18 de junio.
Para dar inicio a la cartelera el jueves 2 de junio a partir de las 7:00 p.m exhibición de Film About a Father Who (Estados Unidos, 2020).
Desde 1984 hasta 2019, Lynne Sachs filmó a su padre, un animado e innovador hombre de negocios. Este documental es el intento de la cineasta por entender las redes que conectan a una niña con su padre y a una mujer con sus hermanos. La función es para mayores de 12 años.
El viernes 3 de junio a partir de las 7:00 p.m. proyección de cortometrajes. Una selección de cortos de Lynne Sachs que muestra sus búsquedas estéticas, temáticas y la experimentación que caracteriza buena parte de sus creaciones.
La programación incluye las obras: DRAWN AND QUARTERED, STILL LIFE WITH WOMAN AND FOUR OBJECTS, FOLLOWING THE OBJECT TO ITS LOGICAL BEGINNING, THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS, PHOTOGRAPH OF WIND, SAME STREAM TWICE, 2012, CUADRO POR CUADRO, CAROLEE, BARBARA AND GUNVOR, A MONTH OF SINGLE FRAMES, E•PIS•TO•LAR•Y: LETTER TO JEAN VIGO y MAYA AT 24.
Para el sábado 4 de junio en función de 7:00 p.m. presentación del documental Tip of my Tongue . Para celebrar su cumpleaños 50, la cineasta Lynne Sachs reúne a otras personas, hombres y mujeres, que han vivido exactamente los mismos años pero que provienen de lugares como Irán, Cuba, Australia o el Lower East Side de Manhattan, pero no de Memphis, Tennessee, lugar donde creció Sachs.
El documental transcurre con todas estas personas discutiendo sobre los momentos más destacados, extraños y reveladores de sus vidas, en un examen descarado y autorreflexivo de la forma en que los eventos fuera de nuestro propio universo doméstico impactan quiénes somos.
– The retrospective category has been dedicated to the American filmmaker and poet Lynne Sachs –
Displaying independent films from 37 countries and in 15 different languages, the tenth edition of the Costa Rica International Film Festival begins on Thursday.
According to the Ministry of Culture, the festival will take place in two parts. First from June 9 to 18 and then from June 29 to Aug. 26.
The categories of the festival include retrospective films, panorama, young people and pioneers of cinema, among others.
The retrospective category has been dedicated to the American filmmaker and poet Lynne Sachs, who has made 37 films, some of which have won awards or have been included in retrospectives at major festivals.
Sachs’s 2019 film, “A Month of Single Frames,” made with and for Barbara Hammer, won the Grand Prize at the International Short Film Festival Oberhausen in 2020.
In 2021, both the Edison Film Festival and the Prismatic Ground Film Festival at the Maysles Documentary Center awarded Sachs for her body of work in the experimental and documentary fields.
Last year the Festival displayed “Film About a Father Who” (2020), directed by Sachs, which is defined as “a poignant and moving film,” by Fernando Chaves-Espinach, director of the festival. “(Sachs) mixes fiction, documentary, experimental film, performance among others,” he said.
“Sachs demonstrates the energy of contemporary cinema and the multiple forms that this art takes, from an intimate and reflective perspective that dialogues with certain forms of filmmaking in our context,” Chaves said.
The festival will be held in several movie theaters in San José, as well as in different communities of the country in rural areas so that more people can enjoy the event, the ministry said.
In San José, the films will be shown at Cine Magaly, the Film Center of the Ministry of Culture and the French Alliance of the France Embassy in Costa Rica.
In rural areas, the festival will be presented at the CCM movie theaters, located in San Ramón and San Carlos in Alajuela Province, in Jacó Beach in Puntarenas Province.
Also, CitiCinemas movie theaters in rural areas will present the festival in Grecia in Alajuela Province, Limón City in Limón Province and Paso Canoas in Puntarenas Province.
In addition, the festival will be presented at Multiplexes in Liberia, Guanacaste Province.
The jury is made up of directors, producers and people of the film industry from Costa Rica and other places such as Northern Ireland, the United Kingdom, Colombia, the Basque Country, Germany and Hungary.
The festival will award three mail films for their formal quality and content. In addition, the winning films will receive about $11,000 in prizes in the categories such as Best National Short; Best Costa Rican Feature Film, Best Central American and Caribbean Feature Film, among others.
People interested in participating in the festival can buy tickets, priced between $3 and $4, on the Festival weband Magaly Theater web.
When filmmaker Barbara Hammer died from complications of ovarian cancer in 2019, the film world lost one of the most innovative filmmakers of its avant garde. In a career that spanned more than 50 years, Hammer had created an outstanding body of work, ranging from scores of experimental shorts, including Multiple Orgasms (1976), which was chosen to be preserved by the National Film Preservation Foundation with funding provided by the George Lucas Family Foundation, to the extraordinary Nitrate Kisses, a documentary about the hidden lives and legacies of lesbians that went on to win numerous accolades and is considered a landmark masterpiece of queer cinema, a first of its kind. Her work is at once provocative, playful, sensual, and formally inventive.
Although 10 years younger than Hammer, experimental documentary filmmaker Lynne Sachs hit her professional stride in the same circles with her in San Francisco in the 1980s, and the two developed a unique friendship that spanned several decades. Sachs, herself an innovator in creative nonfiction filmmaking, took a workshop taught by Hammer about optical printing, a process for creating special effects through specialized processing and techniques in celluloid film. Likewise, Hammer studied sound recording with Sachs. Both conceptually and practically, they were working in an alternative film universe compared with the mainstream, male-dominated one. Each of them operated like a one-woman band: filming, recording sound, editing, performing, directing, etc. each on her own, making deeply personal films that addressed larger societal issues from individual perspectives.
In that environment at that particular time, Sachs says, “The word documentary was not assumed to be a sort of template for an educational film or a diatribe on a political thesis, but it was a place to explore the subjectivity of reality. And that’s what drew us into working with issues that matter to us. Whether we were looking into issues around race or age, at the time we were doing it from our subjective place. We were both making films that refracted and played with the reality we were observing.”
As each woman’s career in cinema expanded, they maintained a creative connection, with talk of collaboration going back many years. But as Hammer was preparing to die, having lived with ovarian cancer for several years, she asked four filmmakers to complete films she had in the works. One of those filmmakers was Sachs, whom Hammer asked to complete a film from footage, sound, and journal entries created here in Provincetown while staying in one of the famed dune shacks in 1998. Sachs agreed and the resulting 14-minute film, A Month of Single Frames (2019), will be shown at AMP Gallery as part of a month-long celebration of Hammer’s life, work, and legacy, along with Sachs’ 2018 documentary about Hammer and two other filmmakers (Carolee Schneeman and Gunvor Nelson) called Carolee, Barbara & Gunvor, and one by Brydie O’Connor called Love, Barbara.
A Month of Single Frames is an extraordinarily beautiful meditation that combines sound and image from the 1998 dune shack stay with present-day recordings of Hammer reading from her journal and poetic on-screen text Sachs wrote. The process is transparent, with Sachs and Hammer discussing what to record as they record it, bringing us back to that idea of documentary as a construction and not mere “reality.” Closeups of a dragonfly, beach grass swaying in the breeze, stop-motion animation with snail shells are enveloped in the sounds of nighttime insect choirs, waves, and creaky floorboards. Hammer’s sense of wonder, what she describes as being “overwhelmed by the simplicity” comes through bright and clear through colored gel flag shadows in the sand with her narration describing the cinematic experimentation that continued throughout her life. Sachs weaves these elements together to create a portrait of an incredible film artist who, like many before her, found inspiration here in the ecology of the dunes.
While Hammer’s body of work is centered on female sexuality quite specifically, and Sachs often weaves in elements of her family history, (sometimes focusing entirely on it, such as in the film Film About a Father Who… about the complexity of her father and his problematic relationships), the two filmmakers share a feminist approach and an interest in film as language; they worked with its formal qualities, experimenting with techniques and devices unique to cinema, and they both imbue their films with the personal and specific, often in a documentary context. In an age where documentaries have become extremely popular but also extremely narrow in their formal conventions, there is often a misunderstanding of just how diverse documentary as a form is. Both fiction and documentary films convey truth, opinion, and fabrication by virtue of being creative works, and there is a long history of hybridity that distinguishes documentary from journalism. This doesn’t only include experimental artists like Sachs and Hammer, but also more mainstream documentarians like Werner Herzog and Agnes Varda whose works never attempt to hide the personal lens through which the subject matter is seen.
“It’s a vessel for thinking about how reality works and doesn’t work sometimes… It’s separate from journalists. We actually not only deal with reality, we also ask how that can become a truth, or it becomes a subjective hypothesis. It always comes with a subjectivity that’s, I think, really important—that who sees the reality is as important as what is seen. And so when we say, ‘through the lens,’ it’s, you know, through the lens of a woman or through the lens of a gay person or a Black person, and it shapes your experience of that reality,” explains Sachs.
But also, she says the process is about discovery as you go. “To engage with reality is also the possibility for play and a kind of dance with what you observe and how you then share it with your audience. I think Barbara taught us that. She loved to play with her materials. That was like her touch, and that’s where she found surprises and found out more about herself. I think in documentary you also have a chance for introspection which to me is really important.”
Barbara Hammer’s films, drawings, and other works are on view at AMP Gallery, 432 Commercial St., Provincetown, along with the films by Lynne Sachs and Brydie O’Connor through June 22. For more information call 646.298.9258 or visit artmarketprovincetown.com.
This Week’s Films at AMP Gallery Films by Barbara Hammer
June 9Place Mattes: 1987, 7:36 min, color, sound, 16 mm film on video.
June 11 Contribution to Light: 1968, 3:42 min, color, silent, Super 8mm film on HD video.
June 12Multiple Orgasm: 1976, 5:32 min, color, silent, 16 mm film on HD video.
June 13Dream Age: 1979, 10:58 min, color, sound, 16 mm film on HD video.
June 14Pond and Waterfall: 1982, 15 min., color, silent, 16 mm film on video.
Film by Brydie O’Connor
June 8 & June 15 – 16Love, Barbara (documentary; 15 min.)
Films by Lynne Sachs
June 10 & June 17 – 18A Month of Single Frames (Made with and for Barbara Hammer; 14 min. color sound 2019)
Lynne Sachs
(USA, 1961), is a filmmaker, poet and artist based in New York. She has created
genre-defying cinematic works through the use of hybrid forms and
interdisciplinary collaboration, incorporating elements of essay film, collage,
performance, documentary, and poetry. She taught the workshop “Opening the
family album” and a session was dedicated to her in the contemporary cinema
program.
Project La Casa Encendida Radio is a sound experimentation platform that wants to explore the radio format from an artistic perspective, a space to share interests and concerns with a multitude of voices that resonate in our present and an archive of sounds from our recent history.
Following her feature documentary Film About a Father Who, director Lynne Sachs has set her sights on a market and playground in Elmhurst, Queens with her new short Swerve, inspired by former poet laureate of Queens, Paolo Javier, and his Original Brown Boy poems, and fittingly world-premiering at NYC’s BAMcinemaFest later this month. We’re pleased to exclusively premiere the first trailer.
Wearing the tell-tale masks of our daunting now, five New
York City performers (Emmy Catedral, ray ferriera, Paolo Javier, Jeff
Preiss, Inney Prakash, and Juliana Sass) search for a meal at the Hong Kong
Food Court while speaking in verse. The film itself transforms into an ars
poetica/ cinematica, a meditation on writing and making images in the
liminal space between a global pandemic and what might come next.
The film was inspired by Sachs’ reading of Paolo Javier’s
sonnets in his new 2021 book O.B.B. aka The Original Brown Boy, and
she started to hear them in her head, cinematically. In her imagination,
each of his 14 line poems became the vernacular expressions of people walking
through a food market full of distinct restaurant stalls. She re-watched
Wong Kar-wai’s Happy Together, a favorite of both of theirs, and
immediately thought of the Hong Kong Food Court in Elmhurst, Queens, a
gathering spot for immigrant and working-class people from the
neighborhood. The five performers were then invited to devour Paolo’s
sonnets along with a meal from one of the market vendors.
The American filmmaker and poet Lynne Sachs will be the dedicatee of the tenth edition of the Costa Rica International Film Festival (CRFIC10), which will take place from June 9 to 18.
Sachs will visit the country during the festival, as he will be honored in the Retrospective section with a sample of 14 films of his authorship , characterized by a poetic, intimate, experimental and reflective tone with very personal themes.
The Sachs retrospective is made up of the films Epistolary: Letter to Jean Vigo (2021), Maya at 24 (2021); Film About a Father Who (2020) , Carolee, Barbara & Gunvor (2018), Tip of my Tongue (2017), Same Stream Twice (2012), With the Wind in Her Hair (2010), Frame by Frame (2009), Photograph of The Wind (2001), The House of Silence: A Museum of False Facts (1991), Drawn and Quartered (1987), Following the Object to It’s Logical Beginning (1987), and Still Life with Woman and Four Objects (1986).
According to the artistic director of the festival, Fernando Chaves Espinach , “We are interested in Lynne Sachs’s visit because with her films, made with few resources, she tells us about a very particular form of expression that seems relevant to our context. We are proud to present different ways of making cinema and, above all, to share it in a workshop with filmmakers and visual artists who can learn from his methodology and his approaches to cinematographic art”.
In addition to the presentation of his works, the festival has scheduled that Sachs give a face-to-face tutorial to a group of people linked to Costa Rican cinematography.
The main venue for the 10CRFIC will be the Cine Magaly and it will have three more screening rooms in the capital of San José and five outside the Greater Metropolitan Area: San Ramón, San Carlos, Jacó, Grecia, Limón and Paso Canoas.
SPANISH
Costa Rica Festival Internacional de Cine rinde homenaje a la cineasta Lynne Sachs
La cineasta y poeta estadounidense Lynne Sachs será la dedicada de la décima edición del Costa Rica Festival Internacional de Cine (CRFIC10), que se llevará a cabo del 9 al 18 de junio.
Sachs visitará el país durante el festival, pues se le rendirá homenaje en la sección Retrospectiva con una muestra de 14 películas de su autoría, caracterizadas por un tono poético, intimista, experimental y reflexivo con temáticas muy personales.
La retrospectiva a Sachs está constituida por los filmes Epistolary: Letter to Jean Vigo (2021), Maya at 24 (2021); Film About a Father Who (2020), Carolee, Barbara & Gunvor (2018), Tip of my Tongue (2017), Same Stream Twice (2012), Con el viento en el pelo (2010), Cuadro por cuadro (2009), Photograph of The Wind (2001), The House of Silence: A Museum of False Facts (1991), Drawn and Quartered (1987), Following the Object to It’s Logical Beginning (1987) y Still Life with Woman and Four Objects (1986).
De acuerdo con el director artístico del festival, Fernando Chaves Espinach,“Nos interesa la visita de Lynne Sachs porque con su cine, hecho con pocos recursos, nos habla de una forma de expresión muy particular que nos parece relevante para nuestro contexto. Nos enorgullece presentar distintas maneras de hacer cine y, sobre todo, compartirlo en un taller con cineastas y artistas visuales que pueden aprender de su metodología y sus acercamientos al arte cinematográfico”.
Además de la presentación de sus obras, el festival ha programado que Sachs imparta una tutoría presencial a un grupo de personas vinculadas con la cinematografía costarricense.
La sede principal del 10CRFIC será el Cine Magaly y contará con tres salas de proyección más en la capital de San José y cinco fuera de la Gran Área Metropolitana: San Ramón, San Carlos, Jacó, Grecia, Limón y Paso Canoas.
The tenth edition of the CRFIC is celebrated from June 9 to 18, in its first stage, and from June 29 to August 26, in a second itinerant stage, in communities outside the GAM.
The public will be able to enjoy 87 films in competition and screening, from 37 countries and in 15 different languages.
69% of the films in programming are directed or co-directed by women.
With the presence in the country of the American filmmaker Lynne Sachs, the CRFIC10 pays tribute to her career.
RETROSPECTIVE DEDICATED TO LYNNE SACHS
The CRFIC Retrospective section is dedicated to the renowned American filmmaker and poet Lynne Sachs (1961), who has 37 films to her credit, including short films and feature films, some of which have won awards or have been included in retrospectives at major festivals. .
Regarding the Retrospective, the artistic director of CRFIC10, Fernando Chaves, mentioned that last year the Festival showed Film About a Father Who , a poignant and moving film.
“In this tenth edition of the CRFIC we have the honor of having its director, Lynne Sachs, as a guest of our retrospective,” continued Chaves, “whom we are excited to present for her mixture of fiction, documentary, experimental cinema, performance and other media. ”
According to Chaves, with this solid filmography, Sachs demonstrates the energy of contemporary cinema and the multiple forms that this art takes, from an intimate and reflective perspective that dialogues with certain ways of making cinema in our context.
To close with a flourish, Sachs will hold a workshop where he will experiment with national artists.
Program includes: • Film About a Father Who • Con viento en el pelo • Tip of My Tongue • A Month of Single Frames • Carolee, Barbara & Gunvor • Epistolary: Letter to Jean Vigo • Drawn & Quartered • Following the Object to Its Logical Beginning • Maya at 24 • Same Stream Twice • Photograph of Wind • Still Life with Woman and Four Objects • House of Science: a museum of false facts • Cuadro por cuadro
San José, Costa Rica, May 20, 2022- With a program of outstanding independent films from 37 countries and in 15 different languages, the tenth edition of the Costa Rica International Film Festival (CRFIC10) is held from May 9 to June 18, in a first stage, and from June 29 to August 26 in a second itinerant stage.
The CRFIC10 will be held in person in downtown San José, as well as in different communities in the country outside the Greater Metropolitan Area (GAM), with the aim of reaching larger audiences that can enjoy the alternative audiovisual experience proposed by the festival program of the Costa Rican Center for Film Production (Cinema Center).
The artistic director of the 10CRFIC, Fernando Chaves Espinach, stated that “the Festival brings us the opportunity to confront ourselves with the most challenging, innovative and inspiring cinema that is being made today, with different languages and approaches, from very different countries. We have chosen winning films at renowned festivals such as Sundance, San Sebastián and Locarno, films nominated for Oscars and winners at other competitions, but we have also rescued titles that otherwise would not reach our theaters, true discoveries that show us the effervescence of contemporary cinema and its ability to shake us” .
The venues of the Festival will be located in the Magaly Cinema (the Main Hall and La Salita), the Gómez Miralles Hall of the Cinema Center, the French Alliance (in Barrio Amón) and the CCM San Ramón, CCM San Carlos, CCM Jacó rooms. , CitiCinemas Grecia, CitiCinemas Limón, Paso Canoas and Multiplexes Liberia.
In the itinerant stage, it will take place in the communities of Matambuguito, Shiroles, Boruca, Térraba, Sarapiquí and Grano de Oro.
OUTSTANDING CINEMA
The 10CRFIC program is made up of a careful selection of 87 international, regional and national films directed and co-directed, 69% by women, with varied content for audiences of all ages.
“We are proud to present a diverse programming in gender and geographical origin, which shows that cinema has never been monolithic in its language or in its origin; this programming allows us to articulate a defense of cinema as a diverse, complex art whose permanence as a vehicle of artistic expression requires spaces for debate and enjoyment such as festivals” , commented Chaves.
OPENING WITH UTAMA FEATURE FILM For the inauguration of the 10CRFIC, the curatorial team chose the feature film Utama (2022), by Bolivian director Alejandro Loayza Grisi.
The feature film is a co-production between Bolivia, Uruguay and France and is set in the arid Bolivian highlands, where an elderly Quechua couple have lived the same daily life for years.
In the middle of a drought, Virginio (80 years old) gets sick and aware of his imminent death, he lives his last days hiding the illness from Sisa (81 years old).
Loayza Grisi (1985) began her career in still photography and later entered the world of cinema through film photography.
As director of photography, he worked on the documentary series Planeta Bolivia, and on multiple short films such as Aicha, Dochera and Polvo.
Attracted by the stories that can be told through moving images, he ventured into writing and directing his first feature film titled Utama.
The competitive categories of the programming for this tenth edition are the following: Central American and Caribbean Feature Film Competition, with films from Costa Rica, Guatemala, Panama and the Dominican Republic; and the National Short Film Competition, with eleven Costa Rican productions.
The 10CRFIC will award a statuette to three films that stand out for their formal quality and content, as well as 8 million colones (approximately US$11K at the exchange rate) in total in incentives and support to the filmmakers selected as winners of the Competitive categories: a 1 million colones prize for Best National Short Film, a 3 million colones prize for Best Costa Rican Feature Film, and a 3 million colones prize for Best Central American and Caribbean Feature Film, as well as two 500,000 colones prizes for special mention Jury Mention in Feature Films and Jury Mention in Short Films, respectively.
The other sections of the program are: Panorama, Radar, Approach, Last batch, Young people, Memory, Pioneers of cinema and Retrospective.
COMPETITION JURIES The jury for the Central American and Caribbean Feature Film Competition is made up of Peter Taylor (Northern Ireland), programmer and curator, and currently director of the Berwick Film & Media Arts Festival; Christina Newland (United Kingdom), journalist for Vice, Sight & Sound, BBC, Mubi and Empire, on topics such as cinema, pop culture and boxing; and Pablo Hernández Hernández, (Costa Rica), professor at the University of Costa Rica with a doctorate in Philosophy from the Universität Potsdam and specialist in Aesthetics, philosophy of art and culture.
The jury of the National Short Film Competition is Alexandra Latishev (Costa Rica), a filmmaker who graduated from the New Film and Television School of the Véritas University; Juan Soto (Colombia), editor, director and archivist, who currently works at the Filmoteca de Catalunya as Film Preservation Project Manager; and Vanesa Fernández (Basque Country), director of the Zinebi Festival and coordinator of the Degree in Audiovisual Communication at the University of the Basque Country / Euskal Herriko Unibertsitatea (UPV/EHU).
For their part, the CRFIC Industry juries are Gudula Meinzolt (Germany), with training and experience in cultural management and cinema in areas such as research, promotion, organization of festivals, distribution, exhibition and co-production; Karolina Hernández (Costa Rica), founder and general producer of Dos Sentidos SA and coordinator of the Audiovisual Production area of the Office of Communication and Marketing of the Tecnológico de Costa Rica and professor at the University of Costa Rica; and Zsuzsi Bankuti (Hungary), who since 2020 directs the Cutting Edge Talent Camp, since 2022 is the interim director of Open Doors, and also works as an international strategy consultant for the Doha Film Institute, the Torino Film Lab and Cinemart.
