The ISLANDS programme will focus on one of the three retrospectives that the Punto de Vista Navarra International Documentary Film Festival has programmed for its 9th edition, which will be held from 10th to 15th February 2015 at the Baluarte Auditorium in Pamplona. Another of the retrospectives proposed by Punto de Vista will be dedicated to the Scottish filmmaker, Margaret Tait.
With the ISLANDS programme, Punto de Vista aims to reflect on the “geographic insistence which consists of visiting the most far-off islands to bring the remote closer, regain the passion for the furthest corners; in short, portray man to the limit”, in the words of the festival’s new artistic director, Oskar Alegria. With this proposal, the 9th edition of this event will kick off with a key question: How to tell an island? The first response will come from the pioneer, Robert Flaherty, who chose people surrounded by the sea in Hombre de Aran and Nanook to give his own starting pistol to the history of the documentary.
The ISLANDS cycle also features the work of Jean Epstein, who started on his Breton poems in the 1930’s, trying to trap the final reasons why people were determined to inhabit an island of just 3 kilometres long lashed by a sea that made them have three graveyards. This programme will make a make a place of honour for his film, Mor' Vran, in which there is not a single shot in which a fierce wind is not blowing in 25 minutes. A landless film, made of air and water, in which Epstein shows that to get to the bottom of things, it was necessary to film in verse.
The filmmaking pair, Rudolf Thome and Cynthia Beatt, have their own space in this retrospective. In 1978, they both opted for a voluntary and anthropological shipwreck on a Polynesian island in 1978 and portrayed the whole experience in a cult film that has not yet been screened in Spain, Descripción de una Isla.
If Flaherty and Epstein bring us two islands with one outlook, Punto de Vista also considers the opposite: the same island with two outlooks. Jean-Daniel Pollet and Werner Herzog, with their different questions on the same geography, the island of Spinalonga, move forward in the concept of the island as a reductionist apace where the horror of reclusion is concentrated in L´Ordre or the agony of a present in Last words. A same island for Meredith Monk and George Perec who, instead of taking an interest in the most unpopulated, opted for the most populated island for their tales: Ellis Island, the island that was the gateway to the American dream, through which 16 million people passed, speaking 25 different languages, a perfect place to develop the temptation to trap a non-place.
Punto de Vista presents a film archipelago that will concentrate most of its 2015 map, along with contemporary films, with a view of the most abstract islands. At the same time, the festival will also stake its claim to being an island on the world audiovisual culture scene.
With the programming of these retrospectives, Punto de Vista aims, as a film festival, to invite the public to reflect on the film industry and obtain a better understanding through a transversal look at the memory of film, beyond the present. For this reason, since its outset, the festival has opened spaces for names, currents, countries or tendencies to take a closer look at them: Raymond Depardon, Jem Cohen, James Benning, A thousand years of Japanese films, arthouse cinema or footage found.