Two of the cinematographic figures in the spotlight of this 10th edition of Punto de Vista, Jean-Daniel Pollet and Antonio Maenza, have had two new film biographies made of them recently, which will receive their world premiere at the Festival in 2016: Jean-Daniel, parle moi encore!, by the French director Jean-Paul Fargier, and Cinematógrafo, magnetófono, buen chico y sádico, by Valencian filmmaker Carles Candela. Both filmmakers will visit Pamplona to present their filmic tributes.
This year's Punto de Vista Festival will also be showing other premieres such as Writing on the city by Iranian filmmaker Keywan Karimi, within the official section-Central Region, and Carretera de una sola dirección by Xiana Díaz, chosen as the X Films Project 2015 and produced by the festival itself.
A filmed portrait of Pollet
The portrait of Jean-Daniel Pollet offered by Jean-Paul Fargier, entitled Jean-Daniel, parle moi encore!, was made for the prestigious series Cinéastes de notre temps, a now historic collection of biographies through which France has depicted its best filmmakers. Pollet is now entering this French cinematographic hall of fame thanks to this film.
A close personal friend of Pollet, the French filmmaker Jean-Paul Fargier completed the film Jour après jour a decade ago, which will also be shown at the Punto de Vista Festival, the script for which Pollet concluded just a few days before his death. The portrait offered now through Jean-Daniel, parle moi encore! (2016) will be the finishing touch to reconstruct completely the life's journey of this filmmaker and his creative contribution to the history of film. Fargier captures the recurrent motifs of Pollet: Greece, Melki, the texts of his films, fiction vs. non fiction, movement vs. still image, and the idea of 'concentrated duration', using fragments from Pollet's filmography in an interesting and clever tribute and portrait of Pollet's universe.
Four words to define Maenza
Valencian filmmaker Carles Candela uses four words to define an author about whom he had already made a previous documentary portrait: José Antonio Maenza. They are the very words used by this avant-garde creator from Aragon to define himself at a very young age. They are the same four words used to begin Cinematógrafo, magnétofono, buen chico y sádico (2016), a filmic portrait that Candela is bringing to Punto de Vista for its premiere as part of the season dedicated to one the most rebellious and radical figures in Spanish film.
It is a revelation, in all senses of the word. In the most physical sense, since we see the face of Maenza being revealed as photographs are developed in a photo lab, turning out positive images of himself, so to speak. It is also, in turn, a revelation of Maenza at the end of his life, as a human being and person, erasing the image of the unapproachable artist, the good lad (buen chico), from his title. All viewed through the testimonies of those who knew him, such as Oswaldo Muñoz and Vicente Molina Foix, with moments of searching, dismissal, and metafilm shot on the same Moviola film from the film libraries where the few works remaining by this artist, rescued from oblivion, are stored.