Session programmes of cycles Islans,  Chez les Basques and Margaret Tait.


How to tell an island?

Seven people in a voluntary shipwreck aim to tell of a far-off and unknown island when how to tell of an island seems to be as difficult as how to tell those that are coming to tell of the island.
Description of an Island, by Rudolf Thome and Cynthia Beatt (1979), 192’

The other side of the earth

One island (Spinalonga) with two outlooks. And two islands (Sein and Aran) with one outlook. Islands in black and white criticise reclusion or celebrate it.
L´Ordre, by Jean-Daniel Pollet (1973), 40’
Last Words, by Werner Herzog (1968), 12’
Mor’Vran, by Jean Epstein (1930), 25’
Man of Aran, by Robert Flaherty (1934), 71’

Landscapes that should not be there
Different ways of approaching paradise. Prowling, the fortunate arrival, the long stay and the summit.
Isole nella Laguna, by Luciano Emmer (1948) 13min
Way Jambu, by Manu Uranga (2011) 8’
Haru, Island of the Solitary, by Kanerva Cederström and Riikka Tanner (1994) 43’
Cochihza, by Khristine Gillard (2013) 59’

I made a table and a chair

An account of a shipwreck and islands the other way round. A wise Friday and Robinson as a slave. Inhabitants of the islands are strangers on them.
L´île deserte, by Sophie Roger (2014) 21’
Sanã, by Marcos Pimentel (2013) 18’
Semangat (Spirit), by Adam Gutch and Chu-Li
Shewring (2010) 40’

I cannot say night

Exile and exiled. Prison islands and film like a bottle to the sea. Water bars, a prison made by fog and prose of resistance in an Apocalypses surrounded by the sea.
Island Song, by Charlemagne Palestine (1976), 16’
Island Monologue, by Charlemagne Palestine (1976), 15’
Comme des lions de Pierre a l´entrée de la nuit, by Olivier Zuchuat (2013), 87’


The most populated island, the gateway to the American dream, two guided visits of the Island of tears, a reduced space where the world disappears and is deleted.
Ellis Island, by Meredith Monk (1981) 28’
Recits d´Ellis Island, by George Perec and Robert Bober (1978-1980) 57’

The end of an island

Three islands that are the end: one as a cemetery for the nameless dead, another as the big city’s rubbish dump and the third as the final dream for the last fishermen.
Two Islands, by Jan Ijäs (2013) 6’
Episode of the Sea, by Lonnie van Brummelen



A journey through the history of film seen decade after decade from the french Basque Country: the birth of image, the arrival of sound, the incorporation of colour, propaganda and the modern forms of narrating.
Rochers de la Vierge, by Auguste and Louis Lumière (1896), 3’
Au pays des basques, by Maurice Champreux(1930), 40’
Im Lande der Basken, by Herbert Brieger (1944), 12’
Maskaradak, by Jean Dominique Lajoux (1980), 27’

Orson Welles in his particular search for paradise accompanied by an excellent guide: the boy, Chris Wertenbaker. The dances, Basque pelota, smuggling, pigeon hunting and other border tales.
Around the World with Orson Welles (Pays Basque I), by Orson Welles (1955), 25’
Around the World with Orson Welles (Pays Basque II), by Orson Welles (1955), 25’

Journey to the soul of the Basques, the personal world of a priest from his small universe and the intimate world of some shepherds who reveal their dances in a cowshed in the secrecy of the night.
Le curé basque de Gréciette, by Hubert Knapp (1958), 33’
Croquis en Soule, by Hubert Knapp (1958), 27’

Mountains alongside the sea as the ideal scenario for a film about light, in which the landscape is the absolute star by the master, Louis Delluc.
Le chemin d´Ernoa, by Louis Delluc and René Coiffard (1921), 49’

The journey of the Georgian director in search of the echoes of his country’s old songs in Basque pastoral songs and festivities.
Euskadi été 1982, by Otar Iosseliani (1983), 55’


MARGARET TAIT / inspire, film, exhale


A mother, a poet, the last farmer on the Orkney Islands and her travelling companions at the Experimental Film Centre in Rome are some of the portraits that are captured by Margaret Tait’s camera in this first session devoted to a format that she practiced throughout her career: portraits. The session is also nourished by some of her handpainted films and culminates with her colour poem films.
Happy Bees
The Orquil Burn (1935), 35’
On the Mountain (1974), 32’
The Look of the Place (1981), 16’
A Place of Work (1976), 31’


Tait’s geography is the main theme of this second part of the cycle devoted to her life and films, geography which is close but at the same time shows a world of difference that divides them. Tait was born and lived on her island until the age of seven, when she left to study in Edinburgh. Happy Bees, with which we open this cycle, keeping the song of an isolated childhood inside her. Her second landscape was always Edinburgh and its map took up a major part of her filmography. Her third and final step is her return to the islands in 1970. The Drift Back, as she called it. This programme on her landscapes follows the chronological order of her life and will end up showing this final look of the capital of the islands: Kirkwall. Expert in capturing streets from her window and specialised in other spatially beautiful films, Margaret Tait presents us with one of her best films on moving, A Place of Work.
Happy Bees
The Orquil Burn (1935), 35’
On the Mountain (1974), 32’
The Look of the Place (1981), 16’
A Place of Work (1976), 31’


Calling her most poetic films filmpoems would be unfair for a person who wrote and filmed in the same way, without any distinction, like breathing, she liked to repeat. Poems, with no mention of the word film, is therefore the title of this third and final session devoted to the Scottish filmmaker. Seeing poems without any sound and hearing poems without any images is the method we will use in this session, as her films will give way to the reading of her poems in the author’s own voice.
(1973), 3’
My Room Via Ancona (1951), 2’
These Walls (1974), 6’
All These New Relations (1955), 21’
Aerial (1974), 4’
Where I Am Is Here (1964), 32’
Garden Pieces (1988), 11’

Promoted by
Gobierno de Navarra
Organized by
With the aid of
Con la financiación del Gobierno de España. Instituto de la Cinematografía y las Artes Audiovisuales Acción Cultural Española Plan de Recuperación, Transformación y Resiliencia Financiado por la Unión Europea. NexGenerationEU

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