In this session, in addition to the screening, the filmmakers will briefly present aspects of the production process of their films.
Spain-Germany-Lebanon, 2021, 71 min, DCP, colour, Russian-Spanish-English-Catalan
Camera, editor, sound, music, producer: Volga
Alyonka soñada. Alyonka remontada. Alyonka digerida. Dreams and editing are, perhaps, forms of digestion. Forms of comprehension and transformation. Alyonka soñada is a film that dreams, overcomes, digests, comprehends, transforms, another film, Alyonka. The first Alyonka is a Soviet film from 1961, directed by Boris Barnet, a filmmaker with a complicated career (complicated is, in this case, a euphemism). Although we do not know whether or not he was happy, we do know that his films made his audience happy. Alyonka is a film with a girl, with plains, with trucks, with blue skies and white clouds, with love, with energy, with a little dog, with ice-creams and with beer. It is a film that the filmmakers dreamed about before they could see it, until the internet put it into their hands (and this is also dealt with in Alyonka soñada, regarding how films reach us) and they carried on dreaming after seeing it. Alyonka soñada is, perhaps, a film that also invites us to dream about it, or which invites us to realise how we dream about films. Although this does not stop it from being extremely refined, it also shows us a homemade, artisan form of film-making, of working with what we see, of celebrating what we marvel at. It's a film that reminds us that all of us, at least in our dreams, are editors. A film that dreams of a film of the past and which, so we believe, also dreams of films of the future, films that, with the example of its lightness, invites us to make.
Pablo García Canga