‘Lan’ will deepen Punto de Vista’s reflection on production and work processes in documentary filmmaking

‘Lan’ will deepen Punto de Vista’s reflection on production and work processes in documentary filmmaking

This section will include sessions with the presence of the filmmakers in Termitas and Paisaia, the presentation of conclusions on the residence of the researcher Catarina Boieiro and the visual artist Candela Sotos, the presentation of the dossier titled Súper 8 contra el grano, and  the presentation of professional activities (Napardocs) and projects (DokLab)

The Punto de Vista Festival —promomoted by the Government of Navarre and organised by the public company NICDO— continues to announce the programme of its 17th edition, to be held in Pamplona from 27 March to 1 April. We are now announcing the content of Lan, a section that was initiated last year by the festival’s programming committee.

In the Basque language the word ‘Lan’ means 'work’ or ‘labour', but also 'harvest’. This coincidence allows us to make a historical reading of the term: for many years in the past work was almost exclusively done out in the fields. Perhaps for this reason, an admirable couple of Portuguese filmmakers, António Reis and Margarida Cordeiro, say that it has always helped them to think of themselves as “peasants of filmmaking”. Lan is thus the name of this section of the Festival, in which encounters will be organised to reflect on the processes of imagination and work in documentary cinema. Within the section we will also find a variety of content: the programmes Paisaia and Termitas, a residence by the researchers and filmmakers Catarina Boieiro and Candela Sotos, the presentation of the dossier Super 8 contra el grano, professional encounters and the presentation of the Napardocs and DokLab projects.

The sale of tickets to the general public for all the sessions of Punto de Vista will begin on 10 March on the festival website and in the Baluarte ticket office. Accreditation for professionals and students can be requested up to 15 March, also through the website www.puntodevistafestival.com.



Following the success of last year’s edition, Punto de Vista is repeating the Termitas and Paisaia programmes, offering a more alternative and emerging panorama of filmmaking, complemented by presentations by filmmakers and dialogues with them. The sessions are designed in a ‘forum’ format, creating physical spaces that make encounters between filmmakers and the public possible. This year’s edition will include Javier Calvo de Cabrera, José Otero, Luis Lechosa, Sara Domínguez, Luis Morla, Alberto Ruiz, Mikele Landa, Marieke Elzerman, Oier Fuentes, Iñigo Jimenez and Patxi Burillo.



Session 1

El andamio / La Bastida, Javier Calvo de Cabrera. Spain, 2022

Mal siglo haya, Luís Lechosa. Spain, 2022


Session 2

Bardauri, José Otero. Spain, 2021


Session 3

No conozco la historia del fuego, Sara Domínguez López, Luis Morla and Alberto Ruiz. Spain 2022

La voz rosa, Marieke Elzerman. Spain/the Netherlands, 2002



Session 1

10 watts bakarrik, Oier Fuentes. Spain, 2022

Infernuan, Iñigo Jimenez Bohoyo. Spain, 2022


Session 2

Y arquitectura un sueño de palmera, Patxi Burillo. Spain, 2023

Noizko basoa, Mikele Landa. Spain, 2022



The researcher Catarina Boieiro (Lisbon, 1991), a member of the ‘X Films’ jury in 2022, and the filmmaker and visual artist Candela Sotos (Madrid, 1986) will carry out a joint residence in the weeks prior to Punto de Vista, in collaboraiton with Centro Huarte, and will present their conclusions in a session open to the public that will take place during the Festival- Catarina and Candela’s research project is about Guillermo López Fernández-Zúñiga (1909-2005), a biologist, photographer and a pioneer of scientific filmmaking in Spain. An advocate of filmmaking as a scientific and transmissive instrument, he was linked to Republican educational institutions such as Misiones Pedagógicas or Instituto Escuela. Despite its importance in historical terms, his work is still largely unknown and little studied. An unfinished film on the flower of the Yrupé (a lily from Amazonia), made during his exile in Buenos Aires, will be the starting point for a poetic and political rapprochement to Zúñiga’s archive, bringing together extracts of films, photographs, letters and other fragments of a collection that reflects the history of the 20th century.



Súper 8 contra el grano (Super 8 against the grain) is the title of a dossier coordinated by Alberto Berzosa –a filmmaker who visited us last year in the Termitas section– and Miguel Errazu –a researcher in the UNAM in Mexico–, for the magazine Secuencias of the Universidad Autónoma de Madrid. In this dossier a fashionable photochemical format in current non-fiction cinema -Super 8- is analysed, from the perspective of historical practices that theoretically have little to do with the format. Above all, Super 8 is associated with home movies, although in historic terms there has been some militant and experimental filmmaking using this format. Both authors will present an approach to the research carried out in this dossier in Punto de Vista, through a screening presented and commented on by the curators. It will consist of six films showing some of the multiple facets that made Super 8 much more than just a format. The session has the support of the PÚBLICOS project of the Universidad Autónoma de Madrid (PID2019-105800GB-I00), the collaboration of Elías Querejeta Zine Eskola (San Sebastián) and the Audiovisual Archive of the Movimento Operaio e Democratico, and the work of Milena Fiore, Laura Ibáñez and Monica Maurer.


Films in the session Súper 8 contra el grano

Dictatorship of the Proletariat, Chuck Kleinhans. USA, 1979

Riotinto, una modesta experiencia de reforma educativa, Tomás Alberdi. Spain, 1973

Pira, Sérgio Péo. Brazil, 1972

Cile, 1972, Monica Maurer. Italy/Chile, 1972

Les espagnols ont ils conquis les Andes?, Audiopradif. France, 1978

Rank and File, Sylvia Harvey. USA, 1975



For another year Punto de Vista proposes a space in which producers, creators, associations and festivals can exchange and discuss aspects related to documentary filmmaking. This started in 2018 with NaparDocs, organised by NAPAR, the association of audiovisual producers of Navarra; an open encoutner that has grown and made its mark on the festival, interlinking and creating opportunties for exchanges with invited persons. It has also grown beyond Navarra. It consists of a space for debate with round tables on scriptwriting, direction, production and distribution, rounded off by networking sessions to promote co-productions and build cross-border bridges within the Navarra-Basque Country-Aquitaine Euroregion, in collaboration with the Institut Français.

In 2023 we are also starting to work with Doklab, the new documentary residence created by Arena Comunicación in 2022. Punto de Vista, supported by Fundación Caja Navarra, will host the presentation sessions of the selected projects, which will then be presented before a professional jury in Civican.

Finally, and with Punto de Vista as a member of the Association of Festivals since its creation in 2020, Federación Pantalla and the coordinator La Mesta will hold working sessions to boost mutual links and reflect on production processes in festivals.

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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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