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Presentation of the programme line-up


(Votes count 547)

(Rating average 3,04)

45 Gijón International Film Festival
Project New Cinemas (VII): New German Cinema

The "new German cinema" starts developing around 1962 from the Manifesto presented during the Oberhausen Short Film Festival, although it was not until 1965 and 1966 that it reaped its first full-blown manifestations with the support obtained from the then newly created Kuratorium Junger Deutscher Film, an organisation devoted to financially support young filmmakers' projects.

Thus, first-rate authors such as Jean-Marie Straub, Alexander Kluge, Volker Schlöndorff, Edgar Reitz or Peter Fleischmann create their first works, slightly later than other "new European cinemas", along with others who never managed to consolidate their careers ( Gustav Ehmck, Roland Klick, Theodor Kotulla, Vlado Kristl, Klaus Lemke, George Moorse, Hans-Jurgen Pohland, the Schamoni brothers, Franz-Josef Spieker, May Spils…).

Titles such as "Not Reconciled", "Yesterday Girl", "Artists under the Big Top: Perplexed", "Young Törless" or "Hunting Scenes from Baviera" belong to that first generation of the NGC. Soon afterwards, a second generation will come to the fore and get a bigger popular resonance, that of Werner Herzog, Rainer W. Fassbinder, Wim Wenders, Hans-Jurgen Syberberg, Werner Schroeter, Peter Lilienthal, Harun Farocki or Reinhardt Hauff, and the steady incorporation of new names until its decline from the early 70's; worth mentioning among the latter are the women filmmakers Margarethe von Trotta, Helma Sanders-Brahms or Jutta Bruckner.

However, both generations took up common subjects (above all, the revision of Germany's tragic history during the 20th century, from the Empire and Nazism to the division of the country, the economic miracle and the terrorism during the "Years of Lead" ) and managed to develop stylistic matters as diverse as those displayed in titles such as "Aguirre, Wrath of God", and "The Mistery of Kaspar Hauser", "The Merchant of 4 seasons "and "The Marriage of Maria Braun", "Kings of the Road " and "The American Friend", "Ludwig, requiem for a virgin king", "The Death of Maria Malibran "or "Knife in the head".

This is the seventh instalment of the Project New Cinemas, an ambitious programme which started off in 2000 with a retrospective on British Free Cinema. This project has provided not only a panoramic view of renewal movements in filmmaking during the 60s, but also a place for reflection on subjects such as the extent to which these groundbreaking movements are still relevant in current cinema. In collaboration with Filmoteca Española, Filmoteca de Valencia y CGAI (Centro Galego de Artes da Imaxe).

Just as usual, the cycle will be complemented with the publication of an extensive volume, coordinated by José Enrique Monterde and Carlos Losilla, including texts by the most reputed Spanish critics, plus the customary annexes of foundational texts.

Films Line-Up (provisional):

- Yesterday Girl / Abschied von gestern / Una muchacha sin historia. Alexander Kluge (1966)

- The Chronicle of Anna Magdalena Bach / Chronik der Anna Magdalena Bach. Jean-Marie Straub (1967)

- Ludwig - Requiem for a Virgin King / Ludwig - Requiem für einen jungfräulichen König / Ludwig - réquiem por un rey virgen Hans-Jürgen Syberberg (1972)

- Hunting Scenes from Bavaria / Jagdszenen aus Niederbayern / Escenas de caza en la Baja Baviera. Peter Fleischmann (1969)

- Kings of the Road / Im Lauf der Zeit / En el curso del tiempo. Wim Wenders (1976)

- Alice in the cities / Alice in den Städten / Alicia en las ciudades. Wim Wenders (1973)

- The Death of Maria Malibran / Der Tod der Maria Malibran / La muerte de María Malibrán. Werner Schroeter (1972)

- The Brutalisation of Franz Blum / Die Verrohung des Franz Blum / El embrutecimiento de Franz Blum. Reinhard Hauff (1974)

- Love Is Colder Than Death / Liebe ist kälter als der Tod / El amor es más frío que la muerte. Rainer Werner Fassbinder (1969)

- The Bitter tears of Petra Von Kant / Die Bitteren Tränen der Petra von Kant / Las amargas lágrimas de Petra von Kant. Rainer Werner Fassbinder (1972)

- Signs of life / Lebenszeichen / Signos de vida. Werner Herzog (1968)

- Aguirre, Wrath of God / Aguirre, der Zorn Gottes / Aguirre o la cólera de Dios. Werner Herzog (1972)

- The Left-Handed Woman / Die linkshändige Frau / La mujer zurda. Peter Handke (1978)

- Nicht der Homosexuelle ist pervers, sondern die Situation in der er lebt. Rosa von Praunheim (1970)

- The Cuckoo Years / Kuckucksjahre / Los años del cuco. George Moorse (1967)

- Lust for Love / Mahlzeiten / Almuerzos. Edgar Reitz (1967)

- Tattoo / Tatowierung / Tatuaje. Johannes Schaaf (1967)

- No Shooting Time for Foxes / Schonzeit für Füchse / La veda del zorro. Peter Schamoni (1966)

- The Sudden Wealth of the Poor People from Krombach / Der Plötzliche Reichtum der armen Leute von Kombach / La repentina riqueza de los pobres de Krombach. Volker Schlöndorff (1971)

- Army of Lovers or Revolution of the Perverts / Armee der Liebenden oder Revolten der Perversen. Rosa von Prauheim (1979)

- The Second Awakening of Christa Klages / Das Zweite Erwachen der Christa Klages / El Segundo despertar de Krista Klages. Margarethe von Trotta (1978)

- Next Year, Same Time / Lo mejor de la vida / Alle Jahre wieder. Ulrich Schamoni (1967)

- The Consequence / Die Konsequenz / La Consecuencia. Wolfgang Petersen (1977)

Shinya Tsukamoto

Talking about Shinya Tsukamoto amounts to talking about rupture and new expressive ways in cinema; it could be said that Tsukamoto is a forerunner of 21st century cinema, the capacity to work on minimum budgets and the unstoppable arrival of less complaisant Asian films.

His name is instricably linked to the concept of cyberpunk. Tsukamoto started off his career with a couple of shorts, although he became popular with the long feature "Tetsuo, the iron man", a cult film. This Japanese filmmaker's filmography remains within an absolutely coherent line: "A snake of June", "Gemini", "Bullet Ballet" or "Vital" are true to the spirit of his first films despite working with better-known actors and bigger budgets.

A book is also to be published, under the title SHINYA TSUKAMOTO: Poeta y guerrillero del cinematógrafo, coordinated by Roberto Cueto, Juan Zapater, José Luis Rebordinos and Antonio Santamarina.


- Akumu Tantei (Nightmare Detective), 2006

- Haze, 2005

- Fîmeiru (Female), 2005

- Vital, 2004

- Rokugatsu No Hebi (A Snake of June), 2002

- Sôseiji (Gemini), 1999

- Bullet Ballet, 1998

- Tokyo Fist, 1995

- Tetsuo II: Body Hammer, 1992

- Yokai Hanta-Hiruko (Hiruko, the Goblin), 1990

- Tetsuo: The Iron Man, 1989

- Denchu Kozo No Boken (The Adventure of Denchu Kozo), 1987

Pawel Pawlikowski

This filmmaker, born in Warsaw but a British resident, started his career directing documentaries and gained widespread recognition for Works such as "Twockers", "Serbian Epics" and "Tripping with Zhirinovsky" (all of the produced by the BBC). However, it was his work as a fiction director which helped him reach to a wider audience, with films such as "Last Resort" (awarded in Edinburgh, Thessalonika, London, at the 2001 BAFTA awards, as well as obtaining the Principality of Asturias Award in the 38th Edition of Gijon Film Festival) or his last feature to date, "My Summer of Love" (2004) which won, among other prizes, the British Academy Award (BAFTA) for the Best British Feature Film, the Polish Academy award for the Best European Film and the Best New British Film at Edinburgh festival in 2004.


- From Moscow to Pietushki (1991)

- Dostoevsky's Travels (1992)

- Serbian Epics (1992)

- Tripping with Zhrinovsky (1995)

- Twockers (1998)

- The Last Resort (2000)

- My Summer of Love (2004)

Anna Biller

Anna Biller is an artist and filmmaker from Los Angeles, well-known for her unconventional works, her eccentric vision which combines different genres sprinkled with humour, satire and visual excess while reflecting on the role of women in modern culture with a colourful style.

Her films have never been shown in Spain, so the cycle which Gijon devotes to the filmmaker means also the Spanish premiere of her body of work, including all her shorts, as well as her recently-completed first feature, "Viva", a recreation on the exploitation films from the early 70's which has been acclaimed by international critics.


- Three Examples of Myself as a Queen (1994)

- Fairy Ballet (1998)

- The Lady Cat (2001)

- A Visit from the Incubus (2001)

- The Hypnotist (2001)

- Viva (2007)


New prize categories have been added for this 45th edition and the cash prizes have been increased:

- "PRINCIPADO DE ASTURIAS" Prize for Best Feature (endowed with 20000 €uros)

- "PRINCIPADO DE ASTURIAS" Prize for Best Short Film (endowed with 6000 €uros).

- "Best Director" Prize

- Best Actress Prize

- Best Actor Prize

- Best Script Prize

- Gil Parrondo Prize for Best Art Direction

- Special Jury Prize

- Young Jury Prize for Best Feature (endowed with 10000 €)

- Young Jury Prize for Best Short (endowed with 6000 €)

- Best Non-Fiction Prize (endowed with 10000 €) in collaboration with Karma Films

- Enfants Terribles Section Prizes

- For the 6-12 category, a 10000€ cash prize sponsored by EL COMERCIO

- For the 13-18 category, a 10000 € cash prize sponsored by the Consejería de Vivienda y Bienestar Social del Principado de Asturias

New Filmmakers Prize

With the objective of promoting audivisual production in the region, the Consejería de Cultura y Turismo del Principado de Asturias hosts a new edition of the New Filmmakers Prize, through the Instituto Asturiano de la Juventud, and in collaboration with the Obra Social y Cultural de Cajastur, with the support of Gijon Film Festival and in the frame of the initiative CULTURAQUÍ 2007.

The major change as regards former editions is the significant increase on the amount of the cash prizes, which have doubled, 26000€ for the First Prize and 14000€ for the Second Prize.

Deadline for entries is 30th October 2007.