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FICX will host the premiere of Ramón Lluís Bande’s latest film ‘Cantares de una revolución’


(Votes count 94)

(Rating average 3,00)

▪ It will be the first Asturian feature film competing in FICX’s Official Section after more than two decades.

▪ The musical film, starring Nacho Vegas, explores some of the incidents and locations of the Asturian workers' uprising of October 1934.
Ramón Lluís Bande returns to FICX’s competition with his latest feature film Cantares de una revolución, taking part in the Official Section along with Yorgos Lanthimos and Hong Sang-soo’s works. Loyal to his characteristic stubborn cinema, the Asturian director —together with singer Nacho Vegas— explores some of the most significant incidents and locations of the Asturian farmers and workers’ uprising of October 1934, whose 84th anniversary is celebrated this year. Gijón Film Festival will host the worldwide premiere of this film.
In Cantares de una revolución, Vegas visits some emblematic locations of the last proletarian revolution in Western Europe having popular music as his map and Belarmino Tomás’ words as a compass. “Speaking personally, Belarmino Tomás —president of the Third Revolutionary Committee— is the most important political figure of the 20th century in Asturias. Thanks to the popular songs that arose from the insurrection, I found a cinematographic way to approach the revolution rigorously” says Ramón Lluís Bande.
Bande’s last feature is sung, told and read. “Filming people reading —and also singing— has always seemed a very cinematographic procedure to me, despite what professionals and manuals say. Static shots where someone reads or sings in front of the camera, with his or her voice cocooned by the natural sound of the place, closely related with the text read, is a way of invoking the past into the present.”
The film recounts the early moments of the revolution in Asturias: the assault of the barracks in Sama, the takeover of Oviedo, the university's destruction, the assassination of Aida de la Fuente, the meeting between Belarmino Tomás and General López Ochoa to restore peace, and Tomás’ surrender speech in Sama.
Throughout this journey, Nacho Vegas performs eight popular songs from the revolution —adapted or rewritten— such as ‘Una mañana’, ‘Asturias’, ‘Tierra bravía’, ‘Aida de la Fuente’, and ‘Asturies desventurada’.
Cantares de una revolución offers a staging different from the ones in Bande’s most recent works —Escoréu, 24 d’avientu de 1937 and Aún me quedan balas para dibujar, presented in FICX 55th edition—. Thus, the director flirts with certain features of fiction “undramatise”. “There is a falsely theatrical scene that, I personally believe, works out really well to create the necessary distance between the story and the audience”, he says.
The audience will find many of the constant aesthetic and ethical hallmarks of the director. As he points out: “The use of long takes, the duration, the focus on the political collective memory; past-present dialectic in natural spaces’ register; the use of archive material, discerning that it watches us and calls us, and not the other way round; the starring of popular music and oral memory, kept in written form.”
Palabras clave Festival de Cine, 2018