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During 2018 there was a wide-ranging debate among the team running Muestra de Cine de Lanzarote about the way in which the jury of the festival\u2019s Official Section took its decisions. After attending other films festivals around the world, the discussion shifted to the uncomfortable sensation always involved in decisions made \u201cbehind closed doors\u201d, something which was, and is, the case not only in this kind of event, but also in other competitions and calls in arts and culture (and other sectors too).<\/p>\n
A number of different questions arose during the course of the debate, each one as germane as the other: Why it is that in intellectual settings it is normal for the jury \u201cto retire\u201d to deliberate as if it were some kind of secret conclave? Does this type of practice not encourage an irrevocable tendency towards suspicion and doubts? How many times over the years have we heard biting critiques of the decisions of different juries from one side or another, generally from those not chosen for the award in question? It is beyond doubt that this policy, based on decision-taking in a closed meeting, is not just detrimental for the transparency of the decisions taken, but that it also eliminates from the public space a fundamental part of what this festival has always defended: open debate, discussion, exchange of ideas and a collective learning through frank dialogue.<\/p>\n
For this reason, and despite the recommendations to the contrary received from numerous cultural agents\u2014reminding us of a traumatic experience that had taken place years earlier in Mar del Plata, Argentina\u2014it was decided that the festival would include an open deliberation by the jury. Ever since, it has become a key moment in the event. This session is a unique opportunity to listen to experts in film talk clearly, seriously and with passion and precision about the different films screened over the various days: to defend those which aroused their interest and, above all, to listen to the opinions of others (including the audience) before arriving at the final decision.[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/3″][vc_column_text]<\/p>\n
[\/vc_column_text][vc_single_image media=”5885″ media_lightbox=”yes” media_width_percent=”100″ media_ratio=”one-one” advanced=”yes” media_items=”media|original” media_overlay_color=”color-164978″ media_overlay_color_blend=”soft-light” media_overlay_opacity=”50″ media_image_coloration=”desaturated” media_image_anim=”no” media_padding=”2″][vc_column_text]Photography: Alexi Pelekanos<\/p>\n
Eva Sangiorgi founded the FICUNAM festival in Mexico City in 2011 and was its acting director until 2018. She set up her own distribution company called BRAVA CINEMA in 2016. She has worked as a film programmer and television presenter on film in Mexico. She is currently artistic director of Viennale, the International Film Festival of Vienna.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]<\/p>\n
[\/vc_column_text][vc_single_image media=”5889″ media_lightbox=”yes” media_width_percent=”100″ media_ratio=”one-one” advanced=”yes” media_overlay_color=”color-164978″ media_overlay_color_blend=”soft-light” media_overlay_opacity=”50″ media_image_coloration=”desaturated” media_image_anim=”no” media_padding=”2″ media_link=”title:Presentaci%C3%B3n”][vc_column_text]Guillermo G. Peydr\u00f3 if a filmmaker with a PhD in History of Art. His films have been screened in museums such as the Louvre in Paris and Reina Sof\u00eda in Madrid and in festivals all over the world; since 2016 he has also been involved in expanded film exhibition projects alongside the French sculptor Jeanne de Petriconi. He has worked as a programmer for the Punto de Vista and DocumentaMadrid festivals, and has taught courses in universities and film schools in Spain, Mexico, Cuba and Ecuador. His book El cine sobre arte. De la dramatizaci\u00f3n de la pintura al cine-ensayo<\/em> (Shangrila, 2019) is the result of over ten years of research in international archives into the possibilities of film in art.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]<\/p>\n [\/vc_column_text][vc_single_image media=”5891″ media_lightbox=”yes” media_width_percent=”100″ media_ratio=”one-one” advanced=”yes” media_overlay_color=”color-164978″ media_overlay_color_blend=”soft-light” media_overlay_opacity=”50″ media_image_coloration=”desaturated” media_image_anim=”no” media_padding=”2″ media_link=”title:Presentaci%C3%B3n”][vc_column_text]Jairo L\u00f3pez (Barlovento, 1980) graduated with a BA and an MA in History of Art from the University of La Laguna. As a researcher he has published various articles on European and Canarian film in specialized journals. He has produced many shorts and several feature-length films with Digital 104, including La viajante and Las postales de Roberto<\/em>. He is also a filmmaker and director of numerous shorts (Como siempre<\/em>, Rhythmus<\/em>) and the films Jard\u00edn barroco<\/em> and Modernos<\/em>. In addition, he is a co-founder and former president of the Asociaci\u00f3n de Cineastas de Canarias Microclima. He currently runs the Cl\u00faster Audiovisual de Canarias.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n The Young Jury of the 11th Muestra de Cine de Lanzarote will be composed by Adri\u00e1n Hern\u00e1ndez Ramos, Yumara Nieves Tavio, Francisco Javier P\u00e9rez Berriel and Laura Rivero Gonz\u00e1lez.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row][vc_column width=”3\/4″][vc_column_text] Juries Official Section Jury During 2018 there was a wide-ranging debate among the team running Muestra de Cine […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":7094,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nJairo L\u00f3pez<\/h3>\n
Jurado joven<\/h2>\n