{"id":505,"date":"2020-11-06T10:40:26","date_gmt":"2020-11-06T09:40:26","guid":{"rendered":"https:\/\/festivalcinemerida.com\/2025\/?page_id=505"},"modified":"2025-11-11T15:03:06","modified_gmt":"2025-11-11T14:03:06","slug":"texto-director-de-programacion","status":"publish","type":"page","link":"https:\/\/festivalcinemerida.com\/2025\/texto-director-de-programacion\/","title":{"rendered":"Texto Director de Programacion"},"content":{"rendered":"

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David Garrido Baz\u00e1n, Director de Programaci\u00f3n<\/strong><\/h2>\n

<\/strong><\/p>\n

<\/strong><\/p>\n

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LA CURIOSIDAD Y LA INQUIETUD<\/b><\/p>\n

No voy siquiera a tratar de disimular que, al habitual reto de encajar las distintas piezas del puzzle anual que supone la programaci\u00f3n del FCIMerida, este 2025 sumaba una carga extra de responsabilidad por cuanto veinte a\u00f1os no ser\u00e1n nada, pero dos d\u00e9cadas de programar cine en M\u00e9rida tienen sin duda un peso muy espec\u00edfico y un nivel de exigencia acorde con lo ya construido.<\/span><\/p>\n

Aunque nunca haya un hilo conductor per se en la programaci\u00f3n, s\u00ed suele haber ideas que la vertebran. Veinte a\u00f1os es un hito en el camino que obliga tanto a volver la vista atr\u00e1s y redescubrir nuestras se\u00f1as de identidad como a pensar qu\u00e9 nos deparar\u00e1 el futuro. Debemos reflejar ambas cosas desde eso tan inaprensible que es el presente. Ir\u00e9 pues por orden cronol\u00f3gico y no jugar\u00e9 como otros a\u00f1os a desvelarles las conexiones de los distintos t\u00edtulos entre s\u00ed, sino a vincularlos con esa idea de mirarnos en nuestro pasado.<\/span><\/p>\n

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\n

Arrancamos con raci\u00f3n doble de animaci\u00f3n. <\/span>\u2018Little Amelie\u2019<\/i><\/b> es cine europeo ambientado en Jap\u00f3n que mira de reojo al maestro Hayao Miyazaki, presente de nuevo en Cine y Escuela. A la peripecia de esa ni\u00f1a que se adentra en su infancia solo le falta un Totoro para culminar el homenaje, pero no carece en absoluto de personalidad propia. Tambi\u00e9n vuelve Glow a cubrir la cuota extreme\u00f1a del FCIMerida, si bien quiz\u00e1s lo m\u00e1s divertido del muy hilarante <\/span>\u2018El Corto de Rub\u00e9n\u2019<\/i><\/b>, es que Rub\u00e9n Barbosa, el Rub\u00e9n (\u00bfo era Javier?) del t\u00edtulo, es de M\u00e9rida: sus cortos \u2018Genti di Muerti\u2019 e \u2018Influencer\u2019 ya pasaron por aqu\u00ed. Todo es pura autorreferencia.<\/span><\/p>\n

Los emeritenses han descubierto a Kore Eda, Jia Zhang-Ke, Park Chan-Wook, Bong Joon-Ho o Hamaguchi en estos a\u00f1os. Pero eso no les ha preparado para Bi Gan. Su \u2018<\/span>Resurrecci\u00f3n\u2019<\/i><\/b>, impresionante artefacto que homenajea la Historia del Cine en el siglo XX al tiempo que te arrolla con su potencia visual y su desatado lirismo, es una de las experiencias imprescindibles del a\u00f1o. No dejen que sus 156\u2019 les amedranten. El chino es un gigante. As\u00ed debieron sentirse en 1968 los espectadores de \u20182001, Una Odisea en el Espacio\u2019 de Kubrick.<\/span><\/p>\n

Jos\u00e9 Luis Guer\u00edn construye en sus hermosas <\/span>\u2018Historias del Buen Valle\u2019<\/i><\/b> algo m\u00e1s que una versi\u00f3n documental de lo que nos cont\u00f3 \u2018El 47\u2019. Hay rimas entre los barrios barceloneses de Vallbona y el de Torre Bar\u00f3. Comparten una mirada al pasado, su presente y su futuro (caramba, qu\u00e9 coincidencia) innegable. Pero al autor de \u2018En Construcci\u00f3n\u2019 le interesan otras cosas y eso queda patente en una pel\u00edcula entra\u00f1able, divertida y emotiva que da la sensaci\u00f3n que podr\u00eda haber seguido creciendo all\u00ed muchos a\u00f1os m\u00e1s. Fluyendo constantemente como la vida misma.<\/span><\/p>\n

Sin dar una voz m\u00e1s alta que otra, siguiendo la peripecia de una devota enfermera en un <\/span>\u2018Turno de Guardia\u2019<\/i><\/b> que se va complicando de forma implacable, la suiza Petra Biondina hace el que quiz\u00e1s sea mejor alegato posible a favor de una sanidad p\u00fablica bien dotada que pueda cumplir con su objetivo fundamental. Leonie Benesch ofrece una de las interpretaciones m\u00e1s magn\u00e9ticas y conmovedoras del a\u00f1o mientras nosotros corremos con ella, a su lado.<\/span><\/p>\n

La otra es la de Toni Servillo en <\/span>\u2018La Grazia\u2019<\/i><\/b>, en su ya s\u00e9ptima colaboraci\u00f3n con Paolo Sorrentino. El autor de \u2018Il Divo\u2019 regresa a la pol\u00edtica con el melanc\u00f3lico retrato de un Presidente de la Rep\u00fablica al final de su mandato que solo quiere jubilarse pero se ve enfrentado a tomar decisiones morales inc\u00f3modas, algo de lo que siempre ha huido. El mejor Sorrentino de los \u00faltimos a\u00f1os, sin m\u00e1s.<\/span><\/p>\n

\u2018Rebuilding\u2019<\/i><\/b> tiene algo de \u2018The Rider\u2019 y algo de\u2019 Nomadlands\u2019. Josh O\u2019Connor regresa como un vaquero que lo ha perdido todo en un devastador incendio y tiene que decidir como reiniciar su vida sin perder de vista una hija y un territorio del que no quiere ni sabe c\u00f3mo separarse, a lo que parece abocado. Una pel\u00edcula quiz\u00e1s peque\u00f1a en presupuesto, pero enorme en resultados que nos recuerda que es en las situaciones extremas cuando a veces sale lo mejor del ser humano. De eso, por desgracia, sabemos un poco aqu\u00ed en Espa\u00f1a en este \u00faltimo a\u00f1o\u2026<\/span><\/p>\n

Otro peculiar retrato masculino es el que Sim\u00f3n Mesa hace en <\/span>\u2018Un Poeta\u2019<\/i><\/b>, donde su desastroso protagonista, un clich\u00e9 del autor frustrado incapaz de ganarse la vida con su arte cree ver en el potencial de una estudiante una forma de redenci\u00f3n. Divertida y amarga pero tambi\u00e9n tierna y conmovedora, ofrece una visi\u00f3n de Colombia muy diferente de la que solemos ver.<\/span><\/p>\n

A Isabel Coixet la conocemos de sobra, pero nunca la hab\u00edamos visto rodar en Roma y en italiano. <\/span>\u2018Tres Adioses\u2019<\/i><\/b> contiene esas se\u00f1as ineludibles de su cine (incluyendo alguna de las que dan munici\u00f3n a sus detractores) una inmensa Alba Rohrwacher m\u00e1s un hermoso canto a la reinvenci\u00f3n propia y a ocuparse de lo que verdaderamente importa bajo todo el ruido. Para cerrar, me parec\u00eda de lo m\u00e1s apropiado.<\/span><\/p>\n

Queda la pel\u00edcula sorpresa, claro. Y para mi la inevitable curiosidad y cierta inquietud de saber c\u00f3mo ser\u00e1 recibida una programaci\u00f3n a\u00fan m\u00e1s especial que la de a\u00f1os anteriores. Porque ello, lo quiera o no, tambi\u00e9n condiciona nuestro futuro. No duden en cont\u00e1rmelo. Para eso estoy siempre a la salida.<\/span><\/p>\n

David Garrido Baz\u00e1n<\/i><\/b>
<\/i><\/b>director de Programaci\u00f3n y Contenidos del XX FCIMerida<\/i><\/b><\/p>\n

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ANGEL BRIZ HERN\u00c1NDEZ<\/strong>
DIRECTOR DEL FCIM<\/strong><\/h4>\n

Estamos de celebraci\u00f3n. Conmemoramos este 2025 dos d\u00e9cadas de historias, de pel\u00edculas y de pasi\u00f3n por el s\u00e9ptimo arte.<\/span>..<\/span>.<\/span><\/span><\/p>\n

[seguir leyendo]<\/span><\/p>\n

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FCIMerida<\/span><\/p>\n

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\u00abLlegamos a la vig\u00e9sima edici\u00f3n del Festival de Cine In\u00e9dito y es la mejor ocasi\u00f3n para mantener vivo el cine en pantalla grande.\u00bb<\/p>\n

[\/et_pb_text][et_pb_text admin_label=\u00bbText\u00bb _builder_version=\u00bb4.27.2″ text_font=\u00bbSource Sans Pro||||\u00bb text_text_color=\u00bb#aaaaaa\u00bb text_font_size=\u00bb12″ text_line_height=\u00bb1.5em\u00bb background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb max_width=\u00bb300px\u00bb custom_padding=\u00bb0px|||\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n

\u00a9 2025 XX Festival Cine In\u00e9dito de M\u00e9rida<\/p>\n

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PRINCIPALES<\/span><\/p>\n

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