Basque Cinema Reflects on its Health and Evolution in Donostia

The UPV/EHU Summer Courses will analyze the trajectory of Basque cinema from 'Aupa Etxebeste' to 'Maspalomas'.

Generic image of cinema and books.
IA

Generic image of cinema and books.

This coming Thursday and Friday, at the Miramar Palace in Donostia (San Sebastián), the Summer Courses of the University of the Basque Country (UPV/EHU) will discuss the current state and the evolution of Basque cinema over the last two decades.

The academic conference, titled From Aupa Etxebeste to Maspalomas. Basque Cinema: 20 Years (2005-2025), will delve into the creation and development of Basque cinema. The event will also have a meeting format, featuring panel discussions with actors and producers.
As explained to ARGIA by one of the course directors, Josu Martinez, the event stems from a book and related research. The book, co-authored with Samara Velte, aims to provide a snapshot of Basque cinema over the past twenty years, examining its relationship with society and Basque culture.
Martinez emphasized that the courses aim to create a meeting point for industry professionals to discuss and share data and analyses on films made in Basque over the last two decades. This data will shed light on aspects such as film financing, distribution, and reception.
To enhance the meeting aspect, two panel discussions have been organized: one with three actors (Ramon Agirre, Eneko Sagardoy, and Edurne Azkarate) and another with three producers (Ander Barinaga-Rementeria, Miren Berasategi, and Katti Pochelu).
The organizers define Basque cinema as cinema in Basque, despite the increasing number of multilingual films. Furthermore, the development of digital cinema and the overcoming of the 'amateur'/'professional' dichotomy have also influenced the definition and production of cinema.
Martinez questioned the notion that Basque cinema is in "full bloom," noting that fewer films are being made in Basque recently, although the Basque Government's budget has doubled. He underscored the crucial support of public institutions, recognizing the centrality of audiovisual content.