- Olaf Möller, one of the most prestigious theorist, critic and film programmer in the world will lead the FILMADRID Seminar of this year. He will revisit the New American Cinema Group movement analyzing its origins and the aesthetic perspectives that occurred in the New American Cinema of the 60s and 70s.
- The course, “The Longest Moment When Everything Seemed Possible. The New American Cinema Group “, will take place from 6th to 9th June in La Casa Encendida, Madrid, and will include 16mm projections.
- Those interested can now write to email@example.com The formalization of the registration will open on April 11, until full capacity, and will be made through the website of La Casa Encendida.
- This is the first announcement of the FILMADRID 2019 edition, which will be held from June 6th to 15th. Call for entries for its Official and Vanguard Competition is open until April, 1st.
FILMADRID International Film Festival announces the first confirmation of its 2019 edition. The ‘FILMADRID Seminar’ will be taught by the celebrated German film theorist, critic and programmer Olaf Möller who will be taking over from Jonathan Rosenbaum, Laura Mulvey and Nicole Brenez, protagonists of the seminars in the three previous editions. Throughout four days, the theoric will make a historical and critical approach of the New American Cinema Group movement, famous for films like Shadows or Pull My Daisy, but with so many titles that were forgotten. How were those films connected? What aesthetic ranges converged? Which movies promoted the avant-garde, the documentary and the fiction of those years? What was lost? This amazing course will dialogue with the works of Robert Frank, Storm de Hirsch, Cassavettes, Markopoulos, Mekas or Harold Humes, among others.
Venue: La Casa Encendida de Madrid
Dates: From Thursday 6th to Sunday 9th June
Schedule: 10:30am – 2:30pm (a total of 16 hours)
Language: It will be taught in English and there will be simultaneous translation into Spanish
Registration dates: The formalization of the registration will open on April 11, until full capacity,
and will be made through the website of La Casa Encendida.
Those interested can now write to firstname.lastname@example.org
“I have worked on the New American Cinema Group previously throughout my career,” explains Möller in the description of his course, “for example at the Oberhaussen Festival in 2012 with Ralph Eue I prepared a cycle on manifestos and trends in The 60s. Since then it’s something I’ve had in my head. Many things happened within this group of artists, we could say that each day brought a new surprise “. One of the great attractions of the seminar will be the projections in 16mm during teaching hours. As Möller affirms, “thinking about the seminar, I always took into account how it could surprise the attendee to come. We will join films and see how they interact with each other and what kind of filmographies these directors developed”.
Who is Olaf Möller?
Olaf Möller is a film programmer and critic, as well as a Professor in the Department of Film, Television and Scenographyat Aalto University in Finland. He regularly collaborates with prestigious film magazines such as Sight & Sound, Cinema Scope, MUBI Notebook, Eye for Film and Film Comment, among others. He is considered one of the most authoritative voices of film history and criticism, along with Jonathan Rosenbaum, Laura Mulvey or David Bordwell. He has curated cycles and retrospectives for festivals such as Rotterdam, the Viennale or Locarno, and was a member of the Selection Committee of the International Short Film Festival Oberhausen. Möller is the author of numerous publications, including Fragmentos de búsqueda (2013), focusing on the cinema of Thomas Heisse, Romuald Karmakar (2013), about the German filmmaker, or Geliebt und Verdrängt: Das Kino der jungen Bundesrepublik Deutschland von 1949 bis 1963/ Loved and repressed: the cinema of the young Federal Republic of Germany from 1949 to 1963 (2016).
This course is an activity organized by Pasajes de Cine and La Casa Encendida, with the support of the Goethe-Institut Madrid and Caimán Cuadernos de Cine.
For more information, please write to email@example.com