José Luis Rebordinos, on 'Patria': “Without forgetting that ETA was a murderous and fascist gang, in Euskadi it was tortured”

José Luis Rebordinos, on 'Patria': “Without forgetting that ETA was a murderous and fascist gang, in Euskadi it was tortured”

The director of Zinemaldia, which starts on Friday under strict security measures and with fewer films, defends his bets on 'Patria', Woddy Allen and a face-to-face festival

José Luis Rebordinos, on 'Patria':

“I am not willing to give in to blackmail wherever they come from . The ideology of José Luis Rebordinos, director of the San Sebastián Festival, could well be summed up in this phrase between resistance and simply the obvious. The obvious does not always hold the stake of the interested. Almost never, in fact. The sentence of yore is worth the same to demonstrate the determination to celebrate the festival despite the pandemic and the temptation to move the screenings to the much safer virtual world; that to keep a Woody Allen repudiated by much of Hollywood in the place of honor of the inauguration; that, already put, to vindicate ' Homeland ', the series about the ETA universe based on the novel by Fernando Aramburu, despite controversies and hasty judgments by “censors.” And so.

Indeed, the 68th edition of the contest that begins on Friday with the latest film from the veteran Brooklyn director, ' Rifkin's Festival' , will probably not only be the strangest but the most convinced of itself. Back in May, when Cannes gave in to the pressure of data and confinement and finally announced its closure, San Sebastián was on the verge of becoming an inevitable collateral damage. But he endured and that has led him, like almost all of us, to find himself face to face with the most elemental and oldest of questions: why being and not nothingness? Or, in a less Aristotelian way, does the tidal wave of a festival make sense with its huge CO2 footprint in virtual times of zooming, streaming and bingeing on series?

“A festival”, Rebordinos reasons, “only makes sense in person because cinema is basically a collective act that is generated in community. Films cannot be judged correctly if they are seen on television, nor can their meaning be appreciated if there is no one. public discussion around them. A work of art that proposes something new requires a debate, a dialogue … And that is only possible if we see each other's faces. ” And he continues to avoid dogmatism: “I'm talking about events such as San Sebastián, Cannes or Venice … Then, of course, there may be festivals that program films from other festivals that can be entirely ' online '”. The Toronto option is therefore ruled out which, for the first time, and given its streaming format, will coexist for a few days with Zinemaldia.

Be that as it may, the coronavirus has forced 20% fewer movies this year compared to previous years. That and a reduction of 'international stars' basically summarized in a list of three: Viggo Mortensen, who receives the Donostia Award, Matt Dillon, who directs' The great Fellove' , and Johnny Depp, who attends as producer of 'Crock of a gold: a few rounds with Shane MacGowan ' . The official competition section is made up of 13 films, of which only three are directed by a woman. Among the selected works, those of the French François Ozon ( 'Été 85' ), the Japanese Naomi Kawase ( 'True mothers') , the Danish Thomas Vinterberg ( ' Another round ') or the Spanish Antonio Esparza (' Courtroom 3H '). Out of competition, there will be the productions of the aforementioned Woody Allen , Fernando Trueba (who closes the exhibition with 'The forgetfulness that we will be' ), the debut as director of the named Viggo Mortersen (' Falling ') or the series signed by Luca Guadagnino ( 'We are who we are' ), Rodrigo Sorogoyen (' Anti-riot' ) or, instead of honor, Aitor Gabilondo in charge of, the most anticipated, ' Patria '.

For Rebordinos, the natural place for the adaptation of Fernando Aramburu's novel is San Sebastián. “We must end this ugly habit of removing or censoring everything that we don't like. The series' point of view is very interesting, always on the side of everyone's pain. This festival has always been on the side of showing all those works that they have something to say about what has happened in Esukadi without dogmatism. And that has meant that sometimes we are accused of being Francoist inquisitors and the following year of pro-ETA . That has happened, “he says, taking a second and addressing the thorny issue of the poster announcing the series where the image of an attack shared a place with that of a tortured ETA member: ” Without ever forgetting that ETA was a murderous and fascist gang, the truth is that here they tortured and humiliated themselves. ' Homeland ' is essentially Realistic. What counts is real. We will never project a propagandist film no matter which side it comes from, but learning to understand each other so that what happened never happens again has to go through the fact that each one contributes their point of view. sta. And the more beyond the better. “

The last sticking point has to do with clarity in defending the decision, which is also a declaration of principles, to put Woody Allen in the most visible of settings. Few times San Sebastián, the city, was portrayed with as much care as Vittorio Storaro's photography does. The film is the culmination of a year that stopped the publication of the director's memoirs after the reactivation of the accusations of abuse by his son Ronan and all the actors and actresses who abjured him. “As far as I know, Woody Allen does not have any pending case with the Justice. There are policemen who investigate and judges who judge. I am neither one thing nor the other. Definitely, I am not willing to give in to blackmail,” he says. Well that.

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