Philosophy
What drive us
A contest dedicated to transcendental cinema, at its several meanings, including philosophic, psychological, scientific, anthropological, spiritual and poetic cinema.
Because transcendence in the man and the world, might be eventually ineffable and, on this, cinematographic art has certain advantages, and a huge responsibility.
WITHOUT TIME
Cinemística as an open space-time, with non restrictive features, enabling the authors to develop their own language: all formats, duration, nationality, year of production, etc. are accepted.
A REFUGE
An international refuge for films that intend, technically or with the plot, an approaching to the big mystery of world representation, in the art and in the man. Without dogmas, under any individual or collective perspective, from faith, but also from agnosticism, spiritual atheism and scientific thought.
A POETIC CINEMA OF CONTEMPLATION
Filmmakers' looks, in all their socio-cultural diversity, interested in any film as a result of personal discovering, researching or experimentation, inspiration and work, from revelation or introspection of the authors. Quotidian, ecstasy and disparity as structures to create depth on the film treatment.
ASCETICISM
Mysticism and asceticism in film production represent, probably, a more absolute estate compare to others, because a cinema with huge budget and more technical complexity could be done, but sometimes the most humble and simple film is, however, universal.
THE STILL
Impermanent cinematographies, from the still, from 'amateur' cinema (from French verb aimer), define directors not only by what they show and how they do it on screen, but by what they decide not to show.
PHENOMENOLOGY
What appears and disappears, topologies emergence, materials or conscious, and their invisibility or subsequent expiration. The sequential surroundings of emptiness, of matters and time. Shafts at the discourse, eloquent, everyone can understand it by himself. Absence and miracle: Mystic as a possible cohabit together.
AWARDS
The first and highest award of the contest has a strong symbology: “THE MAGNIFIER AND THE MAGNET”. It’s about two elements connected very close with the person of the famous granadian cinemist José Val del Omar (1904-1982), who thought about the magnifier as occidental culture symbol (the obvious, the rational) against the magnet, element of the oriental culture (the magnetism, the invisible). For Val del Omar, Granada will be the meeting point between East and West.