PREVIOUS EDITION OF THE WORKSHOPS
PREVIOUS EDITION OF THE WORKSHOPS
JOURNEY AND LEGACY
Víctor Erice studied in Madrid at the Escuela Oficial de Cinematografía (EOC), graduating with a specialization in Film Directing in 1963. For a time, he worked as a screenwriter and later as a director of advertising films. In 1969, he made his professional debut as a director by filming one of the three episodes of “Los desafíos.” In 1973, he shot his first feature film, “El espíritu de la colmena,” which won the Concha de Oro at the San Sebastián International Film Festival. In 1983, he directed “El sur,” an unfinished work. 1992 was the year of “El sol del membrillo,” made in collaboration with painter Antonio López, and presented at the Cannes Film Festival, where it received the Jury Prize and the International Critics’ Prize (FIPRESCI).
From 1995, he took on the task of adapting Juan Marsé’s novel “El embrujo de Shanghai” for the cinema. He even went as far as to prepare for filming, but after being interrupted by the producer, the project was definitively abandoned in March 1999.
In 2002, he directed “Alumbramiento,” an episode of “Ten Minutes Older: The Trumpet,” a feature film in which several prominent international directors participated. In 2005, at the request of the Centre de Cultura Contemporània de Barcelona, and within the context of the exhibition “Erice-Kiarostami: Correspondencias,” he began the video production of a series of short films under the title “Cartas a Abbas Kiarostami.” For the same occasion, in December 2005, he wrote and directed “La Morte Rouge,” in which he recalls the first experience of a post-war child as a cinema spectator. Simultaneously, he created an installation for museums, based on several paintings by Antonio López, titled “Fragor del mundo, silencio de la pintura.” During this time, he also worked intermittently on a documentary series titled “Memoria y Sueño.”
In 2011, he directed “Ana, tres minutos,” an episode of the international feature film “A sense of home,” promoted by Japanese filmmaker Naomi Kawase. In 2012, he created “Vidros partidos” (“Broken Glass”), which is part of the feature film “Centro histórico,” alongside directors Manoel de Oliveira, Pedro Costa, and Aki Kaurismaki. In 2018, he produced and directed a short film, “Plegaria,” based on photographs he had taken over time in a single location. In November 2019, he presented his latest work at the Bilbao Fine Arts Museum: the video installation “Piedra y cielo.”
Since the 1990s, Víctor Erice has engaged in teaching through courses, seminars, and workshops: a way to extend his experience as a director into an act of transmission, while continuing to deepen his reflection on cinema. This reflection, generally developed through writing, began in the early 1960s when he joined the Editorial Board of the magazine “Nuestro Cine.” From that distant date until today, his articles in newspapers, magazines, and books have been frequent.
A contributor to the French magazine “Trafic,” he has given lectures and talks in various places in Spain and abroad. He has also directed workshops of an essentially practical nature, focusing on the processes of writing, filming, and editing. The latest of these took place in Sarajevo at the Film Factory of filmmaker Béla Tarr.
JOURNEY AND LEGACY
Víctor Erice studied in Madrid at the Escuela Oficial de Cinematografía (EOC), graduating with a specialization in Film Directing in 1963. For a time, he worked as a screenwriter and later as a director of advertising films. In 1969, he made his professional debut as a director by filming one of the three episodes of “Los desafíos.” In 1973, he shot his first feature film, “El espíritu de la colmena,” which won the Concha de Oro at the San Sebastián International Film Festival. In 1983, he directed “El sur,” an unfinished work. 1992 was the year of “El sol del membrillo,” made in collaboration with painter Antonio López, and presented at the Cannes Film Festival, where it received the Jury Prize and the International Critics’ Prize (FIPRESCI).
From 1995, he took on the task of adapting Juan Marsé’s novel “El embrujo de Shanghai” for the cinema. He even went as far as to prepare for filming, but after being interrupted by the producer, the project was definitively abandoned in March 1999.
In 2002, he directed “Alumbramiento,” an episode of “Ten Minutes Older: The Trumpet,” a feature film in which several prominent international directors participated. In 2005, at the request of the Centre de Cultura Contemporània de Barcelona, and within the context of the exhibition “Erice-Kiarostami: Correspondencias,” he began the video production of a series of short films under the title “Cartas a Abbas Kiarostami.” For the same occasion, in December 2005, he wrote and directed “La Morte Rouge,” in which he recalls the first experience of a post-war child as a cinema spectator. Simultaneously, he created an installation for museums, based on several paintings by Antonio López, titled “Fragor del mundo, silencio de la pintura.” During this time, he also worked intermittently on a documentary series titled “Memoria y Sueño.”
In 2011, he directed “Ana, tres minutos,” an episode of the international feature film “A sense of home,” promoted by Japanese filmmaker Naomi Kawase. In 2012, he created “Vidros partidos” (“Broken Glass”), which is part of the feature film “Centro histórico,” alongside directors Manoel de Oliveira, Pedro Costa, and Aki Kaurismaki. In 2018, he produced and directed a short film, “Plegaria,” based on photographs he had taken over time in a single location. In November 2019, he presented his latest work at the Bilbao Fine Arts Museum: the video installation “Piedra y cielo.”
Since the 1990s, Víctor Erice has engaged in teaching through courses, seminars, and workshops: a way to extend his experience as a director into an act of transmission, while continuing to deepen his reflection on cinema. This reflection, generally developed through writing, began in the early 1960s when he joined the Editorial Board of the magazine “Nuestro Cine.” From that distant date until today, his articles in newspapers, magazines, and books have been frequent.
A contributor to the French magazine “Trafic,” he has given lectures and talks in various places in Spain and abroad. He has also directed workshops of an essentially practical nature, focusing on the processes of writing, filming, and editing. The latest of these took place in Sarajevo at the Film Factory of filmmaker Béla Tarr.