As I reflect upon the vibrant and innovative world of independent filmmaking showcased at RECLab 2024, I find myself deeply moved by the profound emotions and unique perspectives these talented artists bring to their work. The films presented this year are a testament to the power of storytelling, a power that transcends borders and speaks directly to our hearts.
Javier Marco’s “A la cara,” a spin-off from a 2021 Goya-winning short, emerged as one of the major victors at this year’s RECLab in Tarragona, Spain, marking its 10th anniversary by excelling in what it does best: fostering innovation, challenging traditional festival norms.
Moreover, the winners at RECLab, which is part of the REC – Tarragona International Film Festival, included “Jone Batzuetan” by Sara Fantova, a director known for “This Is Not Sweden,” as well as “Woman Bites Dog” from Armand Rovira, who has worked on “Letters to Paul Morrissey.
I recently had the pleasure of reading “L’Homme Abissal ou Phaeophytamón” by Marina Wagner, a captivating experimental Gothic narrative that has earned the prestigious Málaga Work in Progress Award. As an avid reader who appreciates unique storytelling, I found myself utterly immersed in its dark and mesmerizing world.
At RECLab, the film “Face to Face” was premiered in its raw production form, without color correction, sound editing, or special effects. The narrative continues from Marco’s short film, where Pedro, a middle-aged man with an unkempt beard and ordinary attire, opens his house door to Lina, a well-known TV host. However, Lina’s visit is not merely for asking if she can use a room in his home. Instead, she wants Pedro to read aloud to her the harsh comments he posted about her online: “You deserve what happened to you. I hope you commit suicide too, you vile bitch. If you wish, I will assist you.
When he apologizes, the feature takes a different turn to the short, building to a moving finale.
Celebrating 10 Years
For this year’s A-Fest, the contender “Face to Face” seems like one of the exceptional entries. Unlike other festivals, its award is quite unconventional: it isn’t money or in-kind services, but a unique experience – a public screening where attendees, who respond to the call “Can You Keep a Secret?”, watch the film without prior knowledge and leave their cell phones at the door. The host guides their reactions after the screening.
Winners from the Preliminary Screenings will enjoy “20,000 Species of Bees,” a film that earned Sofía Otero a leading performance accolade at Berlinale, as well as make their debut with “Mamífera” at SXSW.
Under the leadership of Javier García Puerto, both the director of REC Festival and RECLab, as well as a prominent programmer at Tallinn Black Nights Festival, over its first ten years, RECLab primarily concentrated on debut and follow-up films, which were centered around the Primer Test, a selective post-production film showcase.
Over the years, it has showcased notable productions such as “Ana by Day,” Andrea Jaurrieta’s debut that garnered attention for her film “Nina” at this year’s Malaga festival; Meritxell Colell’s “Con el viento,” a significant contribution to the emerging Catalan cinema scene; and “Julia Ist,” the initial feature by Elena Martín, who previously presented “Creatura” in Cannes 2023’s Directors’ Fortnight.
Over the summer, a VOD service called Panorámica showcased 10 RECLab pearls, along with Diana Toucedo’s documentary hybrid “Thirty Souls” (“Trinta Lumes”). This VOD platform is dedicated to showcasing the new generation of Spanish filmmakers. Some of these titles will be available again from December 19th, 2024 through January 19th, 2025. During this year’s event, an exhibition was also held to demonstrate RECLab’s accomplishments over its first decade.
I’ve had the privilege of assembling a global team of esteemed film industry professionals for our screening process this year. Among those joining us are Jim Kolmar, a consultant for SXSW, Ana David, a film selector from Berlinale, and Daniela Persico, a member of the selection committee at Locarno.
Additionally, it offers priceless wisdom to filmmakers. At REC, “we gained essential guidance and assistance during a critical phase – editing, a time when one can feel extremely vulnerable as the finish line approaches, when you doubt if you’ve maintained focus,” shared Valérie Delpierre, producer of both “Summer 1993” and “20,000 Species of Bees.
Mikel Gurrea, the director, agreed that the Primer Test significantly expanded and added depth to the editing phase of ‘Cork’,” or simply, “The Primer Test greatly enhanced the editing process on ‘Cork,’ according to its director, Mikel Gurrea.
What Sets RECLab Apart
Now, however, REC-Lab is driving into ever more out-of-the-box experiment.
1984 saw the debut of Rotterdam’s Cinemart, which was later transformed into a market sensation thanks to the late Wauter Berendrecht from the late ’80s onwards. Over the subsequent three decades, co-production forums established themselves as crucial market pillars. This transformation occurred due to the expansion of film subsidy systems in Europe and Latin America, enabling producers to seek out foreign partners with a promising chance of securing co-financing.
Nowadays, the abundance of discussion forums within the industry is overwhelming, making it challenging for newcomers to stand out. However, RECLab distinguishes itself by concentrating on fostering industry growth along two key dimensions: people and audience engagement.
Through the Primer Test series, which showcases 10 fresh images for viewers, RECLab continues to foster collaboration on international film projects among its participants.
However, its distinctive layout encourages genuine and significant discussions about the displayed projects, as noted by Anette Dujisín, the previous head of Venice Critics Week and Primer Test coordinator.
According to Dujisín, Primer Test emphasizes comprehensive international strategies rather than brief pitches, thereby fostering substantial and meaningful conversations. This open and interactive method encourages industry professionals to expand upon each other’s input, generating collaborative insights that transcend simple transactional results such as sales or festival appearances.
RECLab’s New Initiatives
Three fresh endeavors help advance our aim, with Marika Kozlovska, a consultant at Cinema do Brasil, overseeing one called RECPush. This program emphasizes fostering personal relationships first, motivating film producers to connect beyond their professional roles. This unique strategy cultivates genuine friendships and paves the way for substantial collaborations, distinguishing us from other industry events that frequently prioritize projects above people. As evidence of this, producers have been invited from Finland, North Africa, the Czech Republic, and Portugal, alongside Spanish producers, to participate in activities ranging from regional dances to pottery workshops. “It’s quite the opposite of traditional speed dating and much more about being human,” said García Puerto.
This year, RECMatch partners indie creators like Burnin’ Percebes for “Royal Films” with mainstream actors seeking diverse roles – notably Alvaro Cervantes (“Crazy About Her”) and the Dominican actress Laura Gomez, now based in Madre.
García Puerto explained that they first solicit actors and subsequently seek out projects, then pair them together, which is also referred to by some participants as a ‘reverse casting’ process.
RECVision, led by Jana Wolff, gathered international experts on audience development with leaders of local projects such as Granollers’ Youth Cinema Club Crida Edison, Nadir (an audio-visual workshop for kids), Transhumant (a traveling cinema), and Victoria & Savoy (a film program for schools).
García Puerto remarked, “There are not many instances of structures that guide and enhance projects focused on interacting with audiences.
He remarked: “Most festivals tend to back new ventures and aid film production, yet this brings up an important query: Who will be the audience for these productions?
RECLab 2024 Awards: Winning Films
Screening Test Award
“Face to Face,” (A la cara,” Javier Marco, Pecado Films)
In the film “Josephine,” which had its world premiere in San Sebastian’s 2021 New Directors section, Marco made a subtle and moving debut with a story about the chance meeting of two lonely individuals. The film was beautifully presented with a carefully understated visual style, strong performances, and well-paced writing. Based on what we saw at RECLab, it appears that Marco will continue to impress with another tale involving two self-centered characters – a television interviewer and an internet troll – as they navigate a challenging journey towards redemption.
International Deluxe Award
“Jone, Sometimes,” (“Jone, Batzuetan,” Sara Fontova, ESCAC Estudios)
During Bilbao’s Grand Week, Jone experiences her first love with Olga, all while her father’s Parkinson’s disease deteriorates. The Basque-language coming-of-age and family film “Jone, Sometimes” is the debut feature from Bilbao native Sara Fantova, who was chosen to direct three episodes of “This Is Not Sweden.” Produced by Escac Estudios, led by Sergi Casamitjana (“Salve, María”), and Amania Films, under the guidance of director David Pérez Sañudo (“Ane is Missing,” “The Last Romantics”).
National Deluxe Award
“Woman Bites Dog,” (Armand Rovira, From Outer Space)
In a witty, rebellious yet refined manner, Rovira describes his new work, “Woman Bites Dog,” as a blend of auteur genre and mockumentary. This film follows a 16mm documentation of the daily life of Xia He, a woman who is a serial killer targeting dog abusers. Notably, Rovira is recognized for his previous remarkable piece, “Letters to Paul Morrissey,” which was highly acclaimed at RECLan.
Málaga Work in Progress Award
“L’homme Abissal o Phaeophytamón,” (Marina Wagner, La Impostura Films)
The film was exhibited at WomanInFan in Sitges during October and can be described as an “experimental Gothic story,” according to Wagner. It was filmed in black-and-white using antique lenses from the 19th century in a vintage camera, creating a movie composed of still images. The story unfolds in 1879 and is told through letters. The plot revolves around a young man who, on his deathbed, receives a letter from his sister who runs a laboratory that uses algae to heal badly wounded soldiers. She offers her brother the possibility of eternal life.
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2024-12-23 18:47