Zinemaldia marks a milestone year with a return to normalcy after two pandemic years, drawing 160,000 attendees across nine days. José Luis Rebordinos called the festival’s 70th edition “very positive” and noted pride in the Golden Shell awarded to Laura Mora for Los reyes del mundo.
Zinemaldia wrapped its latest edition with a sense of renewal and resilience, signaling a rebound in audience engagement and industry activity. The festival attracted a large crowd, reflecting renewed interest from both the public and the film industry in the Basque city’s storied event.
Tired after a nine-day festival?
A bit exhausted, yes. The team felt the impact just as much as the organizers. The run stretched beyond the traditional nine days, with preparations and activities preceding the festival, testing stamina but ultimately paying off. There is broad appreciation for how smoothly the event ran and for the dedication of everyone who contributed to its success.
Is the growth of Zinemaldia this year tied to fatigue or momentum?
Growth came despite fewer opportunities compared with the previous year, underscoring a momentum built through steady effort and stronger coordination across all sectors involved.
How is the 70th edition judged overall?
The mood is upbeat. Normalcy returned, and there was a clear objective to match pre-pandemic scales. The festival saw a robust engagement with investors, marking a strong industrial segment that satisfied partners. The programming also stood out, with a year of strong film releases that audiences and critics alike responded to positively.
What audience numbers did the return to normal bring?
The numbers are provisional but promising, with expectations to surpass 2021 figures. Early estimates show around 160,000 attendees, a roughly 10% dip from 2019, a sign of cautious optimism as cinemas recover from lingering fears. The festival leadership admits concern about a potential drop but remains hopeful given the overall rebound in theater attendance.
What about the awards?
Awards at this edition were widely welcomed. The jury’s selections resonated with both audiences and critics, aligning with the strongest films of the festival. There was some debate surrounding certain titles, but the overall sentiment favored a strong lineup and meaningful recognition.
“We have conveyed to Ulrich Seidl that we hoped he would attend Donostia to defend Sparta, but he chose not to come after facing harassment.”
What stands out about Sparta and its absence from this edition?
Sparta drew intense discussion, and the jury weighed the themes and execution. Although Seidl was invited, he did not attend, and commentary surrounding the work continued to generate dialogue. In the end, another film, pornmelancholía, earned the Best Photography Award while Sparta remained a focal point of conversation.
How did the festival respond to Seidl’s absence to defend Sparta?
There was a clear invitation extended, and a respectful exchange occurred. While the filmmaker chose not to attend, the festival acknowledged his decision and maintained focus on presenting the films and their artistic merit to audiences. The broader industry conversation around harassment and accountability remained a backdrop to the festival’s program.
Did discussions around Sparta influence its reception in Donostia?
The dialogue around the film did not eclipse the work itself. Sparta generated substantial discourse, and its power as a piece of cinema contributed to the festival’s atmosphere. No formal complaints overshadowed the conversations, and coverage reflected a nuanced approach to evaluating provocative work.
The Toronto festival pulled both Sparta and Pornomelancolía; how did Donostia fare in response?
There is a deep respect for Toronto, and Donostia’s reception of the films demonstrated a willingness to let filmmakers present challenging material. If others raise concerns, the festival treats them seriously but keeps focus on the cinematic experience and artistic merit rather than quick judgments. It is essential to approach accusations with care and verify facts before drawing conclusions.
“Zinemaldia has upheld a stance that avoids alignment with any single political faction.”
Is there a fear that conservative currents could influence Zinemaldia?
Times are complex. The festival has a longstanding policy of neutrality while championing human rights. It welcomes visitors from around the world and condemns fascism, homophobia, racism, and machismo. The emphasis remains on democratic values, rule of law, and freedom of artistic expression. Any calls to impose guilt through misapplied judgments are rejected as a threat to creative independence.
Who won the Golden Shell, and what about Laura Mora?
Laura Mora, a Colombian director, received the Golden Shell for Kings of the World. Mora’s work is celebrated for its honesty and resilience, themes drawn from her personal journey and the realities she portrays. Her approach emphasizes authentic, non-fictional portrayals and a compassionate view of individuals featured in her stories.
What distinguishes Mora’s filmmaking?
Mora consistently works with real people and situations rather than stylized scenarios. Her films capture heartfelt moments and authenticity, such as scenes depicting children and families navigating difficult circumstances. The director’s dedication to portraying truth through lived experience stands out, earning admiration from critics and audiences alike.
“There is a remarkable honesty and truth in Laura Mora’s films”
Does returning to reality after a festival week feel daunting?
Returning to daily life is a challenge. The festival maintains ties with a school program in Mar del Plata to support children facing financial hardship. The festival’s engagement with these communities reflects a commitment to continuing positive impact beyond cinema. The joy seen in those kids suggests the experience leaves a lasting, hopeful imprint.
Were some Official Section titles more provocative this year?
A broad spectrum of cinema offered both entertainment and provocative questions. Spanning titles like Sparta, Great Yarmouth, pornmelancholía, and spring blessing, the selections invited reflection and discussion, and the overall quality impressed attendees.
What about gender representation in this year’s lineup?
A noticeable shift toward fewer gender-focused pieces occurred, with humor appearing less frequently. The festival highlighted a mix of styles, including new takes on comedy and drama, with thoughtful curation that balanced provocative works and accessible storytelling.