An original production of Cinema to come ―The strategy of the grass, up on the screen― that sums up pretty well how to operate these journeys of non-fiction and experimental cinema, whose activity incorporates participants and audience in a little differentiated way, introducing them into a flow that goes through different times and places.
The strategy of the grass ―then still without a name― began to take shape in the journeys of Cinema to come that took place in February and March 2016, mainly in Las Naves. At that moment, in the Image section, a series of three dialogues was proposed at two levels: dialogues between current films and movies of film modernity, and dialogues between invited filmmakers and people from other disciplinary fields. All the films chosen had a marked political character, which established a dialogical practice with political processes as an articulating element. In addition, the invited filmmakers were given a series of filmed interviews in which they mainly discussed politics in contemporary cinema. This material was publically viewed in La Posta in May of that same year, in the context of the “Policy(s) of a cinema (to come)” journeys. Also in the context of those same journeys, in collaboration with the festival Cabanyal Intim, the screening was organized in a public square of that neighborhood of Alfonso Amador’s film “50 days of May (trial for a revolution)”. The processual crossing called to return to the site where one of the interviews had been recorded, which occurred in October 2016. Finally (until now), on October 21 at IVAMLab, on a journeys called “self-production” “, The strategy of the grass was screened, and from that view, dialogue and collective reflection were invited, while the Cinema to come process for the following year 2017 was presented.
The strategy of the grass is composed of four parts: 1. Policy(s) of a cinema to come; 2. Public(s) of a cinema to come; 3. Context(s) of a cinema to come; 4. Strategy(s) of a cinema to come. He confronts the interviews with Eloy Enciso, María Ruido, lacasinegra and Luis López Carrasco, with fragments of the films: Terra em transe (1967), by Glauber Rocha; Dalla nube alla resistenza (1979), by Danièlle Huillet and Jean Marie Straub; La noir de… (1966), by Ousmane Sembene; The future (2013), by Luis López Carrasco; Arraianos (2012), by Eloy Enciso; L’oeil imperatif (2015), by María Ruido; Pas à Géneve (2014), of lacasinegra, and 50 days of May (2014), by Alfonso Amador, and images of the projection of that film on a plot converted into a square in the Cabanyal neighborhood. All channeled in the same process that passes through different times and places.