Each year, FICBUEU reserves part of its schedule for the Seminars, a space for reflection and analysis on cinema that brings together professionals from the sector such as filmmakers, critics, and essayists to address various themes related to the cinematic arts.
Since the birth of the seventh art, music has accompanied images and has been an essential part of the cinematic experience. In this edition, the program of activities will focus on music and cinema, highlighting composition as a narrative element.
PROFESIONAL MEETINGS. DIALOGUES ON COMPOSITION
The morning of the Seminars will be occupied by three dialogues between professionals from the world of film and series composition, with pairings designed to bring together professionals with a long career in the sector with newcomers. These conversations will culminate after the third dialogue in a large-scale meeting between the six participating professionals, in which the audience will be able to participate too.
The first dialogue of the day will feature Alicia Morote and Gustavo Gill, who will talk about how to take the first steps in the film music sector and the processes of writing, producing and narrating songs in film, with its artistic, dramatic and technical conditioning factors.
The second conversation will feature Iván M. Lacámara and Mara Villavicencio, with technology as a fundamental pillar. Lacámara and Villavicencio will talk about synthesizers and sound hybridisation and how this affects audiovisual musical language, while they will also delve into the importance of ‘temp tracks’ or provisional musical references.
Alberto Torres and Gabi Martínez will meet in a third conversation to talk about the relationship between sound design and music and the construction of a musical script to structure the narrative.
MASTER CLASS. FROM CLASSICISM TO MODERNITY: WOMEN SOUNDTRACK COMPOSERS
Doreen Carwithen, Shirley Walker, Rachel Portman, Hildur Guðnadóttir and Mica Levi will be some of the women composers featured in this master class where we will discover the contributions of women to the history of film music. The lecture will focus not only on the most renowned figures, but also on the cult authors and the circumstances of cultural production and social reception that conditioned the presence of some of them.The film critic Diego Salgado will be in charge of giving this master class. Salgado is the author of Supernovas: Una historia feminista de la ciencia ficción audiovisual together with Elisa McCausland, with whom he also presents the podcast Trincheras de la cultura pop. He also contributes to media such as Cine Divergente, Détour and Dirigido por, and is a member of the Film Critics Society.
CONVERSATION. MUSIC AND EDITING IN ROMERÍA
Gaspar Broullón, will moderate this conversation between Ana Pffaf (editor) and Ernest Pipó (composer). Editing and music are two fundamental elements in the constitution of the rhythm of a film, and their correct conjunction can be decisive in achieving a satisfactory final result. During the meeting, both professionals will reflect on the joint work processes in the film Romería (Carla Simón), discussing with the audience the importance of synergies between the two disciplines.
Ana Pfaff has so far focused her work as an editor on independent cinema. She has worked with filmmakers such as Chema García Ibarra, Victor Iriarte and Clara Roquet. Many of the films edited by Pfaff have successfully toured international festivals, including the Golden Bear at Berlin of Alcarràs (2022) and the premiere of Romería itself in the Official Selection at Cannes.
Ernest Pipó is a composer based in Barcelona. He began his musical career as a guitarist of generally instrumental and improvised music. He approached traditional written music and piano through his approach to the world of film; in this field, he wrote the scores for the feature film Estiu 1993 (2017) and the short film Después también (2019), previous works by the director Carla Simón.
The moderator of this event, Gaspar Broullón, is a Galician producer, editor, and director with more than 20 years of experience. He has received the Maestro Mateo Award for Best Editing four times for his work on the series Hierro (2019-2022) and Rapa (2022-2024), and worked as an executive producer on films such as O Corpo Aberto (Ánxeles Huerta, 2022) and Eroski-Paraíso (Jorge Coira and Xesús Ron, 2019).
FILM ANALYSIS. DAVID LYNCH SEEN WITH THE EARS
The films of the renowned director David Lynch will be the protagonist of this talk in which we will analyse the importance of sound and music in his films. Both elements form a fundamental part not only of the director’s aesthetic universe, but especially of his dramaturgy and narration. Lynch made use of both son and music for artistic purposes, to complete his films and turn them into an unique experience. Some of his most representative films will be discussed globally and particularly some scenes from Lynchian classics such as The Elephant Hand (1980), Blue Velvet (1986), Twin Peaks (1990) and Mulholland Drive (2001), among others. The meeting will close with the screening of The Grandmother (1970), one of the first short films directed by the filmmaker.
The person in charge of this film analysis will be Conrado Xalabarder, a specialist in film music and creator of the website MundoBSO, which focuses on film music. Xalabarder has written for publications such as Fotogramas, El Periódico de Catalunya and the magazine of the Academia de las Artes y de las Ciencias Cinematográficas de España. He is also a professor of Soundtracks at universities such as the Universitat de Vic and Pompeu Fabra, and collaborates as a musical consultant on films and other audiovisual projects.
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Sculpting time
The Cinematic Journeys of FICBUEU are a space for reflection and analysis on cinema, organized annually within the framework of the International Film Festival of Bueu. These sessions bring together professionals from the industry, such as filmmakers, critics, and essayists, to address diverse themes related to the seventh art.