May 5th, 18:30h
From ecstasy to rapture Programme 1. Documents / Itineraries
The opening programme in the retrospective starts with a piece by José Val del Omar, visionary filmmaker and inventor, and one of the most outstanding figures in spanish cinematography. Fuego en Castilla ('Fire in Castille') is part of his unfinished work “Tríptico elemental de España” ('Elemental Tryptich of Spain'). Other filmmakers appearing in this programme are the architect Gabriel Blanco, usually know as an animator, but who is featured here with a documentary film showing us the daily chores of a spanish citizen in any given Sunday in the suburbs; multidisciplinary artists Benet Rossell and Antoni Miralda take us on a journey throgh bellic inconography; and José Luis Guerin, who after making his debut with the feature film Los motivos de Berta (1983) made this short film reminiscent of what's called today essay film. Closing the programme, a documentary film by Virginia García del Pino about the laboral identity of those working with death, filth and sex.

- Fuego en Castilla (José Val del Omar, 1958-59)
- De purificatione automobilis (Gabriel Blanco, 1974)
- Miserere (Antoni Miralda y Benet Rossell, 1979)
- Souvenir (Silvia Gracia y José Luis Guerin, 1985)
- Lo que tú dices que soy (Virginia García del Pino, 2007)

Presentation of retrospective and DVD catalogue by curators Antoni Pinent and Andrés Hispano, and the manager of the Archivo de la Filmoteca de Cataluña, Mariona Bruzzo.
Q&A with filmmakers Benet Rossell and Virginia García del Pino.

May 11th, 20h
From ecstasy to rapture Programme 2. Appropriations / Great Super 8
This programme presents a batch of pieces shot in Super8, a film format that was born in 1965 and is still in use today and another one of found-footage films. Some works belong to both genres, such as For/Against by Eugènia Balcells or Súper 8 by David Domingo. This programme creates a dialogue between filmmakers from separate generations: those who formed part of the avat-gardian attempt in experimental film in Barcelona, Madrid and Valencia in the 70s (commanded by Eugeni Bonet, Juan Bufill, Manuel Huerga and Eugènia Balcells) and the new filmmakers from the late 90s and on.

- For / Against (Eugènia Balcells, 1983)
- Minnesota 1943 (Toni Serra, 1995)
- Alice in Hollywoodland (Jesús Pérez-Miranda, 2006)
- Súper 8 (David Domingo, 1997)
- Bloodfilm (Marcel Pey, 1975)
- Roulette Wheel (Luis Cerveró, 2005)
- Signaturas (síntesis) (Juan Bufill, 2008)
- I Love You Because (Lope Serrano Sol, 2007)
- 22arroba (Maximiliano Viale, 2008)
- Photomatons (Eugeni Bonet, 1976)
- A escala del hombre (David Reznak, 1991)
- Copy Scream (Oriol Sánchez, 2005)
- Brutal Ardour (Manuel Huerga, 1979)

Q&A with filmmakers Toni Serra, Maximiliano Viale, Juan Bufill and Oriol Sánchez.

May 13th, 20h
From ecstasy to rapture Programme 3. Animated experiments: Rythm, Light and Colour
This collective programme spans very different periods of time in the history of Spanish cinema, though all the pieces are joined by the common denominator of experimentation in animation films, from narrative to abstraction. The techniques used and their results are diverse: classic studies on the correspondence between colour and music (Aguirre, Mestres, Sirera), cameraless cinema (Puigvert, Artigas, Granell), stop-motion animation (Marimón, Pié Barba), the stroke as an outline (Amat, Oñederra, Etcheverry), collage animation (Herguera) and sand over glass animation (Vicario).

- Forma, color y ritmo (Josep Mestres, 195)
- Ballet Burlón (Fermí Marimón, 1959)
- Exp. I / II (Joaquim Puigvert, 1958-59)
- Pregunta por mí (Begoña Vicario, 1996)
- Pintura 63 (Ton Sirera, 1963)
- Hezurbeltzak, una fosa común (Izebene Oñederra, 2007)
- Ritmes cromàtics (Jordi Artigas, 1978)
- Spain loves you (Isabel Herguera, 1988)
- Espectro siete (Javier Aguirre, 1970)
- Lluvia (Eugenio Granell, 1961)
- La 72.024 mil'lèssima part d’un any (Marcel Pié Barba, 2008)
- Danse noire (Frederic Amat, 2006)
- Monos (Juan Pablo Etcheverry, 1997)

Q&A with filmmakers Marcel Pié Barba, Fermí Marimón and Frederic Amat.

May 16th, 18:30h
From ecstasy to rapture Programme 4. Painting / Movement
...ere erera baleibu izik subua aruaren... , a set of words without any meaning, form the title of the first and only feature film in the histoy of spanish cinema fully painted, using the technique of cameraless animation. José Antonio Sistiaga uses 35mm film as a blank canvas – transparent, to be precise-, applying the paint directly on celluloid. Made over 17 months, without any figurative elements or soundtrack, the result is a piece unable to be descripted with words, made to be contemplated in its film form. A peerless pleasure for the eyes.

- …ere erera baleibu izik subua aruaren… (José Antonio Sistiaga, 1968-70)

May 23th, 18:30h
From ecstasy to rapture Programme 5. Investigations / Metacinema
The last of the collective programmes tries to reflect the essence of cinema in its different angles, from the reflection on the medium itself or the metacinematographic essay (Lertxundi, León Siminiani, Rivera, de Pedro) to the blank screen (Casas Brullet), and the diverse relations of cinema with other arts such as dance (Marimón y Ramos), performance (Santos), photography (Lacuesta, Cosmen) or cinematic poetry (Padrós).

- Blanc Dérangé (Blanca Casas Brullet, 2008)
- Límites (1ª persona) (Elías León Siminiani, 2009)
- Travelling (Lluis Rivera, 1972)
- Teoría de los cuerpos (Isaki Lacuesta, 2004)
- Figura (Gonzalo de Pedro, 2007)
- In girum imus nocte et consumimur igni (Jorge Cosmen, 2003)
- BiBiCi Story (Carles Durán, 1969)
- Farce Sensationelle! (Laida Lertxundi, 2004)
- In crescendo (Joan Marimón y Jesús Ramos, 2001)
- Ice Cream (Antoni Padrós, 1970)
- LA RE MI LA... (Carles Santos, 1979)

Q&A with filmmakers Joan Marimón, Antoni Padrós and Blanca Casas.

May 30th, 18:30h
From ecstasy to rapture Programme 6. Enraptured
The retrospective closes with the masterpiece in Iván Zulueta's filmography, a cult film in spanish cinema. The filmmaker uses here many of the techniques he previously used in his short films such as A Mal Gam A, Frank Stein or Kinkón, filmed in Super8, and sticks together many different topics that had him obsessed since his childhood. An hypnotic feature film, carrying no little mysticism and susceptible of diverse interpretations, Arrebato has been unfairly overlooked outside our borders.

- Arrebato (Iván Zulueta, 1980)

Screening of the documentary feature Fragmentos para una historia del otro cine español (vídeo, 58 min), presented by Andrés Hispano (director) and Antoni Pinent (writer).

June 3rd, 20h
Images for imaginary museums
When Philips commissioned him to design a pavilion for the 1958 Universal Expo, Le Corbusier responded with “an electronic poem in a bottle”, a film within the first multimedia project. This session presents the attempts of artists—Duchamp, Maya Deren, Broodthaers and Godard—to devise and create utopias of modern art: films and imaginary, unfinished, unfeasible expositions.

- Poème électronique (Edgard Varèse & Le Corbusier, 1958, 16 mm, 8 min.)
- Witch’s Cradle (Marcel Duchamp & Maya Deren, 1944, 16 mm, 12 min. [unfinished film])
- Kiev Frescos (Sergei Paradjanov, 1968, 35 mm, 13 min. [unfinished film])
- Ceci ne serait pas une pipe (Un Film du Musée d’Art Moderne) (Marcel Broodthaers, 1969-1971, 16 mm, 2 min.)
- La Pluie (Marcel Broodthaers, 1969, 16 mm, 2 min.)
- Reportage amateur (maquette expo) (Jean-Luc Godard & Anne-Marie Miéville, 2006, video, 47 min.)

June 6th, 18:30h
Art looks at Cinema
This programme presents films that illustrate the process of cinema, works and art, and turn them into art-house products: a conversation with Peter Watkins in Lithuania, where the British filmmaker lives in exile; the first film-installation by Harun Farocki, an art-house look at his own work; Peter Nestler’s portrait of Straub and Huillet, and Straub’s last film on the theme of one of Pavese’s Dialoghi con Leucò.

- The Role of a Lifetime (Deimantas Narkevicius, 2003, 16 mm, 16 min.)
- Schnittstelle / Interface (Harun Farocki, 1995, video, 25 min.)
- Kentaur (Tamás St. Auby [Kurt Schwitters], 1973-75, 16 mm, 30 min.)
- Verteidigung der Zeit (Peter Nestler, 2007, video, 25 min.)
- Le Streghe / Femmes entre elles (Jean-Marie Straub, 2008, 35 mm, 21 min.)

June 24th, 20h
Filming is seeing
From the river Niger, where M. Hugonnier filmed Rouch’s cult actor and revisits one of the places where modern cinema was invented, we move on to another place, distant and removed, where the cinema is reinvented. Man With No Name, Wang Bing’s latest film, is the portrait of a hermit whom Bing has filmed since 2007: he never speaks, he lives in a cave and rejects his country’s system.

- The Secretary of the Invisible (Marine Hugonnier, 2007, video, 22 min.)
- Man With No Name / L’Homme sans nom (Wang Bing, 2009, video HD, 92 min.)

June 27th, 18:30h
Closing session for the ninth season: When It Was Blue, Jennifer Reeves
Jennifer Reeves is one of the most prolific experimental filmmakers. Her work walks the line between pictorial abstraction and the stamp of the photographic image, and plays at upsetting the linearity of filmic time by using multiple projections. In this frenetic double projection 16-mm film, Reeves leaves her corner of New York to film in distant landscapes—Iceland, New Zealand, Central America, the United States—and then paint on the celluloid, creating variable tones of blue. With Blue, Reeves refers to planet Earth and devotes the work to the natural landscape and everything that is fading, diminishing and disappearing. Blue also has the connotation of anguish, which floats like a symbol in this marathon of textures and reflective depth.

- When It Was Blue (Jennifer Reeves, 2008, double projection in 16 mm, 68 min.)