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Elías Querejeta Zine Eskola is a project school and in each one of them a prefiguration of cinema: a hypothesis

The term, cinema hypothesis, refers to various pedagogical projects based on imagining the cinema of the future. We must specifically refer to the Ipotesi Cinema school founded by Ermanno Olmi and Paolo Valmarana in 1982 in Bassano del Grappa (Italy) and the book, L’Hypothèse cinéma: Petit traité de transmission du cinéma à l’école et ailleurs, by Alain Bergala published in 2002. As a tribute to these two great initiatives, at this School we refer to the pieces of work produced by students, that in themselves are a projection of cinema towards the future, as hypotheses. Students in all specialities must complete a Project or final piece of work during their time at the School. The organisation of the academic calendar into modules, with periods of personal work, is designed so that all the subjects revolve around the personal journey that students have embarked on, expanding its criteria and testing their own ideas.



This concept identifies the event or series of final events in which students precisely exhibit or publicly display their cinema hypotheses; that is, the work they have done throughout the school year: these may be films they have imagined and completed, but may also be utopian creative projects, an imagined impossible kind of cinema, fragments of a film that they have already started shooting or plans for archival work or film archaeology.

As far as turning this into a practical reality is concerned, they may adopt a variety of approaches, depending on the type of Project, either as an ordered presentation in a particular space, such as on open days at the school or as another kind of event. The content of this exhibited work must revolve around imagined cinema: films that they want to make and that perhaps still only exist as first drafts, films that can just about be made out, but cannot be made, utopian visions of a future cinema, cinematic discoveries and finds, research proposals, fragmentary materials, graphic designs, installations, panels… and of course, all the work that they have finished over the course. If the school thinks about cinema, this event is just the way to prolong and make film hypotheses visible.


O arrais do mar

  • Student: Elisa Celda
  • Nationality: Spain
  • Tutor: Salomé Lamas
  • Typology: Audiovisual installation
  • Duration: 35 min.
  • Year: 2019

O arrais do mar is intended as a nocturnal X-ray of a territory, with a number of simultaneous actions establishing a complex relationship between sea and coast. The film depicts a centreless and almost unguarded space, where certain displaced actions find a place.

Proyecto especulativo para la lluvia

A programme for imagining other forms of rain. Ways of expanding it, of making it even more volatile. Of making it break free of the screen, emerge from it. Rain becoming pixels, rain falling on a drum. This programme first arose as a speculation on a publication in progress. Some of the pieces form a trigger for writing. Thinking about the rain beyond the purely narrative form, as other falling shapes.

Strange joy

Hawthorn is a quiet teenage boy who lives in a village on the west coast of Scotland. The melancholy landscapes and whistling wind are interrupted by the dystopian industrial rhythms of Glasgow's Modern Institute. The soundtrack reflects Hawthorn's defeated ego and his desperate love for a friend, Magnolia, who returns to the village. The landscape is indifferent. The water falls gently on the sludgy sand. Out at sea, the fat seals still rest on the rocks.

Jeune femme à sa fenêtre lisant une lettre

‘We do not know what the landscape outside the window looks like. A street, a canal, views of Delft, perhaps the harbour. We are indoors, in daylight. On the wall, the maps are larger than the pictures and yet we do not know where we are. The woman is standing at the window, reading a letter. She is concentrating so hard on the letter that she is no longer aware of her surroundings. She could be anywhere, at any point on the map’. Jean-Claude Rousseau

* 2K restoration of a Jeune femme à sa fenêtre lisant une lettre (Jean-Claude Rousseau, 1983-1984, 16 mm., France)

Cinema Semente

Cinema Semente is a group dedicated to audiovisual creation, management and mediation in the rural milieu. It was born out of multidisciplinary research and the utopian film space of rural Galicia. The aim is to generate alternative contexts through self-management, which can be integrated into the film and rural ecosystems of Galicia. We also want to encourage decentralisation, attention and diversity. Our work is grounded in permaculture, feminism, traditional knowledge, respect for understanding territories and a passion for cinema.

Conversaciones sobre cine

Conversaciones sobre cine (working title) is a publication project consisting of interviews with guests who have been part of the Elías Querejeta Film School (EQZE) community during the first year of classes. Each of these conversations will take a cinema-related theme as its starting point.

This Film is Dangerous: Die Vier letzten Sekunden des Quidam Uhl

Short presentation of the study carried out as part of the research into nitrate films, the production context and the biography and filmography of Robert Reinert, director of the German film Die vier letzten Sekunden des Quidam Uhl. We also performed an extensive decoupage of the Spanish version of the film and a study of the technical problems of nitrate itself.

This Film is Dangerous: The Price of a Party

Research project into the film The Price of a Party, made on nitrate in 1924. The project includes historical research (into the context, original history, technical equipment, distribution, commercial background), analysis of the material and possible future restoration.

Permisos para no olvidar

This research project examines the theory and practice of smaller (in terms of size rather than importance) audiovisual archives. The study centres on the case of small family collections that are not conserved in a professional or institutional environment.The ultimate aim is to propose educational strategies for guides or workshops with a view to rescuing and conserving family archives and bridging the gap between the generations who produced the material and those who are in charge of stewarding it.

Cine experimental feminista: una aproximación crítica desde el archivo fílmico

The purpose of this project is to examine some issues related to the conservation of experimental films made by women, based on the notions of experimental cinema, on the one hand, and feminist cinema, on the other. Our research seeks to explore problems related to the physical deterioration of experimental women's cinema, but also to posit a political and institutional critique of audiovisual practices by women.

Rosa Mari Sorribes

Rosa Mari Sorribes, journalist, script-writer, producer and photographer, was—along with her husband Jordi Gigó—one of the pioneers of the Andorran horror and ‘S-rated’ (erotic) film genre. The project aims to carry out a thorough exploration of material in Spanish and Andorran archives from productions in which Sorribes was involved and to study it from a historiographical perspective. We also want to study Sorribe's role in Andorran cinema from a gender perspective, and give greater visibility to her contribution to Andorran film culture as a whole.

Un juego latente

  • Student: Francisco Bouzas
  • Nationality: Argentina
  • Typology: Performance
  • Year: 2019

In the future, Un juego latente might be the title of a film. For the moment, however, it is little more than a rallying cry around which Francisco Bouzas has collected materials of different kinds. The theme is time. The presentation will include a live—and unrepeatable—’editing experience’ which will for the first time create a dialogue between all the elements currently comprising the project. It will be performed in collaboration with Mexican artist Joaquín Diaz Duran (PhD student at New Media Art - Universidad Castilla-La Mancha) and his project Cyborg Interface. The Cyborg interface is a device that uses the artist's body to carry out a critical exploration of digital technology. The aim of this collaborative project is to find new connections in film and audio material through the body that do not arise when working with more common interfaces.

Painting and decorating

Painting and Decorating is an autobiographical film. It is structured in two parts: the first half shows me painting a room in my grandmother's house in the suburbs of Birmingham, where she lives with my mother, her permanent carer. The second part of the film documents a two-day party in a wood I went to just after finishing the work on my grandmother's house. Florrie James


  • Student: Jade Faith
  • Nationality: USA
  • Tutor:
  • Typology: Film
  • Duration: 13 min.
  • Year: 2019

El cielo en la tierra

Nix is a gamer who cannot find anywhere—or any time—in which to play in peace. One day she finds out about the Bed rest study, a real experiment carried out by the European Space Agency in collaboration with NASA. In the project, subjects are asked to spend 60 days in bed, lying at an angle of -6 degrees (i.e. with their feet raised slightly above their heads), to simulate the feeling of weightlessness experienced by astronauts. Nix's isolation allows us to travel to the very limits of the human body and the cosmos. El cielo en la tierra is a science-fiction film in which a gaze weighs as much as a star-studded sky.

* Research within the film project El cielo en la tierra by María Antón Cabot.

Ella i jo

Gemma lives and paints in a small studio in Greece. Queralt, also a painter, is trying unsuccessfully to get through to her daughter by phone from Barcelona.

The Tongues of Angels

  • Student: Jimmy Schaus
  • Nationality: USA
  • Tutor:
  • Typology: Film
  • Duration: 30 min.
  • Year: 2019

While taking photographs on the beach, Suzy, a young British woman living in Spain, forms an instant connection with Lizzie, a fellow British expat and surfer. The two wander around and their conversation, which largely focuses on the peculiarities of existing between two languages, is observed by Sorgi, a local woman who is the member of a mysterious sect.


Three Moroccan friends travel to an island in search of somewhere. There they take shelter in an old almost uninhabited lighthouse. ‘Who would have thought we'd end up here?’.

Ya no duermo

Miguel and his uncle Kechus meet from time to time in the town. One winter, the man tells the boy of his small obsession with the figure of the vampire. They decide to make a film together.

Una no hace las películas que quiere

Exploration of the phenomenon of the film image and its delicate balance between precision and potential. Based on discarded and found footage from Super 8 home movies made in the former Yugoslavia. A film about lives that might have been lived but were not.


When the Virgin Mary appeared in June 1931, first to a brother and sister from Ezkio and then to a larger crowd, the whole paradigm of the Church appeared to be under threat. It marked a shift from the Catholic doctrine of ‘Believing in what you cannot see’ to one of ‘believing in what you can see’, as the events themselves seemed to suggest. These days, we find it impossible to believe in what we see. Consequently, trusting in cinema as an apparition, the film aspires to introduce a new paradigm shift, proposing that people should believe where once they created.


  • Student: Unai Ruiz
  • Nationality: España
  • Typology: Film
  • Duration: 7 min.
  • Year: 2019

Film made frame by frame on a mobile, reflecting on the theme of the glitch as a digital error.

Se van sus naves

Se van sus naves is an experience and sense-based exploration of the materials in Una vez fue fuego, a film project which is to be developed at the Elías Querejeta Film School. The idea is to offer participants a 4-screen immersive experience in a cube, where they will travel from the very origins of an aurora at the epicentre of a solar storm through to its impact on Earth.

PM 2.5

This project focus on a particularly aggressive kind of censorship in Thailand. Thai people have to live under Lèse-majesté law, in which it is illegal to defame, insult, or threaten the King or royal family. Just like PM 2.5, the name given to invisible small-scale dust heavily covering cities in Thailand forcing people to wear masks whenever they go outside. Mon Sisu Satrawaha