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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.


Hasta que el lugar se haga improbable (Until the place becomes improbable)

Hasta que el lugar se haga improbable is a film set in a hypothetical future not too distant from our own. Certain characters, including a group of scientists on a misconceived expedition, a dental surgeon slash amateur magician, and an apparent protagonist, become enmeshed in a series of chance events under the effects of a mysterious force that seems to erase from their minds everything they have ever learned.

They Speak Too

What does it mean to look back? Where do we look back from? Juxtaposing extracts from the play Black Henry (2018) by Filipino-American playwright Luis Francia with locations of Basque colonial history, this film makes apparent the spectre of empire as it exists around us. Reading these extracts translated into Spanish, I introduce a dialogue between language, forms of registry and the physical manifestations of history, which my own person as a Filipino-Swede is included.

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Apuntes para archivar bailes y protestas (Notes for archiving dances and protests)

My project of the year was a piece of research into the situation of archives in Argentina in relation to video-activism and video-evidence. I will continue this project after I leave the school, which is why what I chose to share with my fellow students at our farewell event was a video essay that arose as a satellite initiative to the main research project. Based on the relationship between dance and protests, I examine concepts linked to archiving dance, imagining how they can be applied to the preservation of social protests.


Corrientes is an online space for Latin American artists who expand the form and content of film through their practice. The aim of Corrientes is to connect artists with spectators and communities with stories. Every month it focuses on the work of a different artist and initiates a dialogue with a commissioned text. Through collaboration, we share intergenerational and international resonances about film and the political issues explored in it.

Website of the project

Space for research and dissemination of the practice of Basque experimental film

This project depicts the setting up of an online and face-to-face dissemination space focusing on Basque experimental film. The aim is to review, research and expand this artistic practice and the relationships which exist between its key figures in all three tenses–past, present and future. The space is designed to be an active, free-access archive that can be consulted over the online platform. 

Paz (Peace). Reconstruction of a Hispanic-Mexican film project from the 1940s.

Through a historical investigation, a formal analysis and a comparative study of the different surviving film materials, the study aims to work towards a reconstruction and restoration of the feature film Paz, made by exiled director José Díaz Morales in 1949. Contextualizing it within the Spanish film production of the 1940s, tracing transnational relations and reviewing the economic, aesthetic and political circumstances that surrounded the production of the film, the investigation examines the diverse conditions that allowed the film to be rejected during its initial release and overlooked by the historiography of Spanish cinema since then. 


Olivia has lived all her life at night, in a house in the mountains, accompanied by her Father with whom she only shares the dawn, before she vanishes into dreams with the first rays of sun. When her Father suddenly disappears, Olivia finds herself alone for the first time and goes down the mountainside to search for him, discovering a world that is tired and broken, in which soon it is too late.

Vagas sombras del paraíso (Vague shadows of paradise)

Diverse social and cultural practices were responsible for establishing colour as one of the hallmarks of Mexico's identity. This book explores the nuances of the trait when it came into contact with colour film. The journey starts with the views filmed by tourists and finishes with the skin tone that the State constructed for its population.

Network for Strengthening Alternative Film Exhibition

The aim is to create an online platform encompassing Brazilian non-governmental groups and initiatives concerned about screening films and organising film training workshops outside traditional exhibition spaces in decentralised regions of the county. The principal aim of the network is to strengthen mutual aid and collaboration between these initiatives, and to promote encounters in which to hold workshops and exhibitions. 

Nese momento o amor foi escuro e só puiden chorar (At that moment love was dark and I could only cry)

When I was 21 years old I was diagnosed with human papillomavirus (HPV). For the first time I felt my body as a burden and wanted to tear myself out of it, get rid of it, reduce myself to just my essence. At that moment I remembered life and secretly said goodbye to it, until I realised that I wasn't dead, just fucked. With this project, my aim is to express my experience with this STD by going on a kind of journey through my own infected cells, with my body acting as a medium and my voice as a guide.

new cinema/new talents

The nc/nt platform is a space for the continuous search for and investigation of new means of exploring the language of cinema. The public programme proposes a heterogeneous combination of film techniques, textures and gestures which stage subjective approaches to the nature of representation.

Art Deco film

Based on a series of fifteen films, we propose a possible rethinking of the international Art Deco movement through the moving image, responding to the so-called isolation of the specialists Paul Maenz and Jean-Paul Bouillon during the seventies and eighties. The term Art Deco was coined in 1966 and Nouveau and Deco become buzzwords. But they are much more than a fad, they are 'art in itself'. We evoke this unusual collaboration, when the 'old' arts decided to accompany a new one: film.

Ambulante Euskadi. Investigación de audiencias de cine en municipios de Gipuzkoa (Exploration of film audiences in the municipalities of Gipuzkoa)

This research project explores how to produce exhibition events conceived from the critical viewpoint of the territory in which they are to be held. Through surveys, group discussions, in-depth interviews and observation, we have studied audiences in fifteen municipalities in Gipuzkoa. The conclusions drawn will enable us to define the curating proposal of Ambulante Euskadi (travelling documentary film), with the aim of constituting ourselves as a cultural agent characterised by proximity, and becoming a living part of the local reality and a benchmark for future municipal audiences.

Ambulante Euskadi. Cine documental itinerante (Travelling documentary film)

Series of documentary short films screened at the Herri Antzokia (theatre built in 1928 and one of the oldest cinemas in Gipuzkoa), curated on the basis of the conclusions of an audience study in Ordizia. The session was designed around those issues which were of most interest to the audience in this municipality (personal and family stories), as well as in relation to their interest in Basque films in the Basque language and their eagerness to explore new territories. All the municipalities involved in the research study will be invited, in order to celebrate the coming together of different participating audiences and cultural stakeholders.

Programme | Teaser

Versi in Frame. Construcción de una metodología comunitaria (Construction of a community methodology)

Versi in Frame is a citizen-based research project carried out thanks to the sharing of family archives in an Italian city in the province of Rome, Fiumicino. The project aims to create a flow of stories capable of defining the faces, events and places of a citizen-based memory. Just as poets nudge their readers towards their interpretation of the world, so the participants in this project create a narrative of their own lives: a mosaic of memories that defines the citizen space through collective recollections made from home movies and reflections about the present.


  • Student: Inês de Lima
  • Nationality: Portugal
  • Tutor:
  • Typology: Film
  • Duration: 10 min.
  • Year: 2020

It came and went

And I asked every thing

What name it had

Through this poem that gives name to the book ‘Coral’ - a triangle starts between a city, a woman and the book itself.


Description of the project: the life of Jorge Oteiza and his siblings was strongly influenced by a place: his family's house in Orio, a dwelling on the banks of the estuary in the balconies and gardens of which whole generations have posed for the camera. By reviewing the personal archives of the Oteiza Embil family, this publication paints the last portrait of the house, a object of living memory that is now beginning to fade.

El juego del despiste (The distraction game)

  • Student: Marcos García
  • Nationality: Spain
  • Typology: Film
  • Duration: 30 min.
  • Year: 2020

An Argentine, a Brazilian, a Galician, a Portuguese, a Mexican and an Andalusian share their oral testimonies of the life of Hippolytus, a bloke who wants to disappear from the face of the Earth. El juego del despiste is divided into 7 chapters, with images which play around with evocation and hypnosis in this polyhedral fictional story about the search for identity through one's own disappearance.

Los espantos (The Horrors)

Los espantos is a portrait of two olive-pickers: Manolo and Mari; although it is also the story of a mountain range, a village and a country estate that hides a secret. 

El viaje de Salazar (Salazar's journey)

Multimedia and performative presentation for cinema of how the fictional feature film El viaje de Salazar was made.


Representation of pain through movement. According to ancient myth, Niobe was punished by having all her 14 children slain. Niobe's husband committed suicide. Besieged by sorrow, Niobe wept unceasingly, her tears flowing endlessly, even after she was turned to stone.

Itsasoa, nirea, gurea (The sea, mine, ours)

Based on research and reflection, I arrive at a selection of amateur film archives which, during the 60s and 70s, charted the human relationship between Basques and the sea. With the aim of attaching greater value to this unknown part of our heritage and disseminating it among a wider audience, a public event was organised to show these images in an open space near the sea. 

Memoria de un cine de pueblo precursor. El cine-teatro Echezarreta de Ordizia (Memory of an early local cinema. The Echezarreta cinema-theatre in Ordizia)

This project aims to gather all available information on the history of the Echezarreta cinema-theatre in Ordizia (currently known as the Herri Antzokia), a building that continues to stand out from its architectural surroundings 92 years after its construction. The work analyses the various different proposals that resulted in the construction of the building in 1928, when Ordizia had just over 3000 inhabitants, studying its characteristic appearance and exploring its history through a series of oral testimonies from the perspective of both the seating area and the projection room.

Marcas, sepulturas y múltiples orgasmos (Brands, burials and multiple orgasms)

Session focusing on the cinematographic and theoretic work of the filmmakers Barbara Hammer (California, 1939) and Aldara Pagán (Ourense, 1997). The session, which moves intimately between film projection, poetry reading and essay, aims to shed light on the importance of subjective and personal histories which gradually become collective in nature, as well as on the recovery of texts buried by History. In addition to the screening of five films by Hammer and Pagán, the event also includes a performance of Aldara (poetry reading which accompanies MARCAS) and the reading of fragments of 'Pornography, Censorship and Sex in the Movies' by Barbara Hammer, translated for the first time.

Aproximaciones al Kodachrome (Approaches to Kodachrome)

Aproximaciones al Kodachrome focuses on personal and technical issues linked to the development of out-of-date Kodachrome material using different techniques. Kodachrome is a type of film that, like many others, has fallen victim to the obsolescence of manufacturing and development processes cancelled as the market shrunk and they ceased to be profitable. Currently, developing films of this kind is an almost idyllic process, just like the collective imaginary that seems to have grown up around this material.

Use of technology in audiovisual storage, a new graphene film medium

The deterioration of film material and technical obsolescence pose a problem for audiovisual archives. This study aims to respond to this problem by proposing the creation of a graphene-reinforced film medium that is able to strengthen the properties of polyester film. To do so, I use examples such as DNA storage, quartz crystal storage and the case of the Arctic World Archive.

Apuntes para una película no hecha (Notes for an unmade film)

About which member of your family would you make a film? This question, posed 10 years ago, triggered a process of reflection and an idea for a short film that was never made. It is transformed now into a performative conference in which body and voice are used to construct a story made from many other bodies and many other voices: direct and indirect witnesses and fictional characters who feed the personal and collective imaginary. Picture: frame fomr  Was at Home, But... (Angela Schanelec).

Monte & Culebra (Mountain & Snake)

Script for a hybrid fictional feature film. Some blocks are articulated in documentary format, using archive material. The story tells the tale of a teenager called Sofía, who moves with her parents from her home town to the city, leaving behind her beloved grandmother, her childhood friends and the rituals and myths of the deep South. In the city, she discovers the differences that separate her from her new environment. She also finds allies on the fringes and becomes disoriented by that which first seduces then rejects her. Meanwhile, her parents live at the mercy of their impulses and desires. The story takes place in a hot, noisy, overpopulated city in the Caribbean. As the summer holidays approach, a hurricane sweeps over the island, devastating the southern half of the country. Sofía and her parents return to their village to help bury all those they left behind. Picture: Max Pou

Muito tarde, muito escuro (Very late, very dark)

  • Student: Helena Estrela
  • Nationality: Portugal
  • Tutor:
  • Typology: Film
  • Duration: 9 min.
  • Year: 2020

Saying or talking, pretending or exploring ... these are indeed the events of love.

Más allá del cine. Hacia la reflexión y rescate de películas amateur peruanas (Beyond cinema. Reflecting on and rescuing amateur Peruvian films)

Project based on a fraction of the collection of orphan 8mm and Super-8 films belonging to  Efraín Bedoya (1963-1979) and a documentary on the photographer and amateur filmmaker Alberto García that was produced in Pucallpa (1970-1980). The aim is to render this part of our film heritage visible by recounting the digitalisation and material cataloguing processes, as well as the proposal for a digital archive combining this and other rarely-screened works.

Website of the project

Las redes del archivo (Archive networks)

How to see the relationship between a City and its artists through archives. The project works with the audiovisual archive created (and still being created) by Gustavo Bruzzone, one of the leading collectors of Contemporary Art in Argentina (specifically, Buenos Aires).

La preservación de cine experimental como posibilidad: Eugenio Granell (The preservation of experimental cinema as a possibility: Eugenio Granell)

A project involving the digitalisation of seven 8mm films made by Eugenio Granell between 1960 and 1963, three without a camera and two painted: Invierno, Dibujo, Lluvia (made by scraping over emulsion) and four photographed ones: Trompos, Casa, MiddleBury and Película hecha en casa con pelota y muñeca. The project arose out of a collaboration agreement between Natalia Fernandez Granell, the Elías Querejeta Film School, the CGAI and the Basque Film Library to digitally restore Granell's films.

El Festival de Cine de San Sebastián y la Censura cinematográfica en el tardofranquismo (1969-1975): Morbo y Vera, un cuento cruel (The San Sebastián Film Festival and Cinematographic Censorship during the latter years of Franco's dictatorship (1969-1975)

In response to interest in recovering the social memory and the consequences of the repression suffered during Franco's dictatorship in Spain, this project studies the latter years of the dictatorial regime (1969-1975), analysing the hypothetical relationship between official censorship and the San Sebastián Film Festival, based on two films from the horror-fantasy sub-genre and their two makers, Gonzalo Suarez and Josefina Molina. The project is based on historiographic research on the material itself and the collection of archive documents.

Ángel decide recuperar su revista

In the house belonging to two brothers, Ángel and Manuel, the Cold War never ended. This film is made from archive material, filmed fifty years apart and involving three generations of the same family. It is also a kind of preliminary study, a series of tests and a starting point for the feature film La casa de al lado

Hacia el más aquí: devenires contra natura

Ecstatic session to fly to the Sabbath. Crossing the fence by ingesting visual and sound cinema: works that work, migrate, manipulate, metamorphose or make a pact with the allied spirits that vibrate in the natural world. The program includes works by Emily Chao, Charlotte Pryce, Daïchi Saïto, Maria Klonaris and Katerina Thomadaki, Michael Prime, Chris Watson, Eliane Radigue, Thomas Köner and Maggi Payne.

Poster of the programme

Cualquier lugar contemplado

Cualquier lugar contemplado is a film under development which explores a man's frustrated search for something beyond the tangible, something ineffable. In around 1932, a German musicologist travels around rural Andalusia collecting songs from the oral tradition that are in danger of passing out of living memory. He hears about a farmer who is said to have a special gift for song. The musicologist does everything in his power to find him.

Azul celeste

Azul celeste obra dauzkagun baina azaldu ezin ditugun sentimenduei buruzkoa da, gizaki bakoitzaren oinordetza emozionalei eta antzinakoei buruzkoa.  Buenos Aireseko familia dinastia baten orainalditik, iraganera eta balizko etorkizunerako bidaia bat izango da denboran. Elkarren artean ezagutzen ez diren hiru pertsonaiek beren nahiak, sekretuak, poztasuna eta malenkoniak aztertuko dituzte, baina galdera berberak jasoko dituzte oinordetzan eta soilik ikusleak, detektibe gisa, aurkituko ditu horiei erantzuteko aztarnak.


Leah (44) arrives back to suburban Sydney after living in an isolated commune for the past twenty-seven years. A lot has changed in Sydney since she left. Technology has advanced, culture has shifted, and the old familiarities of home now feel completely foreign. Set across the first two days of her arrival home, Leah navigates both the new, the old and the unexpected. Suburbia is not quite how she remembered it and to her surprise neither is she. 

Vitrine Filmes

Vitrine Filmes is a production and distribution company founded in 2020 in San Sebastian by Silvia Cruz and Julieta Juncadella, former students of EQZE. Vitrine Filmes enters the distribution business by proposing a new business model for the exhibition halls. Through a selection of films that is renewed every 4 months, Vitrine will have as subscribers the exhibition halls, who will be able (depending on the category of the subscription) to exhibit the pieces of the catalog freely.

Casa de lava

Casa de Lava son encuentros de permacultura y cine abiertos a las distintas exploraciones que la no ficción contemporánea está llevando a cabo durante los últimos tiempos. Desde la ecología y la materialidad en las distintas prácticas fílmicas a las voces que irrumpen desde otra óptica distinta a la hegemónica; reivindicando desde el feminismo una visibilidad tradicionalmente ocultada.