‘La aspirante’, Lauren Hadaway’s debut film that won the award for best film in Tribeca, will open the ninth edition of the festival, which will be held in Barcelona between March 15 and 20
The exhibition will also offer a selection of its programming in Madrid, as well as on the Filmin platform
Between the days 15 and 20 of next March will take place in the Girona, Zumzeig and Phenomena cinemas in Barcelona andthe american festival, a sample of American independent cinema that reaches its ninth edition this year. Between the 24th and 27th of the same month, a selection of its programming will be offered in Madrid and will also be available on the Filmin platform.
As in every edition, Americana offers a kind of summary of the highlights of recent months in North American independent production, with films that have passed, generally winning prizes, at festivals such as Sundance, Locarno, Tribeca, Bafici or San Sebastián. It is a selection that provides a general overview of a cinematographic model that is still in force as opposed to Hollywood cinema, although some of its practitioners end up working for the big studios.
This year’s opening tape is ‘The Aspirant’, debut feature by Lauren Hadaway which won the award for best film in Tribeca. The film reflects on the toxic competitiveness in the world of sports – university rowing in this case – based on the obsessions and ambitions of a ‘queer’ character. ‘Ninedays’ is the film chosen to close the show: a conceptual exercise around the fantasy genre by Edson Oda and with Spike Jonze –inactive as a fiction director since 2013, when he made ‘Her’– as producer.
‘pose’, a ‘thriller’ set in the independent music scene of Columbus and with a very current theme, that of podcasts, is another of the relevant titles of this edition. One of its two directors, Noah Dixon, will be present in Barcelona. will also come Tim Sutton to present the retrospective on his work organized by Americana and the Filmoteca de Catalunya. This narrator of fragments, rather than traditional stories, has become a kind of successor to Terrence Malick due to his way of filming and editing. ‘Pavilion’ (2012), ‘Memphis’ (2013) and ‘Funny face’ (2020) are some of the samples of his style that can be seen at the festival.
The shadow of Larry Clark continues to be elongated in the ‘indie’ cinema contemporary, and good proof of this is the documentary ‘We were once kid’, which focuses on the current situation of the protagonists of the seminal ‘Kids’ (1995) by Clark and the screenwriter Harmony Korine. The screening of this documentary is complemented by that of ‘All the streets are silent’, about the ‘skate’ and hip hop culture in that New York of ‘Kids’.