(León, 2016 1956). At the beginning of the 80s, he held his first individual exhibitions in galleries in Madrid such as the Galería Buades or the Galería Moriarty, and in other international galleries such as the Portfolio Gallery in London. During the first edition of PhotoEspaña, in 1998, he held a major retrospective exhibition that was a huge success in the eyes of the public and critics alike. Garcí-Alix received the National Award in Photography from the Spanish Ministry of Culture in 1999, at which time he began working with the Juana de Aizpuru Galleries in Spain and Kamel Mennour in France.

Between 2003 and 2006, he lived in Paris where he made a trilogy in video alternating photographic and filmed images that represent the incursion of the artist in the video format, a discipline that he is also continuing to develop in the present time. In 2009, he presented a retrospective exhibition at the Museo Nacional Centro de Arte Reina Sofía as well as at the Ullens Centre in Beijing and in the Maison de la Photographie in Moscow, among others. His work can be found in large international collections such as the Museo Nacional Centro de Arte Reina Sofía (Spain); Fonds Nationales d'Art Contemporain (France) or the Deutsche Börse (Germany), among others.

Garcia-Alix has combined his photographic activity with that of editor, being the founder of the cultural magazine El Canto de la Tripulación (1989 to 1997), and now he is the director, together with Frédérique Bangerter, publishing house, Cabeza de Chorlito.

Alberto was born in Ferrol in 1978 and in 2007, his first venture was the short-film Microfugas#1 shot on 16mm film. In 2008, he was awarded a grant by hangar.org to enjoy a bi-annual fellowship as artist-in-residence. In 2010, he was awarded a grant from Bcn 'Producció, which supports contemporary art, for the Espai Cub and he was a finalist for an award in the Premi Miquel Casablancas.   He also authored a book of essays released by the cult publishing house “Aristas Martínez Editorial”, called Microfugas, teoría y juego de la profanación (Microleakage, Theory and Game of Desecration).

In 2011, he was awarded the grant for audiovisual talent from the Galician Agency for Cultural Industries (AGADIC) and he filmed O quinto evanxeo de Gaspar Hauser (The fifth gospel of Kaspar Hauser), with  Zeitun films. In 2013, and after more than a year of intense editing of material, he presented the film internationally at the Rotterdam IFF, winning the FIPRESCI award from the international film critics. The film was shown in close to 30 festivals, figuring among the official selections in the Viennale International Film Festival, Lima, Cinemateca Uruguaya, Valdivia, Seville and others, between 2013 and 2014. In 2015 Alberto moved to Madrid, where he currently lives and is wrapping up his second full-length feature film.

He has exhibited his work in LABoral Centro de Arte, the Galician Centre for Arts and Images (CGAI), the Museum of Contemporary Art (MAC), the Barcelona Contemporary Art Centre (CCCB) and the Barcelona Museum of Contemporary Art (MACBA), among others.

Stanley Sunday, also known as David Domingo or Davidson, was born in Valencia in 1973 and currently resides in Barcelona where he is director in the O • Creative Studio. Since the 90s, he has filmed short films in Super 8 and 16 mm that he himself is responsible for showing live in sessions with spectacular raffles for sausages and other objects used as props. His first short, Súper 8 (1996), was selected to be part of the itinerant cycle From Ecstasy to Rapture. 50 years of the Other Spanish Cinema, organised by the Centre of Contemporary Culture of Barcelona, and screened at the Australian Centre for the Moving Image (Melbourne), Anthology Film Archives (New York) and the National Gallery of Art (Washington D.C.). Since he has been living in Barcelona, he has filmed numerous music videos (Fangoria, Hidrogenesse, Espanto, Doble Pletina), and he makes videos of Barcelona's funniest funny beards and furry parties (PopAir Party), and videos for his Rotten Instagram.

Eduardo Williams (1987, Argentina) studied at the University of Cinema in Buenos Aires, before being part of Le Fresnoy - Studio national des arts contemporains [National Studio of Contemporary Art] in France. His first short films were filmed in Argentina but his most recent work, filmed in different countries, included the uncertainty of movement and spontaneous connections made within various contexts as a central part of his work. Pude ver un puma (Could See a Puma, 2011) and Que je tombe tout le temps? (That I’m Falling, 2013) were premiered in Cinéfondation and the Directors’ Fortnight at the Cannes Film Festival. Tôi quên rồi! (I Forgot!, 2014) had its premiere at FIDMarseille. Retrospectives of his short films were organised in the Cinémathèque Française de Paris and in the International Festival of Valdivia, Chile, among others. His first feature film, El auge de lo humano (The Human Surge, 2016), won the Best Film Award in the Cineasti del presente [Emerging Young Directors] at the Locarno Film Festival and was later shown at the Toronto International Film Festival - Wavelengths, New York Film Festival - Projections, Tate Cinema, Viennale and the Mar Del Plata International Film Festival, among others.

Nicole Brenez teaches Cinema Studies at the University of Paris 3-Sorbonne nouvelle. She is the Director of the Analysis & Culture Departement at La Femis since 2017 and the curator of the Cinémathèque Française's avant-garde film series since 1996. With the filmmaker Philippe Grandrieux, she produces the film collection “It May Be That Beauty Has Strengthened Our Resolve”, devoted to revolutionary filmmakers forgotten or neglected by the histories of cinema.

Among her last publications:

Cinéma d'avant-garde Mode d'emploi (Gendaishicho-shinsha Publishers, 2012)

We support everything since the dawn of time that has struggled and still struggles Introduction to lettrist cinema (Moderna Muset/Sternberg Press, 2015),

Jean-Luc Godard théoricien des images (La Camera Verde, 2015).

Born in Kaiserslautern (Germany) in 1965. Studied Literary Studies, Theatre Studies and Philosophy at the Freie Universität Berlin. His dissertation on the French writer and filmmaker Marguerite Duras was published under the title Das ortlose Kino. Über Marguerite Duras in 2001. In 1996/97 he was head of the European Institute of Documentary Film in Mülheim/Ruhr and editor of the series Texts for the Documentary Cinema and of the DOX - Documentary Film Quarterly. He has served as the director of the International Short Film Festival Oberhausen since 1997. Author of numerous articles and essays on cinema, photography and cultural politics. Various lectureships in Film and Cultural Management. Co-editor of Provokation der Wirklichkeit. Das Oberhausener Manifest und die Folgen (2012) and author of Film und Kunst nach dem Kino (2012).

Fascinated by the cinema from childhood, Blanca Rego studied filmmaking. She soon moved away from classical narratives to experiment with non-traditional structures. Later on she studied animation and multimedia.

Her work focuses on the relationship between image and sound, with influences from both classical experimental cinema and contemporary electronic visual music. Her work as a researcher should also be highlighted, which includes collaborating on a regular basis as a writer and translator with different media and institutions.

Blanca Rego’s work has been viewed at numerous film and digital art festivals as well as in museums, art centres and galleries, such as the Iota Center (Los Angeles), the ZKM (Karlsruhe, Germany), Espacio Fundación Telefónica (Madrid), the Fundación Juan March (Madrid), the CA2M (Móstoles), the Centre de Cultura Contemporània de Barcelona, the MARCO (Vigo), etc.

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Founder of Magnetova, Javi Camino is one of the most prolific music video producers in Galicia. He has directed television series, short films and the impossibly grotesque Z-series such as Damn Bastard. He is currently engrossed in the direction of his first feature film documentary: Nación de muchachos. He collaborates on a regular basis writing in digital media such as Tentaciones, Vice or Notodo.

Xiana Arias Rego (A Fonsagrada 1983) has a degree in Communication Sciences from USC and works on Radio Galega on the Diario Cultural and Onda Vital programs. She has authored the books Ortigas (Espiral Mayor, 2007) and Acusación (Galaxia, 2009). She participated in the collective artefacts Pirata and Non Conciliados of the Cineclube de Compostela, with which she has collaborated for years. She is Sira’s voice in Sira and the Robot: Adventures on Titan (Xerais, 2015) and she plays bass in the group Atrás Tigre. As Lara Tigre, in 2011, she authored the short film A caza dos gatos on the eviction of the self-managed social centre (CSO) A Casa das Atochas. She participated in the cast of the music video Bótalle Caldo de Malandrómeda authored by Manuele Caamagno for Tremendo Audiovisual and this year she premiered as a film actress in the film A estación violenta de Anxos Fazáns, in the post-production phase

Aarón Porras Suárez was born in Santiago de Compostela in 1992. Since he was very little he had had contact with different artistic disciplines, such as music, in which he focused on the piano, or painting, but it would not be until he was on the threshold of adulthood when he came into contact with the world of performing arts, after being a former student in the Faculty of Philosophy. He began his studies at the Higher Institute of Learning for Dramatic Arts (ESAD) in Galicia and continued at the School of Dramatic Arts of Castille and León (ESADCYL), where he is currently continuing his studies at the Actor’s Centre headed by Lorena de las Bayonas. He has trained with different professionals in the world of theatre, cinema, clown and dance like Esteban Roel, David Serrano, Marta Pazos, Antón Valén, Santiago Cortegoso, Guillermo Weickert, Ermel Morales and Agustí Vila. He participated in the production of Don Juan by the theatre company Voadora and in the series El final del camino.

Cora Patiño has a degree in Art History, from the Autonomous University, and a Master’s in Cultural Management from the Carlos III University of Madrid.

Her professional background is related to the development of cultural activities. She has collaborated in the coordination and production of exhibitions within the Culture Department of La Casa Encendida, in exhibits such as “Measuring the Distance, Gonzalo Lebrija” and Ryan Trecartin & Lizzie Fitch. Patiño has participated in the organisation of the Márgenes International Film Festival. During her stay in Barcelona, she worked in the Galería Miguel Marcos, where she participated in the ARCO Contemporary Art Fair. Since then, she has been developing independent curatorial projects such as Habitación unheimlich for Room Art Fair. She is currently coordinating courses in photography, illustration and digital arts at the Istituto Europeo di Design - IED in Madrid.

Born in Santiago de Compostela in 1996, Elba Souto is currently studying audiovisual communication at the USC, as well as violin and lyrical singing at the Santiago Professional Conservatory of Music.

She is a member of the band Ivy Moon, as a singer and guitarist, which was a finalist at the Imagine Festival in Croatia. 

This year Elba Souto will also be a member of the Youth Jury in the 65th edition of the San Sebastián Film Festival. 

Iria Iglesias graduated in Audiovisual Communication from the University of Santiago de Compostela. She is interested in various cultural fields, such as design, publishing and photography. She is also involved in several musical projects as a keyboardist (The Funkles, Malasombra and NG). She has participated in several workshops focusing on audiovisual creation, within the Vedra Audiovisual Laboratory (LAV), Unitaria and Curtocircuíto, among others. 

Dea Gómez (Salamanca, 1989) and Diego Omil (Pontevedra, 1988) have been working together since 2012 under the name Los Bravú, pursuing a multidisciplinary career, built on the solid foundation of the comic strip as the main tool of expression. In this field, they published several comic books with the publishing house Fulgencio Pimentel, where their latest work, Muller!  (2016) should be highlighted, in addition to collaborating with other publishers such as Apa-Apa or Fosfatina and numerous self-published publications.

With respect to their pictorial and sculptural work, they have exhibited in galleries and international festivals, like O Parche in Bogotá, the Angoulême International Comics Festival (FIBD), JUSTMAD and Estampa.

Their work has earned them awards and grants such as the INJUVE, an internship in the Maison des Auteurs in Angoulême or more recently the Royal Academy of Spain in Rome.

www.losbravu.com

Adela Dávila is a graduate in Art History and she is currently studying photography at the Mestre Mateo School of Art and Design (EASD Mestre Mateo). She began to pursue work in the cultural field by participating in two editions of the Fourth Public Art Fair with the Compostelan galleries Metro and Aire Centro de Arte. At the latter in 2014, she was the joint curator of the exhibition La Razón Salvaje. In recent times, she is working on projects related to the claim of the feminine role in art, which materialises in small didactic workshops, such as Creadoras para construir a explicación dun século (2016) and Maruja Mallo: mulleres na historia (2017).

Gonzalo Ballesteros (Puertollano, 1989) is a film critic and graphic designer. Co-editor and art director of Revista Magnolia since 2011, he has been a judge in the jury of film critics at the Málaga Film Festival, programmer in the Convergence Category at the Gijón Film Festival and is currently a programmer at the CEME DOC Documentary Film Festival in Mexico City. Since 2014, he has lived in Galicia where he has collaborated with the newspaper Praza Pública.  

María Donapetry Camacho worked as a Spanish teacher at Pomona College (California) and at the University of Oxford (GB) until June 2016. Her publications revolve around Spanish, Latin American and English-speaking films with a gender perspective. Desasosiegos éticos en cine y literatura (Seville: Benilde, 2017) is her most recent book. She currently collaborates as an associate researcher at the University of Oxford and at the University of A Coruña.

Co-editor of the magazine, A Cuarta Parede, film critic and audiovisual researcher. I María Luz Morales Award from the Galician Audiovisual Academy in the category of 'Best Video Essay in Galician Audiovisual Media', Brais Romeroé is currently working in the field of video essays on films from directors such as Jørgen Lethe, Alfred Hitchcock and Nicolas Winding Refn. He is currently working on his doctoral thesis on the Galician language in Galician fiction in recent years.

Miguel Mariño, awarded the CREA at the 2015 Curtocircuíto, is the filmmaker of the three “Xs”: explorer, experimental and expanded. Mariño walks the trails of the projected image in search of new places, guided solely by a kind of treatise on audiovisual alchemy that allows him to manipulate the components of the cinema itself and transmute them into sensory raw materials.

Jorge Coira commenced his professional career in the late 1990s. His self-taught training, was completed with courses and workshops taught by Michael Radford, Víctor Erice, Allan Starski, Béatrice Caufman, Robert Lovenheim, Isaki Lacuesta, Víctor Duplá and Mariano Barroso. He participated in the first edition of the Berlinale Talents.

After several short films, such as Mofa y Befa en Gran liquidación and O matachín, in 2004, Coira released his first feature film: El año de la garrapata [The Year of the Tick]. His next film, 18 comidas [18 Meals] (2010), received numerous awards, being selected in more than 30 international festivals.

In television, in addition to his role in advertising and video clips, his work focused on directing series, participating in projects for TVG such as Terra de Miranda, As leis de Celavella, Padre Casares and Luci,  as well as national series such as El comisario, RIS, Pelotas and Sé quién eres.

He also directed the creative documentaries Torre de Breoghán, ¿Qué culpa tiene el tomate? (premiered in the MoMA in New York in 2009), and Días de reparto, in addition to television work such as Chunda Chunda.

In 2016, he won the Goya for Best Editing for his work in El desconocido [Unknown], by Dani de la Torre.

Claudia Brenlla was born in Brazil in 1964 to Galician parents. A Law Degree graduate, she was introduced to the cinema through the Lumiére Cineclube and the filming of The Last Patrol (Cora Peña, 2000). As a member of La Casa Mortimer Production Company, in Vigo, she learned the different crafts involved in filming fantastic fiction shorts. Between 2001 and 2004, she made two documentaries for the TVE Sound Stones series, music from around the world recorded in the former Lusophone African colonies of Cape Verde, Sao Tome and Principe.

From there, she commenced projects of greater personal involvement, projects realised with a minimum amount of equipment in which she assumed the responsibility for the camera, the script and the editing: O clune dos sem teto [The Homeless Club] (2008) and Bata por fora (Muller por dentro) [Apron Outside (Woman Inside)] (2008).

After a long period of time carrying out corporate work, in 2016, she was invited to participate in the film Visións (Cinema e Muller) [Visions (Women in Films)] and in the third edition of the Chanfaina Lab. The result of these proposals were Ambos mundos and III video historietas, two experimental short films that share the pleasure of showing the tragicomic aspect of the daily routine of human beings. She is currently working on editing the material recorded throughout the summer and the winter of 2006 on Ons Island.

Toni Bascoy is an Art History graduate from the USC and a graduate in Screenplay Writing from the National Film Institute (NIC), Madrid. He has written short scripts such as ABCD, 100%, Zombie TV, La rebelión de las máquinas and César camina; and the feature film La niebla (directed by David Hernández).

He has also worked as a screenwriter on TVG, in programs such as Cociña para todos and in the radio series Misión Amarte. He participated in the collective book Steampunk Cinema and alone in Double Feature: Dark Star + El regreso de los muertos vivientes [The Return of the Living Dead].

He published the novel Nosferatu contra Sherlock Holmes, and is pending the sale of his second novel, El habitador. As a comic book writer he has to his credit Crónicas Románicas (http://cronicasromanicas.tumblr.com/tagged/crónicas-románicas), illustrated by Uxío Broullón, and Las aventuras de D.H Lawrence (http://tonibascoy.blogspot.com.es/search/label/D.H. Lawrence), in which he is also the illustrator.

A Coruña (1988). Enrique Lojo’s career began mainly on TVG, writing for series such as Luci, Casa Manola, TAC and Serramoura. In the online domain, he has written Entertainment for Flooxer from Atresmedia and Mambo, a musical comedy for RTVE.

He also authored the screenplay of the documentary Nación de muchachos. He is currently immersed in the development of his first feature film for Warner Bros. Spain and in the writing of Viradeira, a new fiction series for TVG.

Borja F. Caamaño (A Coruña, 1979) worked as a director and screenwriter for several producers while advancing in his literary career with three novels and a collection of stories, and he did the same thing in the film industry with two short films, which he wrote and directed that had a more than acceptable impact: Belice and Se necesita personal.

However, it was in 2014 that Schimbare, the film he wrote for his colleague Álex Sampayo, was selected in nearly twenty festivals to win the Best Film Award at the San Diego, Rhode Island and Berlin International Film Festivals, along with a special mention from the jury in Huelva. Moreover, several of his theatrical works were nominated for Best Script or the best show at the María Casares Awards.