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Friday, October 7 / Museo Reina Sofía. Nouvel Building, Auditorium 400
Opening session
Communists (Kommunisten, 2014, 70 min., HD archive)
The Algerian War! (La Guerre d'Algérie!, 2014, 2 min., HD archive)
With introduction of Giorgio Passerone, Christophe Claver and the curators of the series. Due to health reasons, the presence of Jean-Marie Straub is canceled.
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Saturday, October 8 / Museo Reina Sofía, Auditorio Sabatini
Session 1
Chronicle of Anna Magdalena Bach (Chronik der Anna Magdalena Bach, 1968, 93 min., HD archive)
Introduction: José Luis Téllez
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Sunday, October 9 and Tuesday, October 25 / Filmoteca Española, Cine Doré. Sala 1
Sesión 2
Machorka-Muff (1963, 18 min., DCP)
Not Reconciled or Only Violence Helps Where Violence Rules (Nicht versöhnt oder Es hilft nur Gewalt, wo Gewalt herrscht, 1965, 55 min., DCP)
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Tuesday, October 11 - 9:30 p.m. and Sunday, October 16, 5:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 3
Eyes Do Not Want to Close at All Times or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn (Othon) (Les yeux ne veulent pas en tout temps se fermer ou Peut-être qu'un jour Rome se permettra de choisir à son tour (Othon), 1970, 88 min., DCP)
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Thursday, October 13 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 4
The Bridegroom, the Actress and the Pimp (Der Bräutigam, die Komödiantin und der Zuhälter, 1968, 23 min., HD archive)
Every Revolution Is a Throw of the Dice (Toute révolution est un coup de dés, 1977, 10 min., HD archive)
Introduction: Paulino Viota
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Friday, October 14 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 5
History Lessons (Geschichtsunterricht, 1972, 85 min., HD archive)
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Saturday, October 15 / Filmoteca Española, Cine Doré. Sala 1
Session 6
Introduction to Arnold Schoenburg’s “Accompaniment to a Cinematic Scene” (Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene, 1973, 15 min., DCP)
Moses and Aaron (Moses und Aron, 1975, 105 min., DCP)
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Wednesday, October 19 - 7:30 p.m. and Sunday, October 23 - 9:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 7
Jackals and Arabs (Schakale und Araber, 2011, 11 min., DCP)
Fortini/Cani (Fortini/Cani, 1976, 83 min., DCP)
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Thursday, October 20 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 8
From the Cloud to the Resistance (Dalla nube alla resistenza, 1979, 105 min., HD archive)
Introduction: Ana Useros and Miriam Martín
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Friday, October 21 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 9
Too Early, Too Late (Zu früh, zu spät — Trop tôt, trop tard — Troppo presto, troppo tardi, 1981, 100 min., HD archive)
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Saturday, October 22 - 7:00 p.m. and Tuesday, November 22 - 7:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 10
En Rachâchant (1983, 7 min., 35 mm)
Class Relations (Klassenverhältnisse, 1984, 130 min., 35 mm)
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Wednesday, October 26. Filmoteca Española, Cine Doré. Sala 2, 8:00 p.m. and Sunday, October 30, Sala 1, 7:30 p.m.
Session 11
The Death of Empedocles or When the Green of the Earth Will Glisten for You Anew (Der Tod des Empedokles oder Wenn dann der Erde grün von neuem euch ergläntz, 1987, 132 min., 35 mm)
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Thursday, October 27 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 12
Proposition in Four Parts (Proposta in quattro parti, 1985, 41 min., HD archive)
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Friday, October 28 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 13
Cézanne. Conversation with Joachim Gasquet (Cézanne. Dialogue avec Joachim Gasquet, 1990, 51 min., 35 mm)
A Visit to the Louvre (Une visite au Louvre, 2004, 48 min., 35 mm)
Introduction: Natalia Ruiz
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Saturday, October 29. Filmoteca Española, Cine Doré. Sala 1 - 7:30 p.m. and Tuesday, November 8, Sala 2 - 9:00 p.m.
Session 14
Black Sin (Schwarze Sünde, 1989, 42 min., 35 mm)
Introduction: Manuel Asín
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Wednesday, November 2 - 5:30 p.m. / Filmoteca Española, Cine Doré. Sala 1 and Sunday, November 6 - 8:00 p.m. / Filmoteca Española, Cine Doré. Sala 2
Session 15
The Antigone of Sophocles After Hölderlin’s Translation Adapted for the Stage by Brecht 1948 (Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948, 1992, 100 min., 35 mm)
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Thursday, November 3 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 16
From Today until Tomorrow (Von heute auf morgen, 1997, 62 min., 35 mm, original version with French subtitles)
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Friday, November 4 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 17
Sicilia! (1998, 66 min., 35 mm, original version with French subtitles)
Introduction: Santos Zunzunegui
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Saturday, November 5 - 7:00 p.m. and Tuesday, November 15 - 7:30 h / Filmoteca Española, Cine Doré. Sala 1
Session 18
The Wayfarer (Il viandante, 2001, 5 min., DCP)
The Knife Sharpener (L’arrotino, 2001, 7 min., DCP)
Workers, Peasants (Operai, contadini, 2001, 123 min., 35 mm)
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Tuesday, November 8 - 7:30 p.m. and Sunday, November 13 - 9:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 19
The Return of the Prodigal Son (Il ritorno del figlio prodigo, 2003, 29 min., 35 mm original version with French subtitles)
Humiliated: That Nothing Produced or Touched by Them, Coming From their Hands, Proves Free from the Claim of Some Stranger (Workers, Peasants— Continuation and End) (Umiliati: che niente di fatto o toccato da loro, di uscito dalle mani loro, risultasse esente dal diritto di qualche estraneo (Operai, contadini — seguito e fine), 2003, 35 min., 35 mm, original version with French subtitles)
Dolando (2003, 7 min., DCP)
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Thursday, November 10 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 20
Incantati (2003, 6 min., HD archive)
These Encounters of Theirs (Quei loro incontri, 2006, 68 min., 35 mm)
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Friday, November 11 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 21
Europa 2005, 27 October (Europa 2005, 27 octobre, 2006, 11 min., HD archive)
Joachim Gatti (2009, 1 min. 30 sec., HD archive)
Corneille-Brecht or Rome, the Only Object of My Resentment (Corneille-Brecht ou Rome, l'unique objet de mon resentiment, 2009, 27 min., HD archive)
Oh, Supreme Light (O somma luce, 2010, 18 min., HD archive)
Introduction: Jenaro Talens
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Saturday, November 12 / Filmoteca Española, Cine Doré. Sala 1
Session 22
Artemide’s Knee (Le Genou d'Artémide, 2008, 26 min., 35 mm)
The Witches / Women Among Themselves (Le streghe — Femmes entre elles, 2009, 21 min., 35 mm)
The Inconsolable One (L'Inconsolable, 2011, 15 min., DCP)
The Mother (2012, 19 min., DCP)
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Wednesday, November 16 - 7:30 p.m. and Sunday, November 20 - 15:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 23
Lothringen! (1994, 21 min., 35 mm)
Itinerary of Jean Bricard (Itinéraire de Jean Bricard, 2008, 40 min., 35 mm)
An Heir (Un héritier, 2011, 20 min., DCP)
Concerning Venice (History Lessons) (À propos de Venise (Geschichtsunterricht), 2014, 23 min., DCP)
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Thursday, November 17 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 24
A Tale by Michel de Montaigne (Un conte de Michel de Montaigne, 2013, 34 min., HD archive)
Dialogue of Shadows (Dialogue d'ombres, 2014, 28 min., HD archive)
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Friday, November 18 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 25
Communists (Kommunisten, 2014, 70 min., HD archive)
The Algerian War! (La Guerre d'Algérie!, 2014, 2 min., HD archive)
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Saturday, November 19 - 7:30 p.m. and Tuesday, November 22, 10:00 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 26
The Aquarium and the Nation (L’Aquarium et la nation, 2015, 31 min., DCP)
Introduction: Albert Serra (November 19 only)
Jean-Marie Straub and Danièle Huillet
To Make the Revolution Also Means to Put Back Into Place Things that Are Very Ancient But Forgotten
Held on 07, 08, 09, 10, 13, 14, 15, 16, 17, 19, 20, 21, 22, 23, 24, 26, 27, 28, 29, 31 oct, 02, 03, 04, 05, 06, 07, 10, 11, 12, 14, 16, 17, 18, 19, 20, 21 nov 2016
Museo Reina Sofía presents, in collaboration with Filmoteca Española, a comprehensive retrospective on the film-makers Jean-Marie Straub and Danièle Huillet. The series, comprising works spanning from 1962 to the present day, reflects one of the most cohesive and relevant film projects in the 20th century, whereby cinema is both an artistic form and a way of politically bursting forth in the present. Engaging in dialogue with Jean-Marie Straub, the series includes new translations of the vast majority of the films, original format screenings, remastered copies, a significant number of premieres in Spain, and a new publication featuring essays on the film-makers.
Jean-Marie Straub and Danièle Huillet are a key reference point in the field of cinema and contemporary art. Distantly inseparable in one part of the French Nouvelle Vague (Rivette, Godard, Moullet) and on the margins of New German Cinema, the production of their early films was divided between Germany, Italy and France, characterising a filmography shot in three countries and in different languages. This trait would not only distinguish the scope of their work in the aesthetic and political debates at the time, it would also set out a profound reflection on history, identity and European borders.
The poetics of Straub-Huillet adhere to the technical origins of film, whilst also readying us for a new relationship with the world’s sounds and images. Their work, like that of those they greatly admired - Cézanne, Griffith, Mallarmé, Chaplin and Schoenberg - opens up new pathways. Both figure among those to have obdurately reformulated what a new art, an art that starts, could become, while retracing a brief history of film before moving back to the point that is transformed in its inception. In the origins of their films we find artistic works – dramas, novels, music, music scores and paintings – rather than scripts, works that the directors reappropriate, uproot from their cultural contexts (Classical Antiquity, the Ancien Régime, the French Revolution, the Paris Commune, post-war Europe…), and place in the present as a critical event; they are destined not to be translated into a new language, but to be received and interpreted as an emancipatory tool for their new audiences. In the films of Straub-Huillet texts, works and images form a sequence that describes a revolutionary pedagogy of culture and history throughout time.
Following the death of Danièle Huillet in 2006, Jean-Marie Straub continues to work, upholding filmic poetics such as rupture and revelation, with his recent films, some of which will be shown for the first time in Spain in this film season. These works demonstrate social conflicts, citizen repression and the violence of power as they continue to explore the limits of representation on a political and artistic level.
In collaboration with
Filmoteca Española
Curatorship
Chema González and Manuel Asín
Itinerary
CGAI-Filmoteca de Galicia (December 29, 2016 - February 22, 2017)
TABAKALERA - Centro Internacional de Cultura Contemporánea, Donostia / San Sebastián (January 13 - March 31, 2017)
Filmoteca Cantabria (August 30, 2017 - October 1, 2017)
La Filmoteca - Institut Valencià de Cultura (January 9, 2018 - February 7, 2018)
NUMAX, S. Coop. Galega (February 6, 2018 - December, 2018)
Organised by
Museo Reina Sofía
Itinerancies
CGAI, Centro Galego de Artes da Imaxe
29 December, 2016 - 22 February, 2017
Tabakalera
13 January, 2017 - 31 March, 2017
La Filmoteca - Institut Valencià de Cultura
9 January, 2018 - 7 February, 2018
![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)
Más actividades
Christian Nyampeta and the École du soir
13, 14, 15 NOV, 11, 12, 13 DIC 2025
Christian Nyampeta is a Rwandan artist, musician and film-maker whose work encompasses pedagogies and community forms of knowledge production and transmission. His Ècole du soir (Evening School) is an art project conceived as a mobile space of collective learning and is named in homage to Ousmane Sembène (1923–2007), a pioneer of African cinema who defined his films as “evening classes” for the people, a medium of education and emancipation through culture.
This block is made up of three double sessions: the video work of Christian Nyampeta, the films of École du soir and one of Ousmane Sèmbene’s feature-length films. Nyampeta will introduce all three first sessions.
Long Live L’Abo! Celluloid and Activism
4, 5, 6 DIC 2025
L’Abominable is a collective film laboratory founded in La Courneuve (Paris, France) in 1996. It came into being in response to the disappearing infrastructures in artisan film-making and to provide artists and film-makers with a self-managed space from which to produce, develop and screen films in analogue formats such as Super 8, 16mm and 35mm. Anchored in this premise, the community promotes aesthetic and political experimentation in analogue film opposite digital hegemony. Over the years, L’Abominable, better known as L’Abo, has accompanied different generations of film-makers, upholding an international movement of independent film practices.
This third segment is structured in three sessions: a lecture on L’Abo given by Pilar Monsell and Camilo Restrepo; a session of short films in 16mm produced in L’Abo; and the feature-length film Une isle, une nuit, made by the Les Pirates des Lentillères collective.
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
Building on the legacy of the Glossary of Common Knowledge and the current European program Museum of the Commons, the SCK invites participants to reflect on the power of language to shape our understanding of art and society through a co-learning methodology. Its ambition is to be both nomadic and situated, looking at specific cultural and geopolitical situations while exploring their relations and interdependencies with the rest of the world.
In the current context fraught with war and genocide, the criminalization of migration and hyper-identitarianism, concepts such as un/belonging become unstable and in need of collective rethinking:
How can we reframe the sense and practice of belonging away from reductive nationalist paradigms or the violence of displacement? How to critically hold the entanglement of the colonial routes and the cultural roots we are part of? What do we do with the toxic legacies we inherit? And with the emancipatory genealogies and practices that we choose to align with? Can a renewed practice of belonging and coalition-making through affinity be part of a process of dis/identification? What geographies —cultural, artistic, political— do these practices of de/centering, up/rooting, un/belonging and dis/alignment designate?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
Ylia and Marta Pang
Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.
On the Art of Occupying Spaces and Curating Film Programmes
23, 24, 25, 30, 31 OCT 2025
On the Art of Occupying Spaces and Curating Film Programmes is a film programme overseen by Miriam Martín and Ana Useros, and the first within the project The Cinema and Sound Commons. The activity includes a lecture and two films screened twice in two different sessions: John Ford’s Fort Apache (1948) and John Gianvito’s The Mad Songs of Fernanda Hussein (2001).
“By virtue of a group of film curator enthusiasts, small plazas and vacant lots in Madrid’s Lavapiés neighbourhood became cinemas with the arrival of summer. The city streets made room for everyone: the local residents who came down with their seats tucked under their arms, or those who simply came across the Lavapiés Film Festival with no prior knowledge of it, but knowing how to recognise a free and convivial film screening, as enticing as light is to moths. The Festival’s film curators had to first reach a consensus with one another, by assembly, and then with others, addressing issues ranging from electricity to the transfer of rights to show the films.
Whereas the annually organised Festival resembled a camp, the weekly CSOA (Squatted Self-managed Social Centre) La Morada film society looked more like a settlement. In each squatted social centre, a micro civilisation is founded, and nestled among its infrastructures is always a film society. Why? We’ll see. A direct outcome of the 15M anti-austerity movement, this film society was contentless in form (the content, the films, were decided upon from session to session). Anyone was free to enter, and therefore free to curate the line-up, although not haphazardly — there was a method, ultimately devised so the community would not close, so it would never have one set image of itself.
Part of this method entailed relating the film from the following week to the recently viewed one, and the same method has gone into putting together this two-session programme. The Festival and the film society were, moreover, attempts at rectification: the festival logic and the very same film-club logic, according to which film boils down to an excuse for debating serious issues. There would be nothing to debate but much to ponder. For instance, about the manufacturing of enemies by a nation that chooses enemies in the world, with one film from the year the State of Israel was proclaimed and another from the year the Twin Towers were razed to the ground. The USA manufactures functional enemies and heroes and American cinema, in addition to showing us this, manufactures unforgettable characters: the Apache chief, Cochise, and mother courage, Fernanda Hussein. We’ll see”.
Miriam Martín and Ana Useros