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17 and 25 July, 2013
Carlos Reygadas
Post Tenebras Lux
Technical credits: 2012. Mexico, France, Germany, Holland, in the original Spanish, colour and sound, 120´.
Screening format: Blu-ray
With this film – which has been polemical since its premiere – Reygadas opts for a hermetic discourse to explore the oppressive violence infusing the social spectrum in Mexico. With rigorous formalism, the film launches the spectator into a dense chronology that captures the collapse of a man dragged along by the inertia of his life. What is apparently a self-imposed exile in the countryside with his family does not free him of his sense of alienation; neither the rural idyll nor the everyday activities he shares with the locals calm the irrational attacks of fury and loneliness.
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19 and 27 July, 2013
Juan Carlos Rulfo y Carlos Hagerman
Los que se quedan
Technical credits: 2008. Mexico, in the original Spanish, colour and sound, 98´.
Screening format: Blu-ray
This film portrays several towns inhabited exclusively by women and children, no men whatsoever, as a consequence of the transformation occurring in Mexico's rural communities due to migration to the United States. Rulfo and Hagerman document the intimate consequences of migration, how these consequences change everyday life, projects and aspirations, using a singular poetic of abandonment to address a theme commonly found in Mexican cinema.
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24 July and 1 August, 2013
Emiliano Altuna, Carlos Rossini y Diego Osorno
El alcalde
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
As an example of a violent response to a catastrophic state of affairs, this film portrays Mauricio Fernández Garza, the controversial mayor of San Pedro Garza García, in Monterrey, Nuevo León, the richest and safest municipal in all of Latin America. A radical and unpredictable figure, his ideas and strategies for keeping order have led to major debate at the national level. Is fighting crime from outside the law a valid solution? What are the consequences of a state alongside the State? -
26 July and 3 August, 2013
Nicolás Pereda y Jacob Secher Schulsinger
Matar extraños
Technical credits: 2013. Mexico and Denmark, in the original Spanish, colour and sound, 63´.
Screening format: Blu-ray
Pereda and Secher Schulsinger deconstruct the collective myth of the Mexican Revolution, inquiring into how history and the past are integrated into the present. On the one hand, the film tells the story of three men lost in the desert hoping to join the armed struggle and, on the other hand, it shows a series of rehearsals and auditions with different actors who improvise dialogues for a film about the Mexican Revolution.
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31 July and 8 August, 2013
Kyzza Terrazas
El lenguaje de los machetes
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 78´.
Screening format: Blu-ray
What are the radical ideas and insurgencies of today, the result of the unfinished processes of independence and revolution? Behind Ray and Ramona's turbulent relationship, this film exposes class contradictions and rocks the artificial pillars of national unity. It draws a dramatic line that oscillates between self-sabotage and extreme idealism, coalescing in the couple's iconoclastic impulse to pulverize the Basilica of Guadalupe, with the idea of “creating a better world”. -
2 and 10 August, 2013
Michel Franco
Después de Lucía
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 93´.
Screening format: Blu-ray
In this film, the adolescent body becomes the record of a reality torn apart by traumas, chaos and paralysis. After the death of her mother, a young woman and her father move to the capital city. She soon becomes the target of her classmates, but she resists stoically so as not to upset her father. Franco constructs a revealing and precarious suspension, between extreme violence and silent resistance. -
7 and 17 August, 2013
Roberto Fiesco
Quebranto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 95´.
Screening format: Betacam Digital
With a highly theatrical mise-en-scene, Roberto Fiesco portrays the memory, strength and vitality of two women who have faced a series of losses. Inhabitants of a world of memories, Coral Bonelli, now a transgender actress and dancer, along with her mother, Lilia Ortega, who is also an actress, share with each other and with the spectator a series of tragicomic testimonies. The film highlights the prejudices still associated with the body and with identity, and the fight against them. -
9 and 22 August, 2013
Michel Lipkes
Malaventura
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 75´.
Screening format: Blu-ray
Using a minimalist style, Michel Lipkes captures the everyday gestures of an old man in Mexico City, on his last day of life. The film deals with the proximity of death, showing the protagonist's attempts to remain steady in a world that is pushing him out. Extended time and slow-motion gestures illustrate a banal day, a decrepit place and an old man in decay but who tries, in spasmodic impulses, to hold on to life. -
14 and 24 August, 2013
Everardo González
Cuates de Australia
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 90´.
Screening format: Blu-ray
On a ranch in the Sierra de Coahuila, in northeast Mexico, the severe droughts that plague the area seriously threaten the health of its inhabitants. This documentary records the resulting exodus but also resistance and strategies for survival. Cuates de Australia is an example of how the cultural imaginary regarding a territory can become an archipelago of topographies as uninhabitable as they are inevitable, a forgotten space in which to try out new paths of resistance. -
16 and 28 August, 2013
Kenya Márquez
Fecha de caducidad
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
A mother looking for her son, fearing he has been a victim of organized crime, and a young woman fleeing from a stormy past. Between the morgue and a residential building, the steps of these women draw in spectators and show them the insides of a Mexico that is surprising and at the same time familiar. The film's cathartic moments allow Márquez to experiment with another way of navigating through the social configurations generated by drug trafficking, the mafia and the vestiges of an obsolete patriarchy. -
21 and 29 August, 2013
Gabriel Mariño
Un mundo secreto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 87´.
Screening format: Blu-ray
Using the structure of a road movie, the director captures the state of vulnerability and impenetrability typical of adolescence. The film follows a young woman whose sudden decision to leave the vacuum of her life at home and school leads her to cross the uncertain landscapes of Northern Mexico, revealing improbable moments of shared solitude. Mariño looks at the turbulent transition from childhood to the adult world without falling prey to the clichés often appearing in narratives about adult transition. -
23 and 30 August, 2013
Eduardo Villanueva
Penumbra
Technical credits: 2013. Mexico, in the original Spanish, colour and sound, 88´.
Screening format: Blu-ray
Shot during the first rays of the morning sun or in the fading light of the late afternoon, Penumbra paints a picture of daily life and poverty in rural Mexico, with its characteristic slow pace of life and with very little dialogue. The story's main character, an old hunter in his final days, lets viewers read between the lines about the violence that saturates the country's rural areas. With its contemplative character, Penumbra alludes to a cinema 'on hold', but also to the non-time created by the absence of a future.

Held on 17, 19, 24, 25, 26, 27, 31 Jul, 01, 03, 06, 07, 08, 09, 10, 14, 16, 17, 21, 22, 23, 24, 28, 29, 30 Aug 2013
This summer film series explores one of the contemporary cinematographies that, although very interesting, is among the least distributed in Europe. Midway between new auteur voices and the poetics of documentary, this series shows how film responds to a situation of provisionality and how it imagines the future from the vantage point of uncertainty.
The audiovisual series Imminent Mexico looks at how a generation of filmmakers deals with a present that is provisional, that has major changes looming, and it reveals how an uncertain and immediate future is imagined, due to the difficulty of foreseeing the long term. The twelve films comprising the program, by filmmakers such as Carlos Reygadas, Nicolás Pereda, Juan Carlos Rulfo and Michel Lipkes, and others, offer a critical commentary of the country's current situation, while at the same time exploring a range of themes, forms and styles that in recent years have given Mexican cinema considerable international recognition. The films programmed transit between purely documentary strategies to the resources used in fiction, including a dose of the irreverent spirit typical of experimental film, but most of all they show the blurring of obsolete frontiers and a marked hybridisation between genres.
This new cinema, identified with a type of filmmaking that can be described as 'on hold', favours the creation of atmospheres over orthodox narratives, presenting palimpsestic, surreal or minimalist narrations and chaotic and desolate landscapes that reflect the tacit violence permeating everyday life. The uncertainty of the future has prompted various filmmakers to focus on people's interior lives, subjective experiences and family dynamics. Their work invites viewers to journey through fragmented territories, to inhabit parallel worlds that point to the strange geography formed by migration circuits and organized crime, or to follow subjects who are lost in thought, absorbing the uncertain present and being pulled by the undertow of the future. The detachment of this contemplative cinema evokes the state of alienation of a country in which a perpetual state of alert has become the norm; the visceral nature of a cinema 'on hold' documents the bodies that dramatize social deterioration while the comedy of the absurd reminds us that the end of the world responds to a number of different logics. It can be dramatic, it can be a slow fade to black or it can be the indication of a liberating optimism.
In this respect, the selected films offer glimpses instead of exact visions, they produce distorted refractions more than precise reflections or mirror images of reality; some films intentionally lose their focus, showing only glimmers, fragments, mirages; they reveal some aspects of the world while simultaneously concealing others; in short, they observe reality, assuming its inevitable aura, a key aspect of an aesthetic and a cinema of imminence that is having a considerable impact on contemporary audiovisual culture.
Itinerary
Centro de Cultura Digital, México D.F., March 20 to April 6, 2014, CPH:Dox, Copenhagen. Second semester, 2014
Curatorship
Antonio Zirión and Mara Fortes
Itinerancies
Museo Nacional Centro de Arte Reina Sofía, Madrid
17 July, 2013 - 30 August, 2013
Centro de Cultura Digital, México D.F.
20 March, 2014 - 6 April, 2014
Más actividades

CLINIC 2628. A Community of Writing and Research in the Arts
February – October 2026
Clinic 2628 is a project which supports and brings together writings which stem from the intention to offer a space and sustainable time for research work in art and culture. Framed within an academic context which is increasingly less receptive to the forms in which thinking happens and is expressed, the aim is to rescue the academic from its neoliberal trappings and thus recover the alliance between precision and intuition, work and desire. A further goal is to return writing to a commons which makes this possible through the monitoring of processes and the collectivisation of ideas, stances, references and strategies.
The endeavour, rooted in a collaboration between the Museo Reina Sofía’s Studies Directorship and the Artea research group, via the i+D Experimenta project, is shaped by three annual editions conceived as spaces of experimentation, discussion and a demonstration of writings critical of what is put forward by today’s academia.
What forces, forms and processes are at play when writing about art and aesthetics? In academia, in museums and in other cultural institutions, the practice of writing is traversed by productivist logics which jeopardise rhythms of research and experimentation. The imposition of both scientism inherent in the structure of “the paper” and the quantifying of results which demand a criterion of quality and visibility sterilise and smoothen, from the outset, the coarseness that is particular to writing understood from the concrete part of language: phonic, graphic, syntactic and grammatical resistance connecting the language user to the community the language unites and activates. They also sterilise the roughness enmeshed in the same desire to write, the intuitive, clear and confusing pathways that once again connect the writer to those reading and writing, participating in a common good that is at once discovered and produced.
The progressive commercialisation of knowledge propelled by cognitive capitalism moves further away from the research and production of knowledge in artworks and artistic languages and practices. The work of curators and archive, criticism, performances and essays formerly saw a horizon of formal and emotional possibilities, of imagination that was much broader when not developed in circumstances of competition, indexing and impact. Today, would it be possible to regain, critically not nostalgically, these ways; namely, recovering by forms, and by written forms, the proximity between art thinking and its objects? How to write in another way, to another rhythm, with no more demands than those with which an artwork moves towards different ways of seeing, reading and being in the world?

The (legal) person and the legal form. Chapter II
8, 12, 15 January, 2026 – 16:00 to 19:00
As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project.
This project, titled Unacting Personhood, Deforming Legal Abstraction, explores the dominance of real abstractions—such as exchange value and legal form—over our processes of subjectivation, and asks how artistic practices can open up alternative ways of representing or performing the subject and their legal condition in the contemporary world.
The seminar consists of eight sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation.
In this second chapter of the seminar, the inquiry into the aesthetics and politics of legal form continues with three sessions that pick up the discussions held in Chapter I but propose new lines of flight. The first session focuses on international law via the writings of the British author China Miéville, which allows us to reconsider the notion of the legal form –following Evgeny Pashukanis— and, through it, a variety of (people’s) tribunals. While the crucial concept of the legal person –as the right-holder central to the form of law— was debated in Chapter I, the second session focuses on attempts to extend personhood not (just) to corporations, but rather to nonhuman animals or ecosystems. Finally, the third session poses the question: how can groups and networks use officially recognized organizational forms (such as the foundation or the cooperative) and/or use a collective persona (without necessarily a legal “infrastructure” to match) to act and represent themselves?

Oliver Laxe. HU/هُوَ. Dance as if no one were watching you
Tuesday, 16 December 2025 – 7pm
As a preamble to the opening of the exhibition HU/هُوَ. Dance as if no one were watching you, film-maker Oliver Laxe (Paris, 1982) engages in conversation with the show’s curators, Julia Morandeira and Chema González, touching on the working processes and visual references that articulate this site-specific project for the Museo Reina Sofía. The installation unveils a new programme in Space 1, devoted from this point on to projects by artists and film-makers who conduct investigations into the moving image, sound and other mediums in their exhibition forms.
Oliver Laxe’s film-making is situated in a resilient, cross-border territory, where the material and the political live side by side. In HU/هُوَ. Dance as if no one were watching you, this drift is sculpted into a search for the transcendency that arises between dancing bodies, sacred architectures and landscapes subjected to elemental and cosmological forces. As a result, this conversation seeks to explore the relationship the piece bears to the imagery of ancient monotheisms, the resonance of Persian Sufi literature and the role of abstraction as a resistance to literal meaning, as well as looking to analyse the possibilities of the image and the role of music — made here in collaboration with musician David Letellier, who also works under the pseudonym Kangding Ray — in this project.
These inaugural conversations, part of the main working strands of the Museo’s Public Programmes Area, aim to explore in greater depth the exhibition narratives of the shows organised by the Museo from the perspective of artists, curators and specialists.

Manuel Correa. The Shape of Now
13 DIC 2025
The Shape of Now is a documentary that explores the challenges and paradoxes of memory, reparation and post-conflict justice, extending a defiant and questioning gaze towards the six-decade armed conflict in which the Colombian State, guerrillas and paramilitary groups clashed to leave millions of victims in the country. The screening is conducted by the Aesthetics of Peace and Desertion Tactics study group and includes a presentation by and discussion with the film’s director, Manuel Correa.
The film surveys the consequences of the peace agreements signed in 2016 between the Colombian State and the FARC guerrilla organisation through the optics of different victims. It was recorded shortly after this signing, a time in which doubts lingered over the country’s future, with many groups speculating in the narration. Correa harnesses the power of images, visual and bodily memory, fiction and re-staging as tools for understanding the conflict, memory and healing, as well as for the achievement of a just peace that acknowledges and remembers all victims.
The activity is framed inside the research propelled by Aesthetics of Peace and Desertion Tactics, a study group developed by the Museo’s Study Directorship and Study Centre. This annual group seeks to rethink, from a theoretical-critical and historical-artistic perspective, the complex framework of concepts and exercises which operate under the notion of pacifism. A term that calls on not only myriad practices ranging from anti-militarism and anti-war movements to activism for non-violence, but also opens topical debates around violence, justice, reparation and desertion.
Framed in this context, the screening seeks to reflect on propositions of transitional and anti-punitive justice, and on an overlapping with artistic and audiovisual practices, particularly in conflicts that have engendered serious human rights violations. In such conflicts, the role played by audiovisual productions encompasses numerous challenges and ethical, aesthetic and political debates, among them those related to the limits of representation, the issue of revictimisation and the risks involved in the artistic commitment to justice. These themes will be addressed in a discussion held after the session.

Christian Nyampeta and the École du soir
12 DIC 2025
This second instalment of Cinema Commons, a research, programming and publishing project which explores how film articulates interpretive communities, fosters collective debate and devises proposals for common space, comprises three sessions with Rwandan artist, musician and film-maker Christian Nyampeta and Ècole du soir. The programme’s first session screens video works made by Nyampeta, while the second sets forth a dialogue on the creative processes of Ècole du soir. The third brings proceedings to a close with the screening of a film selected by the artist: Ousmane Sembène’s Guelwaar (1992).
The work of Christian Nyampeta 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.
The New York-based artist from Rwanda uses art and museums to create spaces of encounter and common learning that predate colonial education models. Via popular culture frames of reference like comics, music and film, Nyampeta develops dynamics and spaces from which to build experiences which redress the wounds of diaspora and its consequences; further, his work recovers, makes visible and heals — through a pedagogical and artistic process — the social divides of the African people. With Ècole du soir he also works on creations without authorship and uses the counter-ethnographic legacy of novelist and film-maker Ousmane Sembène as a tool to deconstruct the Western view of Africa.



![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)