Held on 19, 20, 26, 28, 29, 30 Apr, 03, 05, 06, 07, 10, 11, 13, 14, 17, 19, 20, 21, 24, 25, 27, 28, 31 May, 03, 04, 10 Jun 2017
* Please check times of second sessions.
This series presents the filmic actions, imaginaries and productions of the Tricontinental, a collaboration between Global South countries during the period of decolonisation and emancipation in the 1960s and 1970s. The First Tricontinental Conference was held in Havana in January 1966, whereby a new organisation called OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America) was set up to build relations of solidarity between countries and revolutionary movements from the three Third World continents flying the flag of internationalism. It sought to bring together “the tw0 biggest contemporary movements from the World Revolution: the Socialist and National Liberation movements,” in the words of Mehdi Ben Barka, chairman of the Tricontinental preparatory commission.
Drawing inspiration from the ideas of Frantz Fanon (The Wretched of the Earth, 1961), Amílcar Cabral, Ho Chi Minh and Ernesto Che Guevara (with his famed “Message to the Tricontinental: create two, three… many Vietnams, that is the watchword”, published in 1967), the Tricontinental formed and set the revolutionary trends of a subaltern world searching for its own speech and identity. After the First Conference, the Tricontinental magazine was published on a regular basis in different languages under the artistic direction of Alfredo G. Rostgaard, while the Conference of the Latin American Solidarity Organisation was arranged in Havana in August 1967.
This frenetic, cosmopolitan and transversal activity, carried out in only a couple of years, interspersed and circulated hitherto national and fragmentary debates about Third Cinema and the New European cinemas — movements such as Cinema Novo in Brazil, Argentina’s New Wave, the Documentary Movement in Cuba and the Liberation Cinema in Africa splintered and mutated into an international, alter-global network of collaboration. The undercurrent of a new political imagination oriented the work of film-makers such as Glauber Rocha, Ruy Guerra, Leon Hirszman, Humberto Solás, Santiago Álvarez, Ousmane Sembène, José Massip, Ugo Ulive, Sarah Maldoror, Masao Adachi, Chris Marker, Jean-Luc Godard and Fernando Solanas, who all worked in alignment with the objectives and aspirations laid down by the pioneering International Tricontinental. This film series demonstrates the cinematic articulations and exchanges of this constellation to set forth a genealogy of responses to contemporary globalization, formulated as the prevalence of the neoliberal regime. Moreover, beyond its fervent but short-lived political moment, the Tricontinental constituted the search for an imaginary of equality in difference, and the fascination of this experience still endures today.
Programme
Session 1. Insurgent cities, cities on the move
Wednesday, April 19 - 7:00 p.m.
Second pass: Saturday, April 29th - 7:00 p.m.
Jorge Sanjinés. ReOVlución [ReOVlution]
Bolivia, 1963, OV, b/w, 9 '
Mario Handler. Me gustan los estudiantes [I like students]
Uruguay, 1968, OV, b/w, 6 '
Ugo Ulive. ¡Basta! [Enough!]
Venezuela, 1969, OV, b/w, 19 '
Mario Handler. Liber Arce, Liberarse [Liber Arce, Liberate]
Uruguay, 1968, OV, b/w, 11 '
Ugo Ulive. Caracas dos o tres cosas [Caracas two or three things]
Venezuela, 1969, OV, b/w, 15 '
João Trevisan. Contestação [Reply]
Brazil, 1969, OV, b/w, 14 '
Nicolás Guillén Landrián. Desde La Habana 1969 recordar Cuba [From Havana 1969 remember Cuba],
Cuba, 1969, OV, b/w, 17 '
With the presentation of Olivier Hadouchi, curator of the cycle.
Session 2. Tackling Torture
Thursday, April 20 - 7:00 p.m.
Second pass: Sunday, April 30th - 5:00 p.m.
Mohandi Ali-Yahia. Die Frage [The Question]
Germany, 1961-1962, OV with Spanish subtitles, b/w, 16 '
Ugo Ulive. TO3
Venezuela, 1972, OV, b/w, 24 '
Sarah Maldoror. Monagambée
Angola / Algeria, 1969, OV with Spanish subtitles, b/w, 19 '
Chris Marker. On OVus parle de la torture [We talk about torture]
France, 1969, OV with Spanish subtitles, b/w, 23 '
Cine Base Group. Las tres A son las tres armas: Carta abierta de Rodolfo Walsh a la junta militar [The three A's are the three arms: Rodolfo Walsh's open letter to the Argentine military junta]
Argentina, 1979, OV, b/w, 25 '
Session 3. Portrait of an artist in crisis
Wednesday, April 27 - 7:00 p.m.
Second pass: Saturday, May 6th - 7:00 p.m.
Glauber Rocha. Terra em transe [Earth in trance]
Brazil, 1967. OV , b/w, 100 '
Session 4. Breathing blows
Friday, April 28th - 7:00 p.m.
Second pass: Sunday, May 7th - 5:00 p.m.
Piero Nelli. Labanta negro! [Get up nigger!]
Italy-Guinea Bissau, 1966, OV with Spanish subtitles, b/w, 38 '
Jean Rouch and Jacques d'Arthuys. Makwayela
France, Mozambique, 1977, OV with Spanish subtitles, color, 18 '
Session 5. Towards a cinema of liberation
Wednesday, May 3 - 7:00 p.m.
Second pass: Saturday, May 13 - 7:00 p.m.
Leon Hirszman. Maioria absoluta [Absolute majority]
Brazil, 1964, OV with Spanish subtitles, b/w, 16 '
Fernando Solanas and Octavio Getino. La hora de los hornos [The hour of the furnaces]
Argentina, 1968, OV, b/w, 90 '
Session 6. The Dawn of the Damned
Friday, May 5 - 7:00 p.m.
Second pass: Sunday, May 14 - 5:00 p.m.
Ahmed Rachedi. L'Aube des damnés [The dawn of the damned]
Algeria, 1965, OV with Spanish subtitles, b/w, 90 '
Session 7. Black Atlantic Screams
Wednesday, May 10 - 7:00 p.m.
Second pass: Saturday, May 20th - 7:00 p.m.
Ousmane Sembène. Borom Sarret [The man and the car]
Senegal, 1963, OV with Spanish subtitles, b/w, 18 '
Ousmane Sembène. The noire of ... [The She Black ...]
Senegal, 1966, OV with Spanish subtitles, b/w, 60 '
Djibril Diop Mambéty. Contras 'City
Senegal, 1970, OV with Spanish subtitles, color, 22'
Humberto Solás. Simparelé
Cuba, 1974, OV with Spanish subtitles, color, 31 '
Session 8. African culture will be reOVlutionary or not
Thursday, May 11 - 7:00 p.m.
Second pass: Sunday, May 21 - 5:00 p.m.
William Klein. Festival Panafricain d'Algiers
RFA, Algeria, France, 1970, OV with Spanish subtitles, color, 90 '
Session 9. Reinterpreting the Colonial Massacre
Wednesday, May 17 - 7:00 p.m.
Second pass: Saturday, May 27th - 7:00 p.m.
Ruy Guerra. Mueda, memória e massacre [Mueda, memory and massacre]
Mozambique, 1979, OV with Spanish subtitles, b/w, 100 '
Session 10. 4 times 25
Friday, May 19 - 7:00 p.m.
Second pass: Sunday, May 28th - 5:00 p.m.
Celso Martinez Corréa and Celso Lucca. 25
Brazil, Mozambique, 1975, OV with Spanish subtitles, b/w, 120 '
Session 11. Storms from the East
Wednesday, May 24th - 7:00 p.m.
Second pass: Saturday, June 3 - 7:00 p.m.
Masao Adachi and Koji Wakamatsu. Red Army / PLFP: Declaration of World War
Japan, 1971, OV with Spanish subtitles, color, 71 '
Session 12. Here and elsewhere
Thursday, May 25th - 7:00 p.m.
Second pass: Sunday, June 4 - 5:00 p.m.
Jean-Luc Godard and Anne-Marie Miéville. Ici et ailleurs [Here and elsewhere]
France, 1974, OV with Spanish subtitles, color, 53 '
Session 13. Lost and forgotten battles in the Middle East
Wednesday, May 31 - 7:00 p.m.
Second pass: Saturday, June 10 - 7:00 p.m.
Heiny Srour. Saat El Fahrir Dakkat, Barra Ya Isti Mar [The time of liberation has arrived]
United Kingdom, France, Lebanon, 1974, OV with Spanish subtitles, color, 62 '
Jocelyne Saab. Beirut Madinati [Beirut, my city]
Lebanon, 1982, OV with Spanish subtitles, color, 36 '
Curatorship
Olivier Hadouchi
Inside the framework of
PHotoEspaña 2017
Más actividades
Files of Tropical Revolutions
Sábado 20 y 27 de junio, 2026 - 19:00 H
The Reframing Banana Imagery series concludes with two works that condense the height and twilight of this period in history, epic sagas that cross borders and registers to embody experiences of armed struggle in the region. Cameras mix with firearms, borders between nations blur and patience reaches breaking point. This is where the tipping point lies, where the bloodshed weighs heavy and the murmurings of regional brotherhood are buried in the ground again.
Pan y dignidad (Carta abierta de Nicaragua) [Bread and Dignity (An Open Letter to Nicaragua)] recounts the historical records and process of national reconstruction in Nicaragua via the Sandinista popular uprising. Historias prohibidas de Pulgarcito (Forbidden Tales of Tom Thumb) places the camera at the heart of the El Salvador revolutionary struggle, interspersing testimonies of daily violence with the verses of the poet Roque Dalton.
Both works understand the armed revolution as an open file under construction. The insurgent brotherhood, although dissolved, still resounds in regional history.
Circling Over Exploited Bodies
Friday, 19 and 26 June 2026 - 7pm
When forms of violence are inflicted on society, film responds from urgency. Images become abstract, sounds fade and the register of dissidence comes from the gut. La zona intertidal (The Intertidal Zone) is an essayistic and poetic approach to the repression of teachers in El Salvador in the 1970s — a teacher studies the biodiversity of the El Salvador coast as a boy finds a body on the same beach. A propósito de la mujer (About Women) interweaves testimonies of misery and rage towards patriarchal structures with fictional scenes of a symbolic procession through a harsh desert.
Both films understand the body as a target of violence and a territory of insurrection, a space where the blood shed by militancy and the patriarchal yoke turn pain into denouncement and existence outside the status quo into an act of political dissidence.
Central American Designation of Origin
Thursday, 18 and 25 June 2026 - 7pm
Fertile lands, farmers’ hands, rural faces. This first programme in the series Reframing Banana Imagery understands the foundations of the Central American experience from exploitation, extractivism and displacement, and from the organisation and resistance that emerged as a reaction. The four films within extend from a lyrical documentary on farmers’ solidarity to the playful subversion of the institutional format of the United Fruit Company.
Bananeras (Banana Growers) is a combative portrait of the inhumane conditions of the American banana plantations located in Nicaragua through much of the twentieth century. Costa Rica Banana Republic is a perspicacious satire via an institutional documentary of banana production, spotlighting the extractive nature of this agro-exporting model in the 1970s. Organización Campesina (Farmers’ Organisation) frames rural resistance in Honduras from a direct depiction and lyrical documentary, while Dos veces mujer (Two Times a Woman) dissects the invisibility of the double-shift working day Central American women farmers endure: working in the countryside and working in the home. As a whole, the works here present the earth at once as a wounded body and a space of dignity.
Cinema, for the First Time
7 and 14 June 2026 – 12:00 pm
The final session in this Moon Projector season contemplates the feeling around the first experience of cinema — cinema as revelation, magic, fantasy and mystery from the first gaze, from the first contact with the medium, and imagery etched on the retina of childhood. The programme shows Émile Cohl’s landmark Fantasmagorie (1908), the first ever hand-drawn animation, and Ignacio Agüero’s Cien niños esperando un tren (One Hundred Children Waiting for a Train, 1988), a feature-length film on play and the origins of cinema.
Fantasmagorie (1908)by Émile Cohl (Paris, 1857– Villejuif, 1938) is the first expression in the history of animated drawing. Émile Cohl was an illustrator who belonged to the Parisian art group Arts incohérents (1882–1895), who was bestowed with an absurdist and pre-Surrealist talent. Whereas the Lumière brothers were able get audiences out of their seats as they witnessed a train moving towards them in 1895, Fantasmagorie is a supernatural experience, akin to an apparition yet also innocuous and entertaining — the inanimate comes to life out of nothing and figures seemingly move with little sense. From the outset, animation was related to caricature, fabulation and the comical, a sweet spot for the dreams of the youngest audience.
From the discovery of new imagery arising from the animated line to knowledge of the world through a screen, Cien niños esperando un tren (1988), by Chilean director Ignacio Agüero (Santiago, 1952), narrates a group of young people’s discovery of cinema in a workshop on the origins of the medium in a poverty-stricken town on the outskirts of Santiago de Chile. Play, fun and learning combine with a fascination with images, as viewing Émile Cohl’s Fantasmagorie (1908) in the workshop becomes an act of freedom.
Elisa González and Leah Pattem. Soy Tribulete 7
13 JUN 2026
Framed inside this year’s Neighbourhood Picnic is the screening, in the Museo’s Cinema, of a film related to the life and protests of the Lavapiés neighbourhood, addressing issues of gentrification and the right to housing: Soy Tribulete 7 (I Am Tribulete 7, 2026), directed by Elisa González and Leah Pattem.
As the Spanish housing crisis takes hold in Lavapiés, this story begins in February 2024, when the residents of Calle Tribulete, 7, a block of apartments on a street in this Madrid barrio, receive a letter informing them that their building has been sold to a vulture fund. The news spreads quickly around the neighbourhood and, when it comes to the attention of González and Pattem, they grab their cameras and head straight for the building, where they encounter one hundred or so residents still in shock. The film Soy Tribulete 7 flows into the building and the daily lives of a community united, whose looming eviction occasions the fight of their lives. Ultimately, a path of resistance that will turn the community into a symbol of struggle for the right to housing.
Both film-makers worked closely with a group of tenants — Cris, Nani, Blanca, José, María Jesús and Antonia — to tell the story of how the building became the most creative stage of resistance ever witnessed in the area. The work presents the daily life of these residents in Madrid’s now-iconic “building fighting eviction”, depicting their collective struggle and the violent disruption to their lives. Through personal interviews, observational footage, archive material, music and a narration by eighty-year-old actress Ana Martín García, the film casts light on the human stories behind a community struggle.
The Neighbourhood Picnic is an annual gathering of festivities organised by Museo Situado, a network made up of associations, activists and residents from Lavapiés, a racially diverse, working-class neighbourhood where the Museo Reina Sofía is located.