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                        18 September, 2013 Eloy EncisoArraianos Technical specifications: 2012. Spain,In Gallician with Spanish subtitles, colour and sound, 70’. Screening format: Blu-ray Between existentialism and scepticism, Arraianos blends a mythical moment with a historical moment. The film appears to reflect on the rapidly disappearing agrarian way of life, using a cinematic language that contains references to Pedro Costa and Straub-Huillet. The Arraianos, the inhabitants of the border region shared by Galicia and Portugal, are, however, a fictional people, the roles being performed by amateur actors that recite, with distance, dialogues taken from the theatrical piece O bosque (1977), by Jenaro Marinhas. Under the pretext of filming an identity, Arraianos shows the discourses that invent such an identity. 
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                        20 September, 2013 Pablo Cayuela and Xan Gómez ViñasFóra The co-director of the film, Xan Gómez Viñas, will be present Technical specifications:2012. Spain. V.O.S.E. In Galician, with Spanish subtitles, colour and sound, 95'. Screening format: Blu-ray The insane asylum: factory or landscape? With this reflection begins this look at the history of the insane asylum located in Conxo and at the institutional repression of insanity. Founded at the end of the 19th century on the outskirts of Santiago, the asylum was the site of one of the most important moments of the anti-psychiatric movement taking place between 1972-1975, when, according to one of the doctors there, “while trying to free the insane, we freed ourselves.” The film, with echoes of Peter Robinson and Joaquim Jordà, is built on a visual atlas of documents that shows the traces of a resistant subjectivity. 
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                        25 September, 2013 Sergio CaballeroFinisterrae Technical specifications: 2010. Spain. In Polish, with Spanish subtitles, colour and sound, 80’. Screening format: Betacam digital With a dense web of references ranging from the Buñuel of La Voie Lactée to the Garrel of La cicatrice intérieure, and including also elements of road movie and music video, Caballero alludes to an accumulative, but not eclectic, state of the image. Finisterrae narrates the adventures of two ghosts who are tired of living and decide to follow the Pilgrim's Road to Santiago in order to regain their mortality. Meanwhile, a number of unconnected situations take place, representative of the search for an extravagant and exaggerated meaning that is able to create amazement once again in response to what is being told. 
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                        26 September, 2013 Albert SerraHistòria de la meva mort The filmmaker will be present. National premiere Technical specifications: 2013. Spain and France. In Catalan, with Spanish subtitles, colour and sound, 140'. Screening format: 35 mm Like the 200 hour-long monologues by Goethe, Hitler and Fassbinder in his previous film, Els tres porquets (2012), here also Serra presents a twilight story based on text and its interpretation. Historia de la méva mort tells of the slow decline of European civilization by using another anachronism, the encounter between an enlightened Casanova and a pre-romantic Dracula. The films suggests that licentiousness as an exercise in autonomy and emancipation of the subject is beginning to be replaced by uncertainty and contemporary superstition. 
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                        2 October, 2013 Sergio OksmanA story for the Modlins The filmmaker will be present Technical specifications:2012. Spain. V.O.S.E. In English, with Spanish subtitles, colour and sound, 26'. Screening format: Hard disk The emotional charge of Barthes' punctum in response to the realism of photography is the resource used to tell this story. The film takes place on the line between what is true and what seems to be true, between what images document and what they invent. The discovery of a suitcase full of old photos leads the narrator to a wild tale that starts in the New York apartment seen in Rosemary's Baby and ends in an apartment on Calle Pez in Madrid. A Story for the Modlins shows the sophistication of the poetics of the found material. 
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                        4 October, 2013 Oskar AlegríaLa casa Emak Bakia Technical Specifications: 2012. Spain, in Spanish, colour and sound, 83’ Screening format: Blu-ray This film, the first feature by Oskar Alegría, is a complex narrative artefact configured around the search for the house where Man Ray filmed Emak Bakia (1926), one of the fundamental surrealist films. At the same time, it is an essay that develops amidst the figurative and material footprints left by the early avant-gardes, and also an inquiry into mystical journeys of initiation where, as if in a theatre of images, the social types of the early 20th century circulate. 
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                        9 October, 2013 Víctor IriarteInvisible The filmmaker will be present Technical specifications: 2012. Spain. In Spanish, colour and sound, 65’ Screening fomat: Hard disk Invisible plays in the area between what is shown and what is hidden, between the expectation of what viewers think they will see and what they actually see. The film “illustrates” its argument with segments from the soundtrack's production process. Heavily influenced by performance and video art, this film provides an example of filmmaking based on both listening and seeing. The text, music and narrative intertitles reduce the centrality of the image, and give the spectator renewed protagonism. 
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                        10 October, 2013 Virginia García del PinoEl Jurado The filmmaker will be present Technical specifications: 2012. Spain. In Spanish, colour and sound, 60’ Screening format: Blu-ray Over a period of 60 minutes El Jurado tells the story of a real murder as narrated by lawyers, witnesses and the accused during the trial. However, there is no mise-en-scéne or documentation in images, just close-up views of the pixelated, almost abstract, faces of some members of the jury. The successive reactions in their faces indicate that this film is about the rhetoric of the speaker and the scepticism of the listener, now playing the role of judge. 
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                        16 October, 2013 Óscar Pérez and Mia de RibotHollywood Talkies The co-director of the film, Mia de Ribot, will be present Technical specifications: 2011. Spain. In English, with Spanish subtitles, colour and sound, 61' Screening format: Blu-ray This film explores fiction within fiction. In the early years of talking pictures, before dubbing, Hollywood decided to expand to the South American market by duplicating its most successful films with Spanish actors. During the years of the Spanish Republic, a large group of actors, screenplay writers and technicians travelled from Spain to Los Angeles to act in these uncanny reproductions, reinforcing paradoxically the Latino stereotypes. The film Hollywood Talkies, based on still photos and shot in the places actually used during the project, is the chronicle of a failure, presented as a ghost story. 
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                        17 October, 2013 Adrià JuliàNegative Inchon (from the Notes on the Missing Oh series) The artist will be present Technical specifications: 2012. Toning, no sound, 14’ Screening format: 16 mm Oh, Inchon!, which premiered briefly as Inchon (1981), is a super production about the 1950 landing of U.S. forces during the Korean War. It is also the story of one of the greatest Hollywood fiascos ever. The film, considered by many to be racist and colonialist, was withdrawn from cinemas and put in a warehouse just a week after release. In the series Notes on the Missing Oh, Adrià Julià explores the film, its context, spaces and discourse, as a story about the limits of the film industry. Negative Inchon is the projection on film of the digital version of Inchon, which was posted on Youtube by an anonymous user and filmed again, in negative, by the artist. 

Held on 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30 sep, 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17 oct 2013
In recent years, it has been pointed out that one of the identifying features of Spanish alternative film is the exploration of the real. This series, however, looks at the other side, the return to a narrative that, formulated upon the basis of allegory, expropriated stories and the renewed role of the spectator, flows beyond the space of stories. 
 
 Fiction, in the logic of film discourse, is usually considered a closed system that presents an airtight world set up by the filmmaker. The film shoot, following this idea, responds to a rigid staging process designed to ensure the translation of the work from screenplay to moving images. In contrast, the ten films chosen for this series challenge this condition which, using the ideas of Noël Burch, might be described as the exile of chance. With a variety of media and enunciations, the selected filmmakers and artists understand fiction to be a multiplication of experience and a cross between the subjectivities that give it meaning, a meaning that is anything but univocal and instead appears in an ongoing state of interrogation. If more orthodox film generally engages in an image fetishism that, in the sense put forward by Benjamin, erases any tie between the image and its means of production, the films included in  Unending Stories  use images and their narrative with the opposite intention: as a medium for questioning who, how and from which vantage point the story is told. So, here the story is not a life-like mask by which to convey the real, but rather an element with which to broaden the real. 
 
 The  Unending Stories  program looks into different ways of telling. In the first place, there is telling that uses history's fundamental archetypes, such as in the case of  Història de la meva mort  by Albert Serra and  Finisterrae  by Sergi Caballero, treated here from the perspective of allegory and the grotesque. Secondly, the telling can use objects found and resignified within the story, such as  La casa Emak Bakia, by Oskar Alegría, and  A Story for the Modlins, by Sergio Oksman. Thirdly, stories can be told by examining myth as the repetition that builds identity, whether that of a community, as with  Arrianos  by Eloy Enciso, or of a territory, as with Conxo in  Fóra  , by Pablo Cayuela and Xan Gómez Viñas. Fourthly, the telling might entail showing the role of the spectator in the construction of a supposed truth derived from the dispute between image and language, such as in  El jurado, by Virginia García del Pino, and  Invisible  , by Víctor Iriarte. And lastly, there is the telling that develops the fiction as an archive from which to excavate the stories buried by the “film” institution, as in  Hollywood Talkies  by Óscar Pérez and Mia de Ribot and  Negative Inchon  by Adrià Juliá.
In short, Unending Stories features a series of recent audiovisual works driven by a new type of narrative that, far from exhausting the real, takes it to a new irreducible state.
Itinerancies
- Museo Nacional Centro de Arte Reina Sofía, Madrid- 18 September, 2013 - 17 October, 2013 
- Palacio de los Condes de Gabia. Diputación de Granada- 30 January, 2014 - 27 March, 2014 
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. 
 - 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. 
 - The Joaquim Jordà Residencies 2025- Friday, 7 November 2025 - 7pm - In this activity, the recipients of the 2024–2025 Joaquim Jordà Residencies call, María Aparicio (Argentina, 1992) and Andrés Jurado (Colombia, 1980), present respective projects related to their body of work in an open session in which to discover the creative interests of two of the most up-and-coming independent film-makers in Latin America today. - María Aparicio presents the working process behind her film De sol a sol (From Sun to Sun), along with a brief journey through the films prior to this project and her filmic searches in recent years. Aparicio synthesises the storyline of De sol a sol from the silhouettes of a group of men who appear between the stalks of a reedbed. Their knives glisten as the sun hits them, flashing and disappearing with their hand movements. Apprentices split the canes using no method; seasoned workers cut with skill. They are workers from a sugar mill in northern Argentina and are watched by Juan Bialet Massé, accompanied by Rosich, assistant and photographer. It is Argentina in 1904 and he is carrying out a mission assigned to him by his country’s government: to travel the Argentinian provinces, reporting on the state of the working classes. - Andrés Jurado, for his part, will look over his own work and the work of the La Vulcanizadora lab in this session. He will also open the archive stemming from the research process in the project Tonada, a journey through the succession of peace agreement betrayals in the history of Colombia. From the colonial era, understood in tumultuous terms, as a hurricane that keeps swirling, to the present day he traces the stories of people like Tacurrumbí, Benkos Biohó, Bateman and the many women and men who were betrayed by governments and oppressors. Tonada seeks to build a sound and film dialogue between the guerrilla disarmament of 1953 and the period following the peace agreement of 2016, invoking these and other events and confronting traumas of betrayal through a film composition devised to be sung. But what is sung? Some of these songs are heard and voices are shared in this presentation. - The Joaquim Jordà Residences programme for film-makers and artists was set in motion by the Museo Reina Sofía in 2022. The initiative comprises a grant for writing a film project rooted in experimentation and essay, as well as two subsequent residencies in FIDMarseille and Doclisboa, international film festivals devoted to exploring non-fictional film and new forms of audiovisual expression. 
 - 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. 
![Carol Mansour y Muna Khalidi, A State of Passion [Estado de pasión], 2024, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/palestine%20cinema%20day%202.jpg.webp) - Palestine Cinema Days- Sábado 1 de noviembre, 2025 – 19:00 h - The Museo Reina Sofia joins the global action in support of Palestine with the screening of A State of Passion (2024), a documentary by Carol Mansour and Muna Khalidi. The film features in Palestine Cinema Days Around the World, an annual festival, held globally every November, which aims to show films made in Palestine to an international audience. The initiative was conceived as a form of cultural resistance which seeks to give a voice to artists from Palestine, question dominant narratives and create networks of solidarity with the Palestinian people. - Palestine Cinema Days Around the World originates from Palestine Cinema Days, a festival organised in Palestine since 2014 with the aim of granting visibility to Palestinian cinema and to support the local film community. In 2023 the festival was postponed because of the war in Gaza, and has since become borderless in scope, holding close to 400 international screenings in almost sixty countries in 2024. This global effort is a show of solidarity with Palestine and broadens the voices and support networks of the Palestinian people around the world. - A State of Passion exposes the atrocities committed against the Gaza population via the testimony of Dr Ghassan Abu Sittah, a Palestinian-British plastic surgeon living in London who decides to return to Gaza and save lives in the city’s hospitals amid the Israeli army’s indiscriminate bombing of the population. A necessary film exposé of the experience of unrelentingly working twenty-four hours a day for forty-three days in the Al Shifa and Al Ahli Hospitals in the city of Gaza. 




![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)