Harvard’s Film Study Center recently announced a new award: the Robert Gardner Fellowship, named in honor of the FSC’s founder. The 2013-14 Gardner Fellows are Claire Denis and Spanish filmmaker Eloy Enciso Cachafeiro. Born in Galicia in 1975, Enciso studied filmmaking in Cuba before making his feature debut with Pic Nic in 2007. His second feature film, Arraianos, locates him in that vein of cinema, from Robert Gardner to the current work coming from Harvard’s Sensory Ethnography Lab, that seeks not so much to explain other cultures as to provide an immersive experience of them—be it the Benares of Gardner’s Forest of Bliss (1986) or the Nepalese cable car in Manakamana (2013) by Stephanie Spray and Pacho Velez.
Special thanks: Lucien Castaing-Taylor, Cozette Russell, Ernst Karel—Film Study Center, Harvard; Sally Berger—Museum of Modern Art.This program is presented in partnership with the Film Study Center, Harvard.
$12 Special Event Tickets
Eloy Enciso Cachafeiro in person
Monday April 14 at 7pm
Directed by Eloy Enciso Cachafeiro
Spain 2012, digital video, color, 69 min. Galician with English subtitles
Arraianos is a village in Galicia, the northwestern corner of Spain directly above Portugal. Enciso’s quietly evocative portrait of this place and its inhabitants echoes such recent cinematic descriptions of seemingly pre-modern ways of life as Frammentino’s Le Quattro volte (2010) or Sweetgrass (2009) by Lucien Castaing-Taylor and Ilisa Barbash. But the episodes of the everyday—cutting wood and tending to livestock—are interspersed with excerpts from The Forest, a play from the 1960s by Galician dramatist Jenaro Marinhas del Valle, in which villagers recite snippets of existentialist dialogue. Mixing Flaherty with Straub and Huillet, this combination of documentary and ritual highlights the film’s roots in another strain of contemporary filmmaking often found in Spain and Portugal—the poetic intertwining of fact and fiction in the work of Pedro Costa, José Luis Guerín, and António Reis and Margarida Cordeiro. The film’s fiery climax leads to an epilogue bathed in autumnal light, which may be announcing nothing less than the end of Arraianos itself and, with it, a vestige of the archaic.