Almost from the very beginning of what then was called cinematographer, some people sensed that, besides being a sideshow, entertainment or even a way to get to know the world, cinema could be the purpose, a form of self-expression with self-imposed rules.
This novelty released the most passionate love which sometimes turned into manifests and declarations closely related to the avant-garde desire of being absolutely modern. Some cineastes were also eager to express their love for cinema through films. It is very curious that, on the verge of the birth of sound film, two silent productions which are prove of this passion for the medium appeared: THE CAMERAMAN (1928) and MAN WITH A MOVIE CAMERA (1929). In their own way, Buster Keaton (along with Edward Sedgwick) y Dziga Vertov were on the same page.
The term “cinephilia” is used to talk about that feeling of love that needs to be expressed and shared. For more than a century, certain directors and films have acknowledged the passion and courage that takes to make cinema. They admit the necessity to see life through a camera and, at the same time, the awareness that cinema itself pervades life. It is for that reason that films such as VIDA EN SOMBRAS (1949), PEEPING TOM (1960) or PERSONA (1966) exist.
For a show like Días de Cine, which is born from cinephilia, it is almost imperative to compile some of the love letters that cinema has written for itself. A love that does not exclude neither distress or humour. It is for that reason that we express our gratitude to Las Palmas de Gran Canaria International Film Festival for giving us the opportunity of writing our own love letter though nine films we love.
The Man with the Movie Camera
Through the Olives Trees
Berberian Sound Studio
Vida en sombras
Me and Earl and the Dying Girl