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Torremolinos Cinema: Tribute to Ventura Pons and Ocaña

2023 marked the fortieth anniversary of the death of one of those total creators on whom the plastic arts of the movida of the eighties were based, a central figure of Barcelona's counterculture along with Nazario Luque. The Sevillian José Pérez Ocaña, better known as Ocaña, was not only one of the forerunners in the defence of the LGTBIQ+ movement, but with his creations, which ranged from painting to performance art, including costume designs, he managed to break with a whole genealogy of gender that took away rights and visibility from the collective. With the screening of 'Ocaña, retrato intermitente', the Malaga Festival, in collaboration with the Torremolinos Town Council, which has given life to the Torremolinos Cinema space, also pays tribute to the filmmaker Ventura Pons, who passed away a few months ago. With this tribute to both figures, Torremolinos Cinema positions itself as one of the pioneering sections of the queer scene in defence of individual and collective sexual freedoms.
In collaboration with the Filmoteca de Catalunya.

Screening of Ocaña, retrato intermitente by Ventura Pons. Discussion afterwards whit Carlos Barea, Enrique Lavigne and Pink Chadora.
DAY: Wednesday 6th March
TIME: 17.30 p.m.
PLACE: MVA Cultural Centre 
Free admission until full capacity is reached

To never forget Patricia Ferreira

She liked travelling to faraway countries, reading, watching thrillers, taking photos, teaching, chatting with friends, Mallorca, the Giorgio perfume, Peruvian food and yoghurt ice-cream with blueberries. She loved Emma and Leyre. But above all, she loved her profession as a filmmaker and defending her female colleagues’ rights from CIMA (a Spanish women filmmakers and audiovisual media association), which she helped to found and to which she dedicated many hours.

Patricia Ferreira was a woman who could be defined as ‘complex thinker’ because she didn’t settle for staying at the surface of reality, but she used to endlessly dive into its deeper aspects. Maybe that’s why she used to withdraw into her work so drastically. Not only during the shootings, the preparation of sessions with her pupils or the analysis of a legal text. In those cases, her ability of abstraction was so complete that the world around her no longer existed.

That’s how her seven feature films were born. The first one, almost unknown, El Paraíso, was made for Televisión Española. It was her first fiction film after participating in dozens of documentaries, such as the famous TV series Equinoccio, that was followed, years after, by El país en la mochila, Paraísos cercanos or Todo el mundo es música. In the cinematography area, we find Sé quién eres, El alquimista impaciente, Para que no me olvides, Señora de…, Los niños salvajes (her most precious film that got a Biznaga de Oro Award at the Malaga Festival), and Thi Mai. She also had medium-length-films such as El secreto mejor guardado and El amanecer de Misrak.

A filmography in which memory, family relationships and the inescapable fact of death make up a coherent and revealing whole of its time. A trajectory that will be completed very soon, when the TV series Las abogadas airs on TVE, a series that Patricia created and fought for during her last six years. She did so to return to the light the lives of the female labour lawyers that fought for democracy during the last years of Francoism and the beginning of the Spanish transition to democracy.

I was so lucky to love her and to share with her for more than three decades. I admired her deeply, as it can only be felt towards the loved ones, those who should never be forgotten.

Fernando Lara
DAY: Wednesday 6th March
TIME: 18:30 p.m.
PLACE:  Cine Albéniz, sala 2

Itziar Castro

It’s an honour and a big challenge to talk about you, my friend. It’s been a pleasure to be around you, and I’m so lucky to learn from you.
Itziar worked for living, she didn’t live to work. This is one of the many things she tried to teach us, but our lives usually aren’t as we wish them to be.

Itziar used to stand up, and she knew that. She knew that if any cardinal sin were to be handed out, Spain would be left with envy. Itziar tried to go as far as she could. She tried to be an actress, director, influencer, host, comedian, and writer. And it’s embarrassing to say that she tried to because actually, she was all these things.

She was everything, and that’s why she was slandered. She was everything for survival, but above all she was everything by vocation. Itziar was tough as nails. She was the person making jokes, and she knew that the jokes must be on oneself, which, for me, was one of her superpowers. She proclaimed herself as an almost Goya-winner (as if getting awards proved someone’s talent or profession). We used to laugh at ourselves, saying: ‘Is there any fight you have not been involved in?’

It is said that fear paralyses you and that rage mobilizes you. I never saw her being afraid. I never saw her doubting. I never saw her in anger. I never saw her pitying. I never saw her bowing to an unbridled and frantic rage. Every day, every minute, every move.
Militancy was her oxygen. I’m still trying to figure out how she was able to get everywhere.
Wherever you are, my beloved friend, thank you for teaching us that saying yes is a brave act. We won’t see your hands on the banners anymore. We won’t listen to you shouting on the narrow streets, and we won’t melt in your warm arms. You do know that annoyance and politics won’t be taken away from the ones you’re leaving behind, as Vasallo used to say. Because shutting up runs out, but we have lots of love to spare.
Rocío Saiz

DAY: Thursday 7th March
TIME: 17:30h
PLACE: Centro Cultural María Victoria Atencia 
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