Simone Grau, Lars Von Trier’s art director, will be at Las Palmas de Gran Canaria International Film Festival



Among the group of professionals teaching workshops and master classes at the Festival we find Antton Zabala, Juan Barrero, Gonzalo de Pedro, Luis Aller and Kogonada

The registration to the different scheduled activities is open from now on, and must be done by sending an email to
Las Palmas de Gran Canaria, Thursday, February 11, 2016.-The Las Palmas de Gran Canaria International Film Festival, promoted by the capital’s City Council Culture department, will have Simone Grau, Antton Zabala, Juan Barrero, Gonzalo de Pedro, Luis Aller and Kogonada as the ones in charge of the workshops about different aspects of film production that will begin on March 4. Before that, from March 2 to 4, the program plans a series of debates about funding and distribution in cinema, with special attention to the films that have the hardest commercial release, to offer, as an introduction, certain Industry Days aiming at laying the foundations of the MECAS (Mercado del Cine Casi Hecho).

With these workshops the festival carries on the path opened last year with the meetings of “El cine por dentro”, for which it will count on the presence of first-class professionals. Simone Grau, responsible for the art direction and production design of plenty of films, among which stands out her connection to Lars Von Trier’s work, will give the workshop on creativity in the art direction; Antton Zabala will teach the workshop aimed at assistant directors; Juan Barrero will be the one in charge of the day devoted to the auteur cinema; Gonzalo de Pedro will talk about the audiovisual distribution in film festivals; and Luis Aller and Kogonada will offer two master classes, the first one on the sequences that has marked the history of cinema and the second one about the film essay.

In order to participate in the following activities, those interested should send an email to, indicating the name of the workshop they wish to take.

The March 4 to 6 afternoons, from 4 to 8.30pm, will be devoted to the first-person cinema, the everyday cinema, aimed at filmmakers but also at artists and authors from other fields, little wonder the eclectic spirit and curiosity have led Juan Barrero, author in charge of the workshop, to explore cinema’s relation with architecture, music or dance. A maximum of twenty people will be able to join in this encounter, which will cost 30 euros, 20 if student. 

These conferences open to different sensitivities and thoughts start off the question “what happens if we are the observed object?”, a matter that Barrero brings up, taking as reference Pasolini’s quote “for cinema to happen, it is essential a certain state of carnal fascination in front of the faces, objects, landscapes and voices one pursues.”

Juan Barrero, director of La Jungla Interior (2013), a work drinking from his experience in the making of documentaries for National Geographic, which has been at festivals all over the world and which granted him the New Waves Section Best Film Award. This author’s curriculum includes the establishment of Laberynt Films (2012) and the selection of part of his work as a photographer, editor or producer at the Cannes, Locarno, Biennale, San Sebastián, La Habana, Munich, Sao Paulo or Marseille festivals.

Antton Zabala, assistant director in films such as Cachito (1996), Los amantes del Círculo Polar (1998), AzulOscuroCasiNegro (2006), Gordos (2009), Que se mueran los feos (2010) and Primos (2011), among others, will be the one introducing and teaching the workshop dedicated both to people with experience in the film medium and to filmmakers, short-film directors and production and filmmaking students. 25 people will have the chance to participate in this workshop that will take place on March 7 and 8, from 4 to 8.30pm, and that will cost 40 euros, 20 if student. This workshop will approach the figure of the assistant director, link and coordinator between the production and directing teams. The workshop will provide the opportunity to know the keys and methods of this job from the experience of one of the best professionals in Spain.

On March 10 and 11 the workshops of the Festival will be directed to art direction, but from the creative point of view. Simone Grau, a regular in the fact sheet of Lars Von Trier’s films, leads this express course about art direction and production design directed to people who already know the field and has some experience. Other professionals interested in broadening their knowledge of this subject and who belong to other sectors such as Advertising, Theater and Television are as well invited to join in the experience.

Simone Grau will offer the workshop to a maximum of 25 participants from 10am to 1:30pm and 4 to 7:30pm. The registration cost of this workshop taught in English, with simultaneous translation, will be of 50 euros, 25 if student.

On the other hand, thanks to the SPEGC’s collaboration, the Festival will offer a workshop on distribution of audiovisual works, on March 4 and 5, from 9am to 2pm. Gonzalo de Pedro, current director of the festival and member of the Locarno schedule, as well as usual collaborator in festivals such as Distrital, Mexico; Transcinema, Peru; and FICValdivia, Chile; will be he who leads this workshop directed to filmmakers with either some work already produced or some work in development who want to understand the dynamics of the international film festival circuit.

This workshop will admit fifteen people, and its management rests upon SPEGC, which will soon indicate its cost.

Among the group of teachers this Festival will feed on we can find Kogonada, greatest exponent of a generation that explores the film essay. His videos have thousands of followers and his works, available on Vimeo, are shared in social networks. Little is known about this Korea-native author of American nationality apart from his sensibility when approaching projects that reflect his particular way of looking at cinema.

Kogonada’s short films find singularities in the different authors’ view, from Anderson’s symmetry or Kubrick’s central vanishing point to Tarantino’s low-level shots, Bresson’s tactile world and Aronofsky’s sound.

Kogonada, according to what he revealed to the Filmmaker magazine, thinks of his work as “a way of seeing”, as a response to his father’s words, who with a piece of wood in his hands told him “to look, to see.”

Finally, the Festival will have a Master Class in charge of the teacher and filmmaker Luis Aller, author of Transeúntes. Entitled The history of cinema in 5 sequences, and scheduled for next Monday, March 7, Luis Aller will explain cinema as a light-and-shadow language. The teacher of the Barcelona Bande à Part Film School will focus his explanation on the importance of compositions, angles and camera movements. To do so, he will employ some classics such as October, by Sergei M. Eisenstein; Intolerance, by D.W. Griffith; Le crime de Monsieur Lange, by Jean Renoir; Angel, by Ernst Lubitsch; Written on the Wind and Imitation of Life, both by Douglas Sirk; and the recent one Manhattan, by Woody Allen, among others.