Ph.D. Assistant Professor at the Jaume I University (UJI). Doctorate in Audiovisual Communication, Master’s in History and Aesthetics of Cinematography from the University of Valladolid and in New Trends and Innovation Processes in Communication from the UJI. He studied the relationships between film analysis and philosophy. Among his most outstanding books are Nanni Moretti (Cátedra, 2018), La escritura (in)visible [The (In)visible Writing] (Together with Rubén Higueras, UOC Publishing House) and Espejos en Auschwitz: Apuntes sobre cine y Holocausto [Mirrors in Auschwitz: Notes on Cinema and the Holocaust] (Shangrila, 2015). He collaborated as a film critic in different magazines such as CineDivergente, El antepenúltimo mohicano and Detour. In the same way, it counts on different video essays among which stands out: Stanley Kubrick: Cine y límites and Cine, luz, verdad: Apuntes desde Heidegger.

Sound Engineer. She specialises in documentaries and fiction films. Some of her works are Work In Progress, Guest, In the City of Sylvia and The Academy of Muses, by José Luis Guerín; The Legend of Time, The Double Steps, The Damned, The Next Skin and Between Two Waters, by Isaki Lacuesta; The Sky Turns and Futures Market, by Mercedes Álvarez; Black Earth and The Pit, by Ricardo Íscar, Mimosas and Aquello que arde, by Oliver Laxe, Swimming, and Flying, by Carla Subirana, Penélope, by Eva Vila, Les Unwanted de Europa: The Exiled, by Fabrizio Ferraro, Wandering Star, by Alberto Gracia, Staff Only, by Neus Ballús, Journey to a Mother's Room, by Celia Rico and La virgen de agosto, by Jonás Trueba. She also teaches sound classes at Pompeu Fabra University.

He began his professional career as editor and director of cultural programs on BTV (Barcelona Television). His career combines work in television with his artistic work. So, he created a television channel on the Internet, Si te he visto no te aguanto TV, where he dedicates his time to making independent programs and collecting a myriad of alternative programs of cultural interest. He also works for the programme Metropolis, on the Spanish television channel, TVE, and in the video archive and distributor, Hamaca and as a filmmaker of video clips. His cinematographic career includes Objetive Gadafi (2013) and a film series on punk and its place in the recent history of Spain: The Most Macabre of Lives (2014), focusing on Eskorbuto (first prize at the Festival Docks on the Bay of Donosti); Inadaptados, in Cicatriz; and No somos nada, on La Polla Records. The La Virreina Centre of Images in Barcelona is holding an anthological exhibition, at this time, entitled Dame pank y dime tonto [I don't care what people say as long as I get what want].

Argentine-British artist filmmaker, Jessica Sarah Rinland has exhibited work in galleries, cinemas, film festivals and universities internationally including New York Film Festival, BFI London Film Festival, Rotterdam, Oberhausen, Edinburgh International Film Festival and Bloomberg New Contemporaries. She has received grants from Arts Council England, Wellcome Trust, Elephant Trust and elsewhere. Residencies include the MacDowell Colony, Kingston University, Locarno Academy and Berlinale Talents. In 2016 she exhibited a multi-screen, randomized installation We Account The Whale Immortal at Somerset House, London. She is currently an Associate Artist at Somerset House Studios, a 2017 Schnitzer prize awardee at M.I.T., and a Film Studies Center Fellow at Harvard University.

Jean-Pierre Rehm, a graduate of the École Normale Supérieure and student of Modern Literature and Philosophy, he has moved from teaching (History and Theory of Art and Film) in various Art Schools to the French Ministry of Culture and curating exhibitions. In addition, he writes regularly for various media: exhibition catalogues, artists’ and filmmakers’ monographs (Roee Rosen, Tsaï Ming-liang, Mark Lewis, William Eggleston, Jimmie Durham, Peter Friedl, Jacques Rozier, Isidore Isou, etc.), art and cinema reviews like Cahiers du Cinéma, Cinéma, Trafic, etc. Since 2001, he is the Director of the International Film Festival of Marseille, FIDMarseille.

Born in Rio de Janeiro, worked in Paris as a programmer in Studio 43 and critic Cinématographe. Member of the Programming Department at the Cinemateca Portuguesa, where he organised several retrospectives about Pasolini, Straub, or European cinema from the sixties. Artistic Director of Cinecoa Festival between 2011 and 2014, in Portugal.

Antonio Durán 'Morris' was born in Vigo in 1959. An actor with a wealth of experience as a performer under his belt, both in the theater, where he began in 1978 working for the Galician Drama Center, as well as in film and television. He acted in and hosted various programs and series on Galicia Television such as Pratos combinados and Padre Casares. In the film industry, he participated in various films such as Mondays in the Sun, by Fernando León de Aranoa, Cell 211, by Daniel Monzón, A Esmorga, by Ignacio Vilar and Dhogs by Andrés Goteira. Recently he played Manuel Charlín in the Fariña series, from Bambú Producciones for the Spanish television channel Antena 3.

Keina Espiñeira is a researcher in human geography de cine documental. Las fronteras ocupan un papel central en sus trabajos. Ha sido investigadora en Harvard, en Berkeley California y en las universidades de Tánger y Marrakech. En la actualidad trabaja en el Departamento de Sociología y Comunicación Audiovisual de la Universidade da Coruña. Su último cortometraje Tout le monde aime le bord de la mer fue nominado para los European Film Awards 2016 por el Festival Internacional de Cine de Rotterdam.

Silvia Fuentes graduated in  Audiovisual Communication from the University of Vigo (UVIGO), although she completed her degree at the Complutense University of Madrid (UCM). In 2013, she returned to Galicia and co-founded the production company, Audiobeesual. In 2016, she went one step further and delved into fiction and produced Volver Allí [To Go Back There], the first short film by Lucía Estévez, and also Quinta Provincia [Fifth Province], first short film by Miguel Canalejo. She also co-produced, along with the production company, Matriuska Producciones, the short film Area, by Anxos Fazáns, and was the executive producer of Castelao de chumbo á verba, by Miguel López. In 2017, Silvia Fuentes started off as executive producer of Matria, by Álvaro Gago, and continued on as executive producer of the film A Estación Violenta [The Wild Season]. She then continued on as the assistant production manager in Tempo Vertical [Vertical Time], by Lois Patiño, and ended the year by producing Sendeiro (Path), by Lucía Estévez.

Sandra Mg began her studies in Photography in Barcelona, where she discovered analog photography. Her final project  has been selected in the exhibition 10 fotógrafos, 10 Escuelas [10 Photographers, 10 Schools], and she is a finalist in the II Golferichs grant. In 2010, she moved to London where she was employed for her first assignment as a photographer. Then she returned to Barcelona, where she worked as an assistant in several museums. At the same time, she continued her Post-Graduate studies in New Media Art and she held individual exhibitions. In 2013, she began studying Fine Arts in Pontevedra. She participates in collective exhibitions, in venues such as A Casa Das Artes with the Colectivo Latente, or Sala X with the group DX5. Sandra Mg founded White Collective, an independent gallery in Vigo specialising in contemporary photography. Currently, she combines her work in the gallery with assignments in commercial photography, fashion, products and Art Direction.

Ferreira do Valadouro, 1995. 2nd Study in Audiovisual Communication at USC, and before that I did Philosophy. The first time I remember watching a movie, I was 4 years old and I was with my mother, my uncle and my grandmother, and when Groucho Marx appeared on the television screen, I was so scared to see that huge, dark black mustache that I started to cry  and I ran away to my bedroom. Then he wound up becoming one of the heroes of my childhood. For years, I spent afternoons watching the VHS collection of the Marx Brothers that RBA took out and that my uncle always bought, drinking Coca-Colas and eating Nocilla sandwiches. Then I would repeat the phrases and jokes that impressed me most to my friends at school to see if they liked them. Sometimes I got it right. Now I walk around trying to be Robert Mitchum.

Student in Philosophy and Technician in  Audiovisual Production, Radio and Shows, she avidly attends independent and experimental film festivals. She conducted a course on Camera and Audiovisual Voice Production, also attending various semesters on contemporary cinema. With several short films and a web series under her belt, Azahara Rey is specialised in image, specifically oriented towards photography, work that usually plays a role in her projects. With a passion for the cinema and poetry, she has set her sights on film criticism.

Anaid Diz was born in Ourense in 1991. She graduated in Art History from the University of Santiago de Compostela and studied a Master's in Advanced Studies of Art History at the University of Barcelona. She worked as an Art History teacher for several years, combining this work with the coordination of the Guest Department at the Ourense International Film Festival.

Focusing mainly on editing, Iria Silvosa did the film editing of The Wild Season,  along with the directors Anxos Fazáns and Diana Toucedo, as well as the short film Sendeiro (Path)  by Lucía Estévez, although she also produces her own works, most of them non-fiction, in which she plays with the construction itself and the cinematographic language. The processes themselves are protagonists of the work, and themes such as memory and the (re)construction of it are almost a relentless obsession, especially in works such as Atisbos (Glimpses) , LAR  and Extraño (Strange).

Graduated in fine arts by the University of Vigo he was granted with a residence at the prestigious Gyeonggi Creation Center in South Korea. Versatile artist, his works include plastic works, exhibitions, diverse musical projects and his participation in artistic colectives. In the last years his work focuses in the sound exploration with analogic instruments, modular synthetizers, and the intersections between this and the audiovisual media. Currently he his working in soundtracks for audiovisual and performatic works.

Ana Estévez has a degree in Geography and History in the specialty of Museology and a Master's Degree in Contemporary History from the University of Santiago de Compostela. She began her career in artistic and patrimonial education in museum institutions, a topic she works on and researches as Manager in the the area of Education and Cultural Action at the Museum of Galician People. In 2006, she launched the Ethnographic Film Festival, a space for the dissemination and meeting of the relationship between the cinema and social sciences. En 2016, the MICE, with Ana Estévez as Director, transcended the walls of the Museum, having several venues in Santiago de Compostela, becoming an international event with a competitive section.

Critic and cinematographic researcher, Iván Villarmea’s works analyse the representation of space in the cinema, such as in the book, Documenting Cityscapes. Urban Change in Contemporary Non-Fiction Film (2015) and the feature story on landscape and films that he co-edited together with Filipa Rosário for Aniki. Revista Portuguesa da Imagem em Movimento [Portuguese Magazine of Image in Motion] (2017). Since 2011, he has also been writing for the digital film critic magazine, A Cuarta Parede, in which he co-edited along with Horacio Muñoz, the volume Jugar con la Memoria. El Cine Portugués en el Siglo XXI [Play with Memory. Portuguese Cinema in the 21st Century] (2014). Partner and founder of Cineclube de Compostela, a regular collaborator in the Play-Doc Festival, he is currently working in the Art History Department at the University of Santiago.

San Sebastián, 1983. After completing cinematographic studies at The Film and TV School of the Academy of Performing Arts in Prague (FAMU) and The University of Television and Film Munich (HFF), he moved to Galicia where he founded the film production company Esnatu Zinema where he forged renowned work as a director of pieces shot with experimental short film material such as Agility, Nimbos, Lilit and Wild Mane Crop. In these projects, Jaione stands out for work in Super 8 format, because of his confidence in the image, materiality and the lyrical grain. He directed the feature film Arima [Soul] as well as collaborating as a scriptwriter and art director in numerous films.

She studied Audiovisual Communication in Pontevedra, specialising in Production and Filmmaking. Later on, she moved to the capital, where she will be focusing on her doctorate and will investigate the power of production sets in films. She has participated as a scriptwriter, filmmaker and producer in different audiovisual pieces. She was the Director of Production in the short films Flowers for Amalia and Lurna, by Nani Matos, which were recognised nationally and internationally and were finalists in the Mestre Mateo awards. As a screenwriter, she has made her way through television and fictional formats. In 2015, she was a part of the Cans Festival. In 2016, she worked as an Assistant Director in the short film, Superpunky and the video clip, Behind the Curtain. She was a member of the board of CREA in 2016 and 2017, the year in which, coinciding with her motherhood, she made a new video clip, Silent, by El Grito Chino. A new music clip and documentary is about to be premiered, and she continues to work on the screenplay of several personal projects.

A Coruña, 1971. Video Director-Filmmaker, specialising in the creation of experimental video pieces and their incorporation into new media. At the professional level, he has co-directed and produced video clips for artists such as Fangoria, Astrud and La buena vida, winning awards and selections at national and international film festivals. He has directed the post-production and images of audiovisual projects in various formats, such as video clips, documentaries, experimental pieces, live cinemas and short films, with the most recent feature films being Versogramas and Contra os Elementos, as well as the development of the image at the University of Santiago de Compostela. Some of his pieces are part of collections such as the Artium, CGAC and the Provincial Council of Coruña, and his works have been exhibited by institutions such as The Centre Pompidou Metz, La Capella, CGAC, and the Fundación Luis Seoane. Since 2002, he has been teaching material on audiovisual post-production in centres such as the MACBA, CGAC, Escola BAU and the ESDI.

Lugo, 1989. He is a graduate in Fine Arts from the Faculty of Pontevedra, he is an artist focused mainly on animation, working in a traditional manner in two disciplines, that of purely narrative short films making films like Letters to Superman and Homomaquia in which he is currently working along with the production company Abano Producións, addressing, from a serious perspective, issues such as lost or abused animals and he also devotes his time to contemporary art by participating  in various exhibitions, artist-in-residence programmes, etc. performing works on social criticism under the umbrella of irony and humour, which can be seen in works like Sinceramente, yo ya no razono and Siglo XXI focused on the machismo that is on television and the absurd that inhabits social networks.

Scriptwriter. Former student of the Masters in Scriptwriting at the UPSA. In 2013, he began his professional career as part of Porco Bravú with the web series Conversas con Cunqueiro [Chat with Cunqueiro], which allowed him to grow and take the next step to the highly acclaimed El método sueco, which won many awards for the country and was the winner of two consecutive Mestre Mateo awards (2015 e 2016). Director and screenwriter of the short film El comediante, distributed in the Ficciónate short film series. Scriptwriter for the sitcom Peter Brandon, for which he won his third Mestre Mateo award (2018). Host of La transición on Pontevedra Viva Radio. Scriptwriter of Malo será [Could Be Worse], program of sketches on the Spanish TV channel, TVG.

Vigo, 1975. Director and Scriptwriter. He has been working in Galician audiovisual since the 90s. He has been playing different roles in more than thirty feature films and fifteen series: prop man, script, assistant director; and in recent years he worked as a director and scriptwriter  for the television series O Faro and Fontealba on Galicia Television. He also wrote and directed the short films Baseado en feitos que puideron ter acontecido and Auga, the documentary Decreto Filgueiras and several musicals.

Multidisciplinary training that ranges from Fine Arts to scriptwriting and to executive production. He worked in the Creative Development, Art and Production Departments, both in animation and real image. He wrote, produced and directed the short films La carne cruda and Desde dentro with which, through the EPC, he was able to be selected in the in the co-production forums in Cannes and Locarno. In recent times, he has been combining doctoral studies focused on Underground Films with the development of the experimental project Stalk, and the miniseries As crisálidas. As Artistic Director, he works with directors such as Ángel Santos, Anxos Fazáns and Óliver Laxe.