a serial of - argonauta producciones

MYTH
OF
THE
MOTHER
GODDESS
A SERIAL OF
INDEX
INTRODUCTION............................................................................page 2
-Episode 1. Lilith, the first woman.............................................page 3
-Episode 2. Witches, healers and sorceresses.........................page 5
-Episode 3. The return to nature...............................................page 8
-BUDGET.....................................................................................page 11
-OUR TEAM.................................................................................page 12
-BACKGROUND OF THE PRODUCTION COMPANY........................page 15
INTRODUCTION
For a few years now there has been a newly awoken interest for the so called myth of
the Mother Goddess. This interest, which is now starting to reach the general public, is
HDV\WRÀQGLQOLWHUDWXUHDQGDUWDVZHOODVLQSKLORVRSK\DQGJUHDWWKLQNHUV
The series will comprise of three hour long episodes. The documentaries are not trying
to be a revindication of feminism but rather an exhibition of the recuperation of the
route of spirituality, of the feminine energy that effects men, and to women as a sign
of growth and evolution of society. With an agile and enlightening exhibition – not
exempt from analysis- we will bring the viewer closer through the means of knowledge
and transformation in which means they have been researched lately. To do this we can
FRXQWRQLQWHUYLHZVZLWKSHUVRQDOLWLHVRIUHFRJQL]HGSUHVWLJHLQWKHÀHOGVRISKLORVRSK\
anthropology, psychology, therapists and thinkers.
,WZLOOSULQFLSDOO\EHÀOPHGLQ(XURSH0LGGOH(DVWWKH8QLWHG6WDWHV:HZLOOÀOPVSLritual ceremonies, shaman rituals, women’s circles working with energy and all types of
activities that serve to illustrate this journey of the woman from the origins of the human
race thousands of years ago to the return to nature that we currently see in society.
There will be some reconstructions used to illustrate the described rituals and there will
be narration of some parts by well-known international actresses.
pag. 2
EPISODE 1
LILITH, THE FIRST WOMAN
Mine is the sky, mine is the earth,
I’m a warrior, that’s what I am.
Is there any god who can compare to me?
The gods are sparrows, I am a hawk.
The gods are tumbling.
I am a sovereign wild cow.
Song of Inanna
7KHÀUVWHSLVRGHRIWKHVHULHVZLOOEHÀOPHGDERYHDOORQVHWVLQWKH0LGGOH(DVW(XURpe. The starting point of the series will investigate feminine origins from Creation. In
WKHÀUVWGRFXPHQWDU\LWZLOOWUDFHWKHP\WKRIWKH*UHDW0RWKHU²WKHDQFLHQWJRGGHVV
who ruled in the times of heaven and earth before the arrival of religions and cultural
patriarchs-, in her diverse facets and with all the names by which she has been known.
7KHÀUVWZRPDQ/LOLWKWKH6XPHULDQJRGGHVVHVOLNH,QQDQD,VWKDURU$VWDUWp0HVRSRWDPLD,VLV6HMPHW(J\SW0RUULJDQWULSOH&HOWLFJRGGHVV3DOODV$WKHQD*UHHFH
more… There are statues or representations in the form of ritual objects of all of them.
We will get closer to the goddesses as archetypes and spiritual energy that connected
men and women to heaven and earth.
Feminine representations in prehistory overtook the masculine ones and this is what
has lead numerous researchers to talk about matriarchal societies, where the rituals of
fertility and the dependency between life and death marked the rhythm of existence.
$FFRUGLQJWRVRPHH[SHUWVWKHUHH[LVWHGDPDWULDUFKDOVRFLHW\SULRUWRWKHDSSHDUDQFH
RIDJULFXOWXUHDQGWKHSDWULDUFKDOVRFLHW\$PRQJVWZULWHUVDQGUHVHDUFKHUVWKHPDMRrity of which are dead but there are images and archive interviews available – we
FLWH5REHUW*UDYHV0DULMD*LPEXWDV&DUO-XQJ0DU\'DO\-DFTXHOLQH5RVH(ULFK
1HXPDQ2QHRIWKHDXWKRUVZKRZHZLOOLQWHUYLHZLV(GZDUG&:KLWPRQWGLUHFWRURI
the C.C. Jung Training Center of New York and author of, amongst other books, The
5HWXUQRIWKH*RGGHVVWKHIHPLQLQHDVSHFWRISHUVRQDOLW\(G3DLGyV
$Q RII VFUHHQ YRLFH RI D ZHOO NQRZQ DFWUHVV ZLOO UHDG FKRVHQ WH[WV IRU H[DPSOH D
SDUDJUDSKIURPWKH*ROGHQ$VVE\$SXOH\RZKHUHWKHJRGGHVV,VLVOLVWVWKHGLIIHUHQW
QDPHVVKHLVNQRZQE\RUIUDJPHQWVRIWKHGRFXPHQWVE\1DJ+DPPDGL*QRVWLFWH[WV
IURPWKHQGDQGUG&HQWXULHVIRXQGLQ(J\SWLQ
pag. 3
7KH1HROLWKLFDQG3DOHROLWKLFDUFKHRORJLFDOGLVFRYHULHVZLWKWKHLUÀJXUHVRI9HQXVDQG
IHPLQLQHV\PEROVUHSUHVHQWDWLRQVRIIHUWLOLW\ULWHVELUWKF\FOHVVH[XDOLW\«ZLOODOWHUnate with recreations of these ceremonies as the experts have studied them. Thus, dePRQVWUDWLQJ9HQXVGH/HVSXJH)UDQFHDQG9HQXVGH:LOOHQGRUI*HUPDQ\SHUKDSV
the most famous, and the rituals that were done in their environment.
2QH RI WKH (XURSHDQ 6WXGLHV WKDW KDV ZRUNHG PRVW LQ WKLV ÀHOG LV WKH
)UHQFKDUFKHRORJLVW$QGUp/HURL*RXUZHZKRLQVWDUWHGWKHPRVW
LPSRUWDQW H[FDYDWLRQ RI SUHKLVWRULF FDYHV LQ (XURSH :H ZLOO LQWHUYLHZ
one of his students close to one of the sites; we will do the same in Turkey
with James Mellart, archeologist responsible for the excavations of Höyük
Zatal.
These excavations deserve special attention. In these they found imporWDQWÀJXUHVRIPRWKHUJRGGHVVHVIURPDURXQG%&7RJHWKHUZLWKWKHLPDJHVIURPWKHH[FDYDWLRQVDQGWKHÀQGLQJVWKHDUFKHRORgists will talk about the fertility and magical cults.
* Estatue of Isis
$QRIVFUHHQYRLFHRIDZHOONQRZQDFWUHVVZLOOQDUUDWH
WKHVWRU\DQGP\WKRI/LOLWKWKURXJK7H[WVRIWKH7DOPXG
WKH &DEDOD =RKRU LQ ZKLFK VHH KRZ $VWDUWp ,QDQQD
/LOLWKZHUHDQFLHQWSHUVRQLÀFDWLRQVRIZLVGRPWKHP\WK
RI6RÀD7KLVUHDGLQJZLOOEHLOOXVWUDWHGZLWKLPDJHVRI
/LOLWKWKHJRGGHVVDGRUQHGZLWKWKHOXQDUFURZQGRQH
LQ0HVRSRWDPLDDURXQG%&$OVRLQ0HVRSRWDPLD ZH ÀQG D IULH]H WKDW UHSUHVHQWV WKH WUHH RI OLIH
protected by women.
:LWKDÀQDOUHFRQVWUXFWLRQZHZLOOLOOXVWUDWHWKHIDOORI/LOLWKWXUQHG
LQWR D ZKRUH DQG WKH ODWHU FUHDWLRQ RI WKH (YH P\WK LGHDO FRPSDQLRQLQDVPXFKDVEHLQJLQIHULRURULJLQ$GDPVULEZHDNDQG
directly responsible for the original sin that all her daughters would
inherit.
* Venus of Lespugue
(France)
pag. 4
EPISODE 2
WITCHES, HEALERS AND
SORCERESSES
The source of the spirit never dies.
They call it the female mystery.
The entrance to the mysterious female
Is the root to al heaven and earth
Fragile, itís fragile, hardly exists
But touch it, it will never dry
Lao Tse, Tao Te King
* The kidnapping of Europe
In the period rituals that highlight the natural rhythm, where life and death alternate,
is where women have been secularly protagonists in the form of shamans, healers or
sorcerers. In the second episode we’ll analyze the relevant role of these women, treated unfairly by the church, doctors and other patriarchal sectors that didn’t want to or
NQHZWRVHHWKHLPSRUWDQFHRIWKLVNQRZOHGJHLQVRFLHW\$QGKRZLQVSLWHRIHYHU\WKLQJ
this knowledge has remained in many cultures, including highly industrialized societies
DQGSODWIRUPVRIVFLHQWLÀFNQRZOHGJHVXFKDVRXURZQZHVWHUQFLYLOL]DWLRQ7KHREMHFtive of the second documentary is not to question the role of the Inquisition or of the
patriarchal sectors, but rather to show how the wisdom of the women, their knowledge
of nature of life cycles, of the plants through the herbalists etc. played a decisive role in
the development of society. Healing women, mystics, and women that speak and write
from their interior space.
With an off screen voice of an actress we will narrate what was called the Golden
$JH²LQ1HROLWKLFWLPHVRIWKHJRGGHVVFXOWDQGKRZLWZDVVXSSODQWHGE\SDWULDUFKDO
cultures that imposed masculine divine beings. This text will illustrate with a recreation
RIHYHU\GD\OLIHLQ+|\N=DWDO7XUNH\DSODFHPHQWLRQHGLQWKHSUHYLRXVHSLVRGH
6LQFHWKHDUFKHRORJLVW-DPHV0HOODDUWGLVFRYHUHGLWWKHPDQ\UHPDLQVWKDWZHUHIRXQG
there – pottery, materials, paints – also building and shrines, are evidence of a cult to
the goddess in a society that lacked defensive elements. There is no evidence either
engraved or painted of any element with references to war, battles and /or various
confrontations, which is considered by various current feminist trends, amongst which
are the ecofeminists, as an example of the fact that matriarchal civilizations existed
which were not aware of the use of violence.
pag. 5
In addition to showing some fragments of interviews with Carl Jung –where he explains
KLVWKHRU\RIDQLPXVXQFRQVFLRXVPDOHLQWKHZRPDQiQLPDXQFRQVFLRXVIHPDOHLQWKH
PDQZHZLOOWDONWRVRPHRIKLVVWXGHQWVLQSDUWLFXODUZLWK-HDQ6KLQRGD%ROHQDXWKRURIDPRQJVWRWKHUERRNV7KHJRGGHVVHVRIHYHU\ZRPDQ6KLQRGDZDVDWWKHVWDUW
pupil and follower of the theories of Jung but later drew away from his points of view
considering them a little “machist”.
)URPWKHSDVWWRWKHSUHVHQW:H·UHWUDQVSRUWHGWRWKH3URYHQFDOYLOODJHRI0XUV)UDQce) at a celebration of a pagan ritual held annually during which men and women
VZDSFORWKHV2IIVFUHHQDQDFWUHVVUHDGVWH[WVRI5RPDQ+LVWRULDQ7iFLWRWHOOLQJKRZ
in some Germanic villages the priests always dressed as women.
7KHUHDUHPDQ\LPDJHVRIWUDQVYHVWLWHULWXDOV3ULHVWVRI&LEHOHVWKDWZHUHFDVWUDWHG
at their initiation and only wore womens clothes. Other reconstructions in this episode
FRXOGEHWKH5RPDQ)HDVWRI/XSHUFDOHVKHOGRQWKHWK)HEUXDU\LQKRPDJHWRWKH
wolf who fed Romulus and Remos.
:H ZLOO UHFUHDWH WKH RULJLQDO P\WK RI WKH +RO\ *UDLO WKH SRW RI UHJHQHUDWLRQ WKH
*UDLOWKDW%DGEH[HPSOLÀHVDQGLVSUHVHQWLQDOO&HOWLFP\WKRORJ\,Q:DOHVWKHSRW
represents a symbolic uterus that revives the dead from night to morning, it belonged
WR%UDQZHQRQHRIWKHWKUHHPDWULDUFKVRIWKHLVOHDIWHUWKHP\WKZDVFKULVWLDQL]HGWKH
FKDUDFWHUVVXEVWLWXWHGE\&KULVWLDQQDPHV0RUJDQ/H)D\DVDOPRVWDOOWKHNHHSHUVRI
secrets and knowledge possessors is converted into a witch and devil worshipper.
* The goddess Istar or Astarté
pag. 6
The last part of the documentary centres on the feared and never well known witches
RIWKH0LGGOH$JHV:LWKWKHWDSHRI'XHUHULQVSLUHGE\0DOOHXV0DOHÀFDUXP
titled The four witches, we will talk about this book used by the witch hunters to put to
test their victims. Marija Gimbutas and the anthropologist Margaret Murria have their
own theories as to the reasons for these organized persecutions and assassinations.
They and other studies will explain how in reality it was about women maintaining pagan cults that had to do with lunar cycles and the harvests and that still are around in
agricultural societies, as with the knowledge of herbalists and the help at births.
* Goddess Mather of Höyük Zatal (Turkey)
* La piedad of Miguel Angel
:HZLOOLQWHUYLHZ(VWKHU+DUGLQJDXWKRURI7KHP\VWHULHVRIWKHZRPDQV\PEROLVPRI
the moon). Her book shows the relationship between the cycles of the women and of
the moon, cults that from ancient times they still maintain and the importance of all this
in the female and male psyches. If possible we will do this interview in an astronomy
observatory, where we will observe the moon through powerful telescopes.
One of these, which has lately given us much to talk about, is the myth of Mary Magdalene. Through her and a journey through the south of France we will talk about the
FRQYHUVLRQRIJRGGHVVHVLQWRZKRUHV:HZLOOWDNHWKLVMRXUQH\ZLWKWKHVWXGLRXV6SDQLVK
WKHUDSLVW&DUPHQ*DUFtD(QJXLWDZKRZLOOH[SODLQDWYDULRXVLQWHUYHQWLRQVLQVLWXWKH
importance of all these magical female places in the south of France to end the episRGHRQWKLVVLGHRIWKH3\UHQHHV7REHSUHFLVHLQ=XJDUUDPXUGL1DYDUUDZHZLOOUHcord in the cave where women practiced these rituals and there we will recreate them,
MXVWDVWKHODVWDFWRIWKH,QTXLVLWLRQZDVKHOGWKHUHLQWKHWKFHQWXU\DJDLQVWZRPHQ
considered to be witches.
pag. 7
EPISODE 3
THE RETURN TO NATURE
* Inmaculada of Zurbarán
In the third episode we will follow the steps of the women and feminine myths from
PHGLHYDOWLPHVXSWRWKHÀUVWIHPLQLVWPRYHPHQWVRIWKHWK&HQWXU\)URPWKHPLGGOH
DJHVWKHPRGHOIDPLO\WKDWKDVEHHQLPSRVHGFRUUHVSRQGVZLWKWKHÀJXUHRIWKH9LUJLQ
0DU\\RXQJYLUJLQDODQGFDQGLGDQGDOVRWR6DLQW-RVHSKROGDQGNLQGKHDUWHG$OO
RIWKLVLVGXHWRWKHFXOWFUHDWHGWRWKH9LUJLQLQVSLWHRIWKHIDFWWKDW%LEOHKDUGO\PHQWLRQVLW,QVRPHZD\LWUHODWHVKHUFXOWZLWKDQFLHQWJRGGHVVHVFU\LQJPRWKHUPRWKHU
bound to son, woman and serpent, goddess of heaven and earth, mother nature.
:HUHWXUQWRWKHWRSLFRIWKH*UDLO:HZLOOLQFOXGHIUDJPHQWVRIÀOPVRI$UWKXULDQ
FHUHPRQLHVZKHUH\RXVHH3HUFLYDO$UWKXUÀVKHUPDQ.LQJDVZLWKPDQ\FHUHPRQLHV
and Celtic Goddesses that were later Christianized. In this respect we will recreate the
unicorn myth, which could only be caught with the help of a young virgin.
$QH[SHUWZLOOWDONDERXWWKHZRUNRIKLVWRULDQDQGDQWKURSRORJLVW--%DFKRIHQ
%DFKRIHQZDVKHDYLO\FULWLFL]HGGXHWRWKHSXEOLFDWLRQRIKLVERRNLQ7KH
0DWULDUFK\LQZKLFKKHXVHVWKHVFLHQWLÀFK\SRWKHVLVRIWKHIDPLO\DVVRFLDOLQVWLWXWLRQ
and suggest that in the past the rights and authorities of the mother had priority over
the father and therefore over religion and that the cult objects were developed in her
image or similar.
,Q WKH WK &HQWXU\ WKH ÀJXUH RI 6LJPXQG )UHXG DOVR DURVH )UHXG LQ VSLWH RI WKH
fact that he extracted the majority of his analytical conclusions from female patients,
arrived at the conclusion that to perform as “auxiliary angel to satisfy the needs and
DVSLUDWLRQVRIPDQµZDVWKHKLJKHVWDFKLHYHPHQWRIDZRPDQ$IWHUZDUGKHVWDWHG
“The greatest question which has never been given an answer and which I haven’t been
FDSDEOHRIDQVZHULQJHYHQZLWKP\\HDUVRIUHVHDUFKLV´:KDWGRHVDZRPDQ
want?”
pag. 8
-XQJKDGGLIIHUHQWRSLQLRQVDERXWWKHZRPDQ2QHRIKLVVWXGHQWV(GZDUG&:KLWmont, will explain where the underestimation of female energy has led both men and
ZRPHQ,QKLVERRN7KH5HWXUQRIWKH*RGGHVVLWLVFRQYLQFLQJ´0DVFXOLQLW\DQGIHPLninity are archetypal forces. They constitute different ways of relating with life, with
the world and with the opposite sex. The repression of femininity affects, therefore
the relationship of humanity with the cosmos and nothing less than the relationship of
individual men and women….”
:LWKDUFKLYHLPDJHVRIWKHÀUVWIHPLQLVWPRYHPHQWVDWWKHHQGRIWKHWKFHQWXU\DQG
VWDUWRIWKHWK²WKHIDPRXVVXIIUDJHWWHVZHZLOODQDO\]HZLWKWKHKHOSRIVSHFLDOLVWV
the struggle of women to gain the same rights as men.
* Self-portrait, Yolanda López
* The igüanas’s lady, Graciela Uturbide
,WLVWLPHWRVSHDNRIWKHLPDJHVWKDWZRPHQKDYHDQGKDYHKDGRIWKHPVHOYHVRQH
RIWKHH[DPSOHVLV)ULGD.DKORZKRRQPDQ\RFFDVLRQVSDLQWHGKHUVHOIDVDWUHHD
ZRPDQ IXOO RI URRWV 2WKHU ZRPHQ ZKR KDYH EHHQ LQYHVWLJDWHG LQ WKLV ÀHOG DUH WKH
0H[LFDQV*UDFLHOD,WXUELGH<RODQGD/ySH]ZLWKWKHLUSKRWRJUDSKV
One of the books which served for groups to relook at the cult of the Goddess in the
8QLWHG 6WDWHV ZKLFK LV ZKHUH WKH SKHQRPHQRQ EHJDQ LV 7KH :LWFK&XOW LQ :HVWHUQ
(XURSHE\0DUJDUHW0XUUD\)URPWKHODVWTXDUWHURIWKHWK&HQWXU\LQWHUHVW
has been growing in the recuperation of the myth of the Mother Goddess, the rediscovery of the female spirituality rituals to arrive at what is known as ecofeminism, We
pag. 9
will tell that it has represented the call for the revolution of women that taking societies
from all over the world to make profound changes not just in politics and economics but
in social aspects. Many ”feminist” groups are returning their eyes to female ceremonies.
([DPSOHVRIZKLFKDUHWKH5HFODLPLQJWKH:LFFD7KLVODVWZRUGGHVLJQVDQHZVSLULWXDOFXUUHQWDQGULWXDOZKLFKLGHQWLÀHVZLWKKXPDQLVWDQGZKLWHSDJDQLVPDQGZKHUH
the woman has a primordial role as a priestess.
* The birth of The Milky Way, Rubens
2QWKLVOLQHZHZLOOLQWHUYLHZDOVR'U3LQNROD(VWpVGHVFHQGDQWRIWKHQDWLYHQRUWKDPHricans, whose book “Women who dance with wolves” was converted into a bestseller a
IHZ\HDUVDJR'U3LQNROD(VWpVZLOOLQWURGXFHXVWRWKHH[FLWLQJZRUOGRIWKHWULEHVDQG
FODQVRIWKH1DWLYH$PHULFDQVRIWKH:HVWFRDVW&DQDGD8QLWHG6WDWHVDQG0H[LFR
Here there arose hundreds of tribes that practiced the cult if the woman, matriarchal
VRFLHWLHV:HZLOOWUDYHOWKHZHVWFRDVWIURP$ODVNDWR0H[LFRLQVHDUFKRIYDULRXVPDWULOLQHDOWULEHV&KLFNDVDVWKH&UHHNWKH'HODZDUHVWKH0RKLFDQVRI1HZ(QJODQGWKH
6KDZQLVWKH1DYDMRLQGLDQVWKH6KRVKRQLVRIWKH&RPDQFKHVRI7H[DVDQGPDQ\RWKHUV
WKDWFXUUHQWO\IROORZWKHIHPDOHOLQH$PRQJVWRWKHUIDFWRUVWKLVZLOOEULQJXVWRWKHWK
FHQWXU\UHYROXWLRQWKHVWDUWRIWKHIHPLQLVWUHYROXWLRQWKHHQHUJ\RIWKHZRPDQWKDW
exists and lives in harmony in small places, tribes and clans and that breaks with the
history written by and for men.
,Q6SDLQWKHUHDUHZRPHQZKRDUHZRUNLQJZLWKZRPHQIRUWKHUHFXSHUDWLRQRIIHPLnine things from a therapeutic point of view and physical, spiritual and mental healing.
$PRQJVWWKHPDUH&DUPHQ*DUFtD(QJXLWD*XDGDOXSH&XHYDVZKRZLOOWHOOXVRI
their experiences through the years working with female energy in workshops with women with diverse techniques.
/DVWO\ZHZLOOHQGWKLVGRFXPHQWDU\WKHWKLUGSDUWRIWKHVHULHVZLWKWKHVRFDOOHG´PRWKHUVRIWKH(DUWKµ&RPSRVHVRIDJURXSRIZRPHQIURPGLIIHUHQWFRXQWULHV1DWLYH
$PHULFDQV-DSDQHVH,QGLDQVZRPHQZKRWUDYHOWKHZRUOGWRKHDOZLWKWKHLUNQRZOHGge of shamans.
pag. 10
BUDGET
DEVELOPMENT AND SCRIPT
2ULJLQDO,GHD½
6FULSW½
5HVHDUFKDQGGRFXPHQWDWLRQ½
7RWDO½
HISTORY AND SCIENTIFIST ADVICE
KLVWRULDQV[½½
7RWDO½
TECNIC AND HUMAN TEAM
'LUHFWRUV½
([HFXWLYH3URGXFHU%XJGHW½
3KRWRJUDSK\'LUHFWRU½
6RXQGUHJLVWHU½
3URGXFHUV½
7RWDO½
CAMERA AND SOUND
&DPHUD+'DFFHVRULHVOLJKWVRSWLFVDQGVRXQG½
7RWDO½
LOCALIZATION AND PREPRODUCTION
7RWDO½
RECREATIONS
VRPHLQ6SDLQVRPHLQPLGOH(DVW
(XURSHDQG$PHULFD½
$WUH]]RVFHQDULR½
7RWDO½
PRODUCTION
7UDYHOV,VUDHO7XUNH\(J\SW6SDLQ8QLWHG.LQJGRP
,WDO\*HUPDQ\)UDQFH&DQDGD((88DQG0H[LFR½
)RRGORXQJH½
7UDQVSRUWDWLRQ½
3URGXFWLRQIHHV½
7RWDO½
EDITION
0RQWDJHDQG3RVWSURGXFWLRQ½
6RXQG3URFHVVPL[ORFXWLRQVSDQLVKHQJOLVK½
2ULJLQDO0XVLF½
$UFKLYHVLPDJHV½
6SHFLDO/RFXWLRQDFWUHVV½
7RWDO½
TOTAL...............................................................................................................531.000 €
pag. 11
OUR TEAM
Director:
TWIGGY
HIROTA
7ZLJJ\+LURWD/RQGRQEDFKHORUVGHJUHHLQMRXUQDOLVP&RPSOXWHQVH
8QLYHUVLW\ 0DGULG 0DVWHU LQ 'LUHFWLRQ DQG 6FUHHQZULWLQJ IRU IHDWXUH ÀOPV
6FUHHQZULWHU 'LUHFWRU DQG 3URGXFHU VSHFLDOL]HG LQ DXGLRYLVXDO SURMHFWV GHvelopment.
,KDYHEHHQFROODERUDWLQJIRUPRUHWKDQ\HDUVLQFRPSDQLHVVXFK/RODÀOPV
0ROLQDUH7HOVRQ%RFD%RFD%5%,QWHUQDFLRQDO=HEUD3F=HSSHOLQ79/=3F0\ZRUNKDVEHHQEURDGFDVWHG
LQ79($QWHQD7HOH7HOH0DGULG&DQDO$UWH1*HRJUDSKLFDQG,QWHUQDWLRQDO&LQHPD)HVWLYDOV
'2&80(17$5,(6
'LUHFWLRQ6FUHHQZULWHU3URGXFHU&DPHUD2SHUDWRUDQG(GLWRUGRFXPHQWDU\$(0(7REVHUYLQJDEULJKWHURI
IXWXUH·+,527$3&
&RGLUHFWLRQ\FRVFUHHQZULWHUGRFXPHQWDU\7KRVHGDPPHGMHDORXVLHV·79('2&80(172679$5*21$87$3&
'LUHFWLRQ6FUHHQZULWHU3URGXFHU&DPHUD2SHUDWRUDQG(GLWRUGRFXPHQWDU\+DFKLUR.DQQRSDLQWHUDQGMDSDQHVHFDOLJUDSK\WHDFKHU·7,9$79
'LUHFWLRQ6FUHHQZULWHU3URGXFHU&DPHUD2SHUDWRUDQG(GLWRUGRFXPHQWDU\0LR&LG3RHPD9,,,&HQWHQDU\
·)81'$&,Ð1/((5/(Ð1+,527$3&
'LUHFWLRQ6FUHHQZULWHU3URGXFHU&DPHUD2SHUDWRUDQG(GLWRUGRFXPHQWDU\+DUDMXNX&RVSOD\HUV7RNLR·
1262/20Ô6,&$7(/(
'LUHFWLRQ6FUHHQZULWHU3URGXFHU&DPHUD2SHUDWRUDQG(GLWRUGRFXPHQWDU\-RUJH0DQULTXHSRHWSRUWUDLW
·+,527$3&
'LUHFWLRQ6FUHHQZULWHU3URGXFHU&DPHUD2SHUDWRUDQG(GLWRUGRFXPHQWDU\GHDGO\VLQVRI0·0DGULG0:HDOOZHUHLQWKDWWUDLQ'2&860$'5,'
3URJUDPPH&RRUGLQDWRUDQG6FUHHQZULWHU1RVRORPXVLFD7(/(
&RQWHQWV(GLWLQJ6RXQGDQG3URGXFWLRQ6XSHUYLVRUIRUPRUHWKDQGRFXPHQWDULHVRIFLQHPDPXVLFFXOWXUH
tendencies and travels.
6+257029,(6
'LUHFWLRQ6FUHHQZULWHU3URGXFHUVKRUWPRYLH0DGHLQ&KLQD·
%HVW6FULSWLQ(VWHSRQD)HVWLYDO
2ÀFLDO6HFWLRQ0(&$/%DUFHORQD3HxLVFROD,QWHUQDFLRQDO&LQHPD)HVWLYDO$OEDFHWH&LQHPD)HVWLYDO&,1(0$'
)($785(029,(6
6FULSWIHDWXUHÀOP0DO7RN\R%DG7RN\R$FWLRQ7KULOOHU
2ULJLQDO,GHD$UJXPHQWDQG6FULSWIHDWXUHÀOP6XEWHUUiQHRV6XEZD\V7KULOOHU
'LUHFWRU&RRUGLQDWRU7KH+HDUWRIWKH(DUWK
2ULJLQDO,GHD$UJXPHQWDQG&RVFUHHQZULWHUWYPRYLH/DGURQHVGH6XHxRV'UHDPV7KLHYHV'UDPD
)257$
2ULJLQDO,GHD$UJXPHQWDQG&RVFUHHQZULWHUWYPRYLH8QGLIXQWRVHLVPXMHUHV\XQWDOOHU$FRUSVHVL[ZRPHQ
DQGDJDUDJH&RPHG\%5%,17(51$&,21$/$17(1$
&RVFUHHQZULWHUIHDWXUHÀOP9LGDHQ0DUWH/LIHLQ0DUV'UDPD
6FULSW$QDO\VW)HDWXUHÀOPV(QJOLVKDQG6SDQLVK/2/$),/06
$VVLVWDQW'LUHFWRUIHDWXUHÀOPV(UHVPLKpURH<RX·UHP\KHUR'UDPD
6FUHHQZULWHU%LEOH796HULH(GpQ%2&$%2&$
pag. 12
Screenwriter:
CARMEN
ESTEVEZ
&DUPHQ(VWpYH]0DGULGLV%DFKHORUVGHJUHHLQ6SDQLVK3KLORORJ\E\WKH&RPSOXWHQVLDQ8QLYHUVLW\
RI0DGULG,QWKLVVDPH8QLYHUVLW\VKHPDGHVWXGLHVRI'RFWRUDWHLQWKHVSHFLDOW\RI5RPiQLFD3KLORORJ\
$WWKHPRPHQWVKHZRUNVOLNHSURIHVVRURI/DQJXDJHDQG/LWHUDWXUHLQDQ,QVWLWXWHRI6HFRQGDU\LQ0DGULG
6KHKDVGLVWULEXWHGFRXUVHVDQGIDFWRULHVRIFUHDWLYLW\VHQVRULDOSRHWLFDQGWKHDWHU%HVLGHVOLNHHGLWRUDQG
FROOHFWRUVKHLVUHVSRQVLEOHIRUWZRHGLWLRQVIRUWKH&DVWDOLD3XEOLVKLQJKRXVHLQD/LEUDU\RI:RPHQHUyWLFV
WLWOHKROGHUV6WRULHVZULWWHQE\ZRPHQDQG´1HLWKHU$ULDGQDVQRU3HQpORSHVµ
For years it has been coming making studies and different investigations in subjects related to the woman.
)URPWKHWRWKHKDVPDGHVHYHUDOFRXUVHVRIGLUHFWLRQVFULSWDQGSURGXFWLRQGLVWULEXWHGE\WKH
$UHDRI&LQHPDRIWKH&RXQFLORI&XOWXUHRIWKH&RPPXQLW\RI0DGULG
pag. 13
Executive Producer:
ALFONSO
DOMINGO
$OIRQVR 'RPLQJR $OYDUR 7XUpJDQR 6HJRYLD MRXUQDOLVW ZULWHUDQGGRFXPHQWDU\ÀOPGLUHFWRU+HKDVZRUNHGDVDMRXUQDOLVWIRU
QDFLRQDOQHZVSDSHUV(O3DtV'LDULRPDJD]LQHV7LHPSR3DQRUDPDUDGLRVWDWLRQV5DGLRDQG7979(7HOHPDGULG6SHFLDOL]HGLQIRUHLJQDIIDLUVKHDOVRVHUYHUG
DVZDUFRUUHVSRQGDQWEHIRUHVWDUWLQJKLVFDUHHUDVÀOPGLUHFWRU%HVLGHV$OIRQVR'RPLJRLVWKHDXWKRU
of ten tv series, two widely awarded novels and six essays´ books focused on history, travel and liteUDWXUH6LQFHKHVFKDLUPDQRI$5*21$87$352'8&&,21(6DGRFXPHQWDU\ÀOPSURGXFWLRQ
company based in Madrid.
1DWLRQDODQG,QWHUQDWLRQDO$ZDUGV
´&RORPELDKLVWRULDGH*DPLQHVµ(Q3RUWDGD79(79<RXWK)HVWLYDO3DULV´9LVDGRSDUDXQ
VXHxRµ0LQXWHV7HOH0DGULG´0DQRV8QLGDV$ZDUGµ´/D+HUHQFLDGH&KLFR0HQGHVµ%HVW
'RFXPHQWDU\ LQ WKH ,,, ,QWHUQDWLRQDO )HVWLYDO RI (QYLURQPHQW RI *DYi %DUFHORQD 6HULHV ´/D *UDQ
6DEDQDµ
5HFHQWOLQHXS
'LUHFWRURI´(O0LVWHULRGHO´&XDWUR9LHQWRVµ´7KHPLVWHU\RIWKH&XDWUR9LHQWRVµ´6XGiQ
HQWUHGRVPXQGRVµ´6XGDQEHWZHHQWZRZRUOGVµ&RGLUHFWRURI´/DV)RVDVGHO2OYLGRµ
´)RUJRWWHQPDVVEXULDOVµ'RFXPHQWRV7979('LUHFWRURI´&KDYH]HQVXODEHULQWRµ´&KDYH]LQVLGHWKHODEU\QWKµ9tD'LJLWDO([HFXWLYH3URGXFHUDQGFRGLUHFWRURIWKHFROOHFWLYH
ÀOP´0DGULG0WRGRVtEDPRVHQHVHWUHQµ´0DGULG0ZHZHUHDOOLQWKDWWUDLQµ
'LUHFWRURIWKHVHULHV´/DPHPRULDUHFREUDGDµ´0HPRU\5HFRYHUHGµ[FRSURGXFHG
ZLWK79(&RGLUHFWRURI´$OPDVVLQ)URQWHUDVODKLVWRULDGHOD%ULJDGD/LQFROQµ´6RXOVZLWKQRERUGHUVWKH/LQFROQ%ULJDGHVWRU\µ'LUHFWRURIWKHVHULHV´6DKHOQXHVWUDULEHUDµ´6DKHO
RXUERUGHUµ[ZLWKWKHSDUWLFLSDWLRQRIYDULRXVDUWLVWVIURP0DOL6HQHJDODQG%XUNLQD
)DVR'LUHFWRURI´%DMR7RGDVODVEDQGHUDVµµ8QGHUDQ\ÁDJ6SDQLDUGVÀJKWLQJLQWKH,,:RUOG:DUµ

%LEOLRJUDSK\
´/D0DGUHGHOD9R]HQHO2tGRµ(G)XQGDPHQWRV,,,$ZDUGIRU1RYHODWWKH,QWHUQDWLRQDO
%RRN)DLU0DGULG´(O&DQWRGHO%~KRODYLGDHQHOPRQWHGHORVJXHUULOOHURV$QWLIUDQTXLVWDVµ(G
2EHURQ´/D(VWUHOOD6ROLWDULDµ(G$OJDLGD9,,/LWHUDWXUH$ZDUG´&LXGDGGH6DODPDQFDµ´(O9XHORGHO&XDWUR9LHQWRVµ(G2EHURQ´5HWDJXDUGLDµ(G2EHURQ´/D
6HUSLHQWH/tTXLGDµPLWRVULWRV\FKDPDQHVGHO$PD]RQDV(G$OLDQ]D´(OÉQJHO5RMRµDQG
´+LVWRULDGHHVSDxROHVHQOD,,*XHUUD0XQGLDOµ(G$OPX]DUD
pag. 14
BACKGROUND OF THE PRODUCTION COMPANY
A SPECIAL COMMITMENT FOR DOCUMENTARY:
$UJRQDXWDSURGXFFLRQHVLVDSURGXFWLRQFRPSDQ\ZKRVHSURIHVVLRQDODFWLYLWLHVKDYHEHHQ
DOPRVWH[FOXVLYHO\IRFXVHGRQWKHPDNLQJRIKLVWRULFDOGRFXPHQWDU\ÀOPV2XUWHDPIRUPHGE\VFULSWZULWHUVSURGXFHUVÀOPPDNHUVFDPHUDRSHUDWRUVHGLWRUVDQGUHVHDUFKHUV
KDYHGHYHORSHGDORQJWHUPH[SHULHQFHLQWKLVDUHDIRUDOPRVW\HDUV
Our documentaries have been broadcasted by some of the most important tv channels
DOO RYHU (XURSH 2XU ÀOPRJUDSK\ LQFOXGHV DQ DVVRUWHG OLVW RI LWHPV KLVWRULFDO FXOWXUDO
VRFLRORJLFDOLQYHVWLJDWLRQVFLHQWLÀFHWFKDYLQJDFKLHYHGZLWKVRPHRIRXUWLWOHVDPD]LQJ
ratings.
OUR CUSTOMERS:
These are some of the most important channeles to have broadcasted the Films produced
E\$UJRQDXWD
‡79(´'RFXPHQWRV79µ\´/DV1RWLFLDVµGH/D
‡&DQDO3OXV6SDLQQHZVDQGUHSRUWDJHV
‡&11&11(XURSHQHZVDQGUHSRUWDJHVIRU´9LGHRSHULRGLVWDVµ
‡7HOHPDGULG'RFXPHQWDU\VHULHVDQG´3DQRUDPDµ
‡&DQDO6XU'RFXPHQWDU\VHULHVDQG´/RV5HSRUWHURVµ
‡79*'RFXPHQWDULHV
‡(7%'RFXPHQWDULHV
‡79'RFXPHQWDULHV
‡7HOHYLVLyQ$XWRQyPLFD9DOHQFLDQD'RFXPHQWDULHV
‡579&DVWLOODOD0DQFKD'RFXPHQWDULHV
‡7HOHYLVLyQ3~EOLFDGH&DQDULDV'RFXPHQWDULHV
‡9tD'LJLWDO*UDQ9tD&KDQQHO&DQDOHV1DWXUDH+LVSDYLVLyQ'RFXPHQWDU\VHULHV
‡&DQDO6DWpOLWH'LJLWDO'RFXPDQtD9LDMDU\$;1'RFXPHQWDU\VHULHV
‡2GLVHD6SDLQDQG2GLVHD3RUWXJDO'RFXPHQWDU\VHULHV
‡/D&LQTXLqPH)UDQFLD'RFXPHQWDU\VHULHV
‡%79%DUFHORQD7HOHYLVLy'RFXPHQWDU\VHULHV
‡1DWLRQDO*HRJUDSKLF6SDLQDQG1DWLRQDO*HRJUDSKLF(XURSHUHSRUWDJHV
pag. 15
SELECTED FILMOGRAPHY:
“the children of war”.
,Q*HUPDQ\LQYDGHGWKH8566DQG
Bajo Todas Las Banderas.
many of this former children, along with
Españoles en la II Guerra Mundial
QHZUHIXJHHVIURP6SDLQDERXWSLORWV
µ8QGHUDQ\ÁDJÀJKWLQJ6SDQLDUGVLQWKH and guerrilla experts among them) took an
II World War”
DFWLYHSDUWLQWKHÀJKWDJDLQVWIDVFLVPGHIHQGLQJWKH8566
PARTE 1: CAMPOS DE RESISTENCIA” $W WKH VDPH WLPH RWKHU 6SDQLDUGV ZHUH
(60’)
UHDG\WRWDNHWKHLUSDUWLQWKHÀJKW7KRPart 1: Resistence Camps
VHZHUHWKHPHPEHUVRIWKHVRFDOOHG%OXH
Division, an expeditionary army corps
$W WKH HQG RI WKH 6SDQLVK &LYLO ZDU RI VWURQJ PRVW RI WKHP YROXQWHHUV
WKRXVDQGV RI PHPEHUV RI VHQW E\ )UDQFR WR ÀJKW DORQJVLGH +LWOHUV
WKH 6SDQLVK 5HSXEOLFDQ $UP\ FURVVHG WKH army.
French border just to be imprisoned by
the French authorities that refused to shelter them as political refugees. Only two
years later many of these former soldiers
ZHUH ÀJKWLQJ DJDLQ WKLV WLPH DV SDUW RI
the French army and later among the most
RXWVWDQGLQJUDQNDQGÀOHRIWKH´0DTXLVsard”. For many of them, defeat meant a
especially tragic destiny, when after being
captured by the Germans they were sent
to the extermination camps of Mauthausen
DQG*XVHQZKHUHPRUHWKDQZRXOG Technical data:
be assassinated.
'LUHFWHGE\
$OIRQVR'RPLQJR
6FULSW
-DYLHU&DEDOOHUR$OIRQVR'RPLQJR
+LVWRULFDODGYLVHUV
%HQLWR%HPHMR6DQGUD&KHFD
-RVp /XLV 5RGUtJXH] 6HFXQGLQR 6HUUDQR
Jean Ortiz
([HFXWLYHSURGXFHU
-DYLHU/&DEDOOHUR
&LQHPDWRJUDSK\
-RVp/XLV/ySH]
PARTE 2: EL FRENTE DEL ESTE: ROJOS Y 6RXQG
AZULES” (60’)
Daniel Rodríguez
Part 2: Red and Blue at the Eastern front. 0~VLFD
/XLV3DVWRU3HGUR*XHUUD
,QGXULQJWKHÀUVWVWDJHVRIWKH6SD- (GLWLQJ
QLVKFLYLO:DUDSUR[LPDWHO\FKLOGUHQ -XDQ9HUGHDO\5DXO2UGDV
ZHUHHYDFXDWHGIURPWKHDUHDVXQGHUÀUH ‹$UJRQDXWD 3URGXFFLRQHV 7DOOHU 9LGHRto Russia, where they became known as JUiÀFR79(\&DQDOGHOD+LVWRULD
pag. 16
Sahel Nuestra Ribera
postrated by poverty and forced to face
3URGXFHG ZLWK WKH DLG RI $(&,' DQG WKH a new social challenge in the form of mi+$,$&)RXQGDWLRQ
gration.
SENEGAL, A MAR ABIERTO
With Ismael Lo and Hampaté Sow
6HQHJDO WKH ÀUVW RI WKH FRXQWULHV YLVLWHG
through this documentary series is located
RQWKHVKRUHRIWKH$WODQWLF2FHDQDVLWXDtion that confers it its identity as a borderland country surrounded by the inmensity
of the sabana, the desert and the big sea.
From the ocean came the colonization, and
through its waves the nowadays´ young BURKINA FASO, DULCE CORAZÓN DE
PHQ RI 6HQHJDO WU\ WR UHDFK WKHLU GUHDP FUEGO
of material prosperity in a process that has With Amity Méria and Dauda Traoré
become a painfully social drama.
%XUNLQD )DVR VWLOO PDQWDLQV LWV WUDGLWLRQDO
Through its landscapes, the shores and the ZD\ RI OLIH (FRQRPLFDOO\ EDVHG RQ DJULEHDFKHVRI'DNDU5XVÀTXHDQG6DQ/XLV culture, its local religions are still practiced
through childhood memories of renowned E\PDQ\RILWVLQKDELWDQWV$ERXWWKLVDQG
VLQJHU,VPDHO/RWKHYLHZHUZLOOGLVFRYHUD RWKHUWRSLFVZHWDONZLWKWKHVLQJHU$PLW\
country that dreams of education, of agri- Meria, who tells us of the problems of the
FXOWXUDOGHYHORSPHQWDQGRIDZD\WRGHÀ- ZRPHQ RI WKH FRXQWU\ DUUDQJHG PDUULDnitely leave poverty behind.
ges, lack of education, submission to men,
poligamy…
'DXGiDYHU\IDPRXVVFXOSWRUWHOOVXVRI
his tribe, called “the blacksmiths” and of its
WUDGLFLRQDOXVHRIÀUHERWKDVDWRRODQG
as a mean of making art.
MALI, LA ESPERANZA DE LA TIERRA
With Ami Koita and Ismael Diabaté
)URPWKHORRNRIWZRORFDODUWLWVWVWKHÀOP
offers a vision of the country far from the
XVXDOFOLFKpV8VLQJDVDQDUUDWLYHWUHQGWKH
VRQJV RI $PL .RLWD DQG WKH SDLQWLQJV RI
Ismael Diabate to the roots and the inner
.HHOLQJRIWKLVFRXQWU\DQGLWVSHRSOHORQJ
Technical data:
Directed by
$OIRQVR'RPLQJR
6FULSW
(OLVHRGH3DEORV
pag. 17
EL MISTERIO DEL CUATRO VIENTOS
2Q -XQH WK DQ H[SHFWLQJ FURZG ‹$UJRQDXWD3URGXFFLRQHV/D3URGXFWRUD
ZDLWHGDWWKH9DOEXHQDVDLUSRUW0p[LFR OD)257$)HGHUDFLyQGH2UJDQLVPRVGH
7KH ODQGLQJ RI WKH 6SDQLVK SODQH FDOOHG 5DGLR\7HOHYLVLyQ$XWRQyPLFRV
&XDWUR 9LHQWRV )RXU :LQGV ZDV VFKHGXled after the plane´s crew had completed
a real feat by the establishment of an aeULDOURXWHIURP6SDLQWR&XEDDQG0p[LFR
)ROORZLQJ RUGHU IURP FDSW 0DULDQR %DUEHUiQ DQG /W -RDTXtQ &ROODU WKH &XDWUR
9LHQWRV KDG FRYHUHG LQ KRXUV WKH GLVWDQFH EHWZHHQ 6HYLOOD DQG &DPDJXH\
DUULYLQJ LQ &XED RQ -XQH WK 7HQ GD\V
later the plane departs from Havana heading up north to the continente. However, it
QHYHUUHDFKHGWKH1RUWK$PHULFDQVKRUHV
8SWRWKLVGD\LWLVVWLOOXQNRZQZKDWHYHU
KDSSHQHG WR WKH &XDWUR 9LHQWRV 7KH ÀOP
tells about the adventure, about the men
ZKRPDGHLWSRVVLEOHDQGÀQDOO\DERXWWKH
hidden rehaznos of the disater.
Technical data:
'LUHFWHGE\$OIRQVR'RPLQJR
6FULSW$OIRQVR'RPLQJRDQG-RUJH)HUQiQdez-Coppel
+LVWRULFDOFRQVXOWDQW*HQHUDO-RVp6iQFKH]
0pQGH]
([HFXWLYH SURGXFHUV 7DW~V *LO 5DLPRQG
Masllorens
3URGXFHU-RVp+HUHGLD
0XVLFFRPSRVHGE\3DEOR6DOLQDV
3RVWSURGXFWLRQ-XDQ9HUGHDO
pag. 18
Argonauta Producciones
C/ Cuesta de las Descargas 6, 2º E,
28005 Madrid
Tel. 91 365 51 23
[email protected]
www.documentales.net