The Sixth Sense
Keeping silent cinema alive, showing the films of the era at the right speed and in their original image format, and having a pianist accompany them with respect, is all part of the normal work of a film library. But at a time when electronics is offering filmmakers new ways of making their images, it is even more relevant to periodically recall how eloquent were the images of the so-called silent era of film history. Silent cinema is therefore an essential component of the Cinémathèque's programming. And it is not a bad thing to remember that these are the works and filmmakers who made modern cinema possible, not to mention that it is always pleasant to be able to return for a few hours to the era of images that speak.
Accompanied on the piano by Guillaume Martineau
Carlos wants to help his friend León, who has a pessimistic outlook on life. They visit Professor Kamus, who tries to open up his perception by introducing him to moving images. A reflection on the ontological nature of film recording.
Nemesio M. Sobrevila
Nemesio Manuel Sobrevila was a Spanish avant-garde filmmaker, active before World War II. His studies in architecture in Barcelona and Paris influenced his cinematic approach to space, evident in works like El sexto sentido (1929) and Al Hollywood madrileño (1928). He then worked on a satire featuring a miraculous doctor titled Las maravillosas curas del doctor Asuero, which was banned by the Primo de Rivera government before its premiere. In 1935, he began filming La hija de Juan Simón, produced by Luis Buñuel, but their creative differences led to the project's failure. Already in exile, he directed the documentary Guernika, focusing on the Spanish Civil War, which resulted in his death sentence by the French regime and subsequent expulsion from French territory.
