This time, the FCA's Artist of the Month shines a spotlight on the innovative world of experimental cinema, featuring the captivating work of Madrid-based filmmaker Alberto Martín-Aragón.
Known for his poetic approach to visualizing the subconscious, Martín-Aragón challenges conventional narratives and invites audiences on a mesmerizing journey through abstraction and surreal storytelling. This month, we explore the creative process and artistic vision behind his acclaimed short films.
What first drew you to the world of experimental cinema, and what continues to inspire you within this genre?
My obsession with dreams has always led me to be interested in films whose priority is to make visible the movements of our unconscious, that irrational area of our mind where our most unspeakable thoughts reside. In the so-called experimental cinema I have found a way to poetically express the chiaroscuros of our inner world.
You’ve described cinema as “an endless game between time and space.” Can you tell us more about how this philosophy shapes your approach to filmmaking?
I consider cinema a manipulation of time and space. That manipulation is necessary to create a compelling fictional universe. If you alter time, you alter the perception of space, and vice versa. Nevertheless manipulation is an unkind word for me. That's why I prefer to use the word game. The actors embody and modulate the synthesis of that game.
Your films often challenge conventional narratives. How do you find a balance between exploring unique concepts and creating a cohesive story?
In my short films I try to propose schematic and insinuating ways of telling stories. My idea of balance is that the artist should suggest, not emphasize. That is why my constant aspiration is to make surreal sketches of human emotions, not detailed and realistic altarpieces.
Julia Doménech has been a frequent collaborator on your projects. What makes your creative partnership so effective, and how does her perspective enhance your films?
Without Julia Doménech my artistic work would never have existed. In addition to my producer, she is my main actress. What makes our collaboration effective is that we have a very similar idea of the world and art. She knows my mind very well and helps me giving an aesthetic channel to my obsessions. Also she supervises the final cut and improves the result thanks to her ability to debug. To be honest I must say that Julia is the co-creator of almost all my short films.
Many of your films, such as Souls and Collapse, delve into complex themes. What messages or emotions do you hope viewers take away from your work?
It is not my desire to force the audience to feel one way or another. I just want to share some hypotheses about life and death. I don't offer answers, but rather questions. I am not addressing a viewers who do not want to look inside themselves and who consider that reality is only the world that our senses perceive.
In addition to films, you’ve written several novels. Do you see any crossover in your storytelling approach between writing and filmmaking?
I can't deny that my writing has been influenced by the way I structure my films. I started out as a baroque writer and now I look for concision and essentiality. Hence the importance I give to ellipsis and narrative fragmentation.
Experimental films often demand a unique visual language. How do you approach visual aesthetics and cinematography to convey your stories?
A unique visual language is achieved by avoiding the obvious. Naturally this has a risk: falling into mannerisms and pedantry. What I try to do is get away from conventions by using some conventions. Viewers must identify some reference to tradition in your work if you want them to be interested in the unusual and experimental elements of your film.
You've earned multiple international awards for your work. How has recognition from these awards impacted your career and creative journey?
The important thing about awards is that you feel that your work interests some people who love the same thing as you. Of course that encourages you to continue trying new challenges. I also think I wouldn't have changed my visual style if the awards hadn't come. If I didn't tell things the way I do, I would go bankrupt paying for a psychiatrist.
Are there particular artists, filmmakers, or writers who have influenced your style and approach to both film and literature?
Alain Resnais (1922-2014) is one of the filmmakers who has influenced me the most in recent times. His best films are visual and narrative labyrinths where memory seems to speak for itself. As for writers, I continue to be inspired by the Mexican Juan Rulfo (1917-1986), whose novel 'Pedro Páramo' is a prodigious and hypnotic combination of poetic and cinematic writing.
What’s next for you? Can you share any upcoming projects or ideas you’re excited to explore in film or literature?
I am preparing a short film about the loneliness of people who do not know how to hide their sadness. This film will star Julia Doménech and Stana Minincic.
Maybe - Trailer
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