Awards & Jury
Dock of the bay 2016 best music documentary prize, prize of € 2,000. The prize will be awarded to one of the films in the competition section. A jury made up of prominent figures in the film world will decide the winner.
Sade prize, a prize of €1,000.
Aceites Melgarejo prize, 500 €for the best Spanish music documentary.
Audience prize, the audience will decide the winner by voting.
— Download prizes & mentions —
Cíntia Gil
EShe studied film at the Escola Superior de Teatro e Cinema and graduated in philosophy from the university of Oporto, where she became part of the “Estética, Política y Arte” [“Aesthetics, Politcs and Art”] research group, preparing a doctoral thesis. She has worked on the programme for Doclisboa since 2011, joining the management of the festival in 2012. Doclisboa proposes a new approach to documentary through its implications and potential: film as a practice that enables us to discover new forms and means of conceiving the world and acting in it. 2015 saw the creation, within the framework of Doclisboa, of the professional laboratory Arché, a partner of MRG/WORK.
Felipe Cabrerizo
Felipe Cabrerizo (born San Sebastián, 1973) has a degree in History of Art from the Autonomous University of Madrid and a master’s degree in History and Aesthetics of Cinematography from the University of Valladolid. He is also a member of AEHC, the Spanish film historians’ association. The author of numerous articles and chapters in books and specialist journals, he has published the book Tiempo de mitos: las coproducciones cinematográficas entre la España de Franco y la Italia de Mussolini [Time of Legends: Cinematic Co-Productions between Franco’s Spain and Mussolini’s Italy] (2006) and La Atenas militarizada: la industria cinematográfica en Gipuzkoa durante la Guerra Civil [Athens Militarised: The Film Industry in Gipuzkoa During the Civil War] (2007). Currently at the printer is La Codorniz en cinta: del humorismo al cine y vuelta [From Humour to Film and Back], to be published by Filmoteca Española in 2013 and wrritten together with Santiago Aguilar. He is currently the coordinator of the Cine Estudio del Círculo de Bellas Artes and directs the programme Psycho Beat!, specialising in ye-yé and European beat of the 60s, on Radio Círculo.
Ingrid Guardiola
A graduate in audiovisual communication from the Pompeu Fabra University (UPF), with an MAS and working on a doctorate in humanities from the same university. Currently about to complete a doctoral thesis entitled “From Found Footage Film to Appropriated Art in the Era of Audiovisual Surplus”. Lecturer in contemporary television trends in audiovisual communication (UPF) and new television formats, creative documentary and audiovisual creation in cultural creation (university of Girona). Works on the master’s programme in entertainment television content (Rovira i Virigili university, Tarragona-Gestmusic) and the postgraduate programme in script (El Terrat-UPF). Has coordinated MINIPUT (conference on quality TV) since 2002, has worked with the CCCB arts centre, Barcelona, since 2001 (and currently coordinates BCNmp7). Has played a part in initiatives like TVLata and TVE’s cultural channel, at the same time co-creating projects like Radiomensió (2006-2007), the Surpas Festival (2008-2011) or www.pioneresdelcinema.cat, a project researching women professionals in film. Has co-directed, co-scripted and co-produced episodes of the programme SOY CÁMARA [“I am a Camera”] (TVE-CCCB): “Pioneras del Cine al Margen de la Industria” [“Women Film Pioneers on the Fringes of the Industry”] and “Asuntos Domésticos” [“Domestic Affaris”]. At the CCCB she is currently coordinating and co-producing SOY CÁMARA (TVE) and SOY CÁMARA EN RED [“I am a Camera on the Net”] (start-up in January 2016) and has made some capsules for PANTALLES CCCB (BTV). She has given talks and taught courses in centres including CCCB itself, MACBA, Caixa Fórum, the Mercè arts centre in Girona, the Girona film museum, Bizbak in Bilbao and the REC Festival, and has published articles in La Vanguardia newspaper (in Cultura/s, the supplement for which she sat on the advisory committee), Público, for the publishers Gedisa, Ediciones 62, Quaderns del CAC, L'Avenç magazine, Venuspluton.com and Blogs&Docs, among others. Since 2005 she has been a member of the Cine de Girona-Cine Truffaut critics’ group and has worked for film festivals including the Sitges international fantasy film festival, Docúpolis and MICEC.
Javier Rebollo
Javier Rebollo has directed three features, El muerto y ser feliz [The Corpse and Being Happy] (2013), La mujer sin piano [The Woman Without a Piano] (2009) and Ce que je sais de Lola / Lo que sé de Lola [What I Know About Lola] (2006). These have earned him two FIPRESCI international critics’ awards (San Sebastián and London) and one Latin American critics’ award, as well as the Silver Conch for Best Director at the San Sebastián international film festival, among others. Between 1997 and 2002 he directed a series of shorts starring Lola Dueñas. He is currently producing La isla del rinoceronte [Rhinosceros Island] by Luis Bértolo, to be shot next autumn in Marseille; meanwhile, he is working on his next feature as a director Alcàsser: Muerte en directo [Alcàsser: Death Live]. He lectures in directing at different schools and universities. He lives and drinks in Madrid.
Jordi Costa
He has been writing about film, comics and other areas of popular culture since 1981. He is author of the books “Hay algo ahí afuera” [Something’s Out There] (1997), “Mondo Bulldog” [Bulldog World] (1999), “Vida Mostrenca” [Ownerless Life] (2002), “Carles Mira: Plateas en llamas” [Carles Mira: Stalls in Flames] (2001), “Todd Solondz: En los suburbios de la felicidad” [Todd Solondz: In the Suburbs of Happiness] (2005), “El sexo que habla” [The Talking Sex] (2006), “Monstruos modernos” [Modern Monsters] (2008) and “100 películas clave del cine de animación” [100 Key Films of Animated Cinema] (2010), as well as other group or cooperative works, highlights among which include “Profondo Argento” (1999), “Franquismo Pop” [Pop Francoism] (2001), “Tierra de nadie” [No Man’s Land] (2005), “El Quijote. Instrucciones de uso” [Don Quijote: Instructions for Use] (2005), “Mutantes” [Mutants] (2008), “Una risa nueva” [A New Laugh] (2010), “Manga Impact” (2010), “CT o la Cultura de la Transición” [CT or the Culture of the Transition] (2012) and “Black Pulp Box” (2012). With Darío Adanti he has published the comics “Mis problemas con Amenábar” [My Problems with Amenábar] (2009) and “2.000 años de cine” [2,000 Years of Film] (2010). He has been responsible for content on the specialist channel Cinemanía. He has curated the exhibitions “Cultura Basura: una espeleología del gusto” [Junk Culture: A Speleology of Taste], “J. G. Ballard, autopsia del nuevo milenio” [J. G. Ballard: Autopsy on the New Millenium] (both through CCCB centre for contemporary art in Barcelona), “Ficciones en serie” [Serial Fictions] and “Ficciones en serie. Segunda temporada” [Serial Fictions: Season Two] (SOS 4.8) and “Plagiarismo” [Plagiarism] (La Casa Encendida), the latter together with Álex Mendíbil. He has been an associate lecturer in Audiovisual Communication at the Pompeu Fabra University and currently lectures on the degree programme in film at the Camilo José Cela University. He gives courses in film criticism and analysis of television fiction at the Escuela de Escritores in Madrid. He writes as a film critic in El País newspaper and Fotogramas magazine. He directed the films “Piccolo Grande Amore” and “La lava en los labios” [Lava on the Lips] according to the guidelines in the manifesto #littlesecretfilm.