The Dock of the Bay Dialogues are a space for conversation with different guests from the fields of film and music. A friendly and close space where, for an hour and a half, in addition to listening to their proposals, you can talk directly with them. Two days, two dialogues.

You are interested if you are a professional in the sector (cinema, video, music) or if you are a student. In addition to any restless mind lover of cinema and music.

Thanks to the support of the Department of Culture, Tourism, Youth and Sport of the Provincial Council of Gipuzkoa and the collaboration of Musikene.

Images despite the future: filming, exhibiting, preserving

Despite everything, cinema continues to exist. Despite the collapse of conventional cinemas, the precariousness of production jobs, the loss of social support and the destruction of specialized critical fabric, cinema functions like Monterroso's famous dinosaur. It refuses to disappear, to die or to become a mere anecdote in art history.

This year's dialogues want to revolve around the idea of the survival - for there are many - of cinema, its trades and its audiences. In a world that has begun to talk about content creation- a phantom container in which there is room for a video tutorial or a motivational talk - cinema seems resolved to return to an almost essentialist position: it is claimed, shared, preserved and maintained in a complex, costly, but determined way.

In this process of betting on the cinematographic, we propose, among others, some of the following questions: Who are the audiences (old and new)? How are the bridges between exhibition and criticism, festival and city brand, citizen identity and film discourse woven? What role do technological changes play in access to both cinematographic memory and the most radical audiovisual present? Why, in short, does cinema continue to exist despite the future in which, we were assured, other media disciplines would take its place?

From Dock of the Bay we invite our participants to reflect on and from the precariousness and uncertainty, but also from the concrete experience of the love of images, the History of Cinema, the vindication of plurality on the screens and the open and complex ways of access to the cinematographic experience.