#AULA ABERTA’s main purpose is to bring cinema closer to adults interested in learning more about the seventh art. #AULA ABERTA intends to be a meeting point for cinema-lovers and professionals of the cinema industry –an environment for the exchange of knowledge and experience.

As a complement to our retrospective section devoted to Matías Piñeiro’s work, the Argentinian filmmaker and professor (Pratt Institute, Brooklyn) will give a 2-day open seminar entitled 36 Cinema Lessons. Participants will be invited to discover the keys to Piñeiro’s work and discuss major works of the history of cinema as conceived by the director.  



by Matías Piñeiro

29, 30 June | 10:00h-14:00h | Facultad de Bellas Artes | Previa inscripción

The first contact with cinema is usually the same for everyone –we sit opposite to a screen, and, for a certain amount of time, we expose ourselves to the images and sounds of a film that speaks to us. Most people go through this experience without major damage. For some of us, however, it becomes a milestone –the beginning of something bigger.

We become curious about that device. We wonder how it works. We ask ourselves “What is cinema?” And every film we watch has a different answer to the question. We watch the same film, over and over again, because we want a bigger answer. We want it to tell us more –more about the world, about us, about our surroundings. Some of those film watchers will later become filmmakers –this is how the love for cinema becomes a film school.  

36 Cinema Lessons is an invitation to discuss a selection of thirty-six fragments of films from different periods of time. The list of filmmakers is, of course, long: Alfred Hitchcock, James Benning, Michelangelo Antonioni, Rainer Werner Fassbinder, Apichatpong Weerasethakul, Josef von Sternberg, Jonas Mekas, Yasujiro Ozu, Ernst Lubitsch, Tsai Ming Liang, Jean-Marie Straub, Danièle Huillet…

Each one of them has been chosen as a representative of a trend or technique in order to organize the discussion by approaching a specific topic at a time –framing techniques, cuts, production systems, usage of color, acting, dialogues, the role of silence, etc.

The purpose of this seminar is not to be an instruction manual. Far from it, these lessons are a kind of portrait of my love for cinema –a collection of instants that I myself find stimulating as a filmmaker. My wish is that they will be –as they were for me– an inspiration for young, emerging directors.