• Jueves 14 y viernes 15 de diciembre
  • Horario: 17.00h a 20.00h
  • Número de plazas: 15
  • Duración: 6 horas
  • Casa das Campás
  • Público general: 30 Euros
  • Estudiantes: 15 Euros
  • Es necesario adjuntar el justificante de pago.
  • Ingreso vía transferencia a la cuenta ES7200496737022910009006 a nombre de ACC NOVOS CINEMAS. Concepto: TALLER con CARLOS CAÑAS

When Novos Cinemas’ proposal for the advanced editing workshop arrived, I was surprised, in a good sense, by the concept that sought to be explored: editing design.

Etymologically, design, from the Italian disegno, means what is to come, an expression that refers to a previous process and, at the same time, to the future.

This tension between the a priori (the idea) and posteriori (the fact) is a beautiful approach to the process of audiovisual editing.

On the one hand, from its own execution, by giving meaning and unity to the filmed material and transforming it into an audiovisual work. On the other hand, from its own meaning, since when working, the editor makes a series of decisions, projecting himself as a spectator, being a kind of a priori spectator, and he does so with the infinite illusion that the final spectator will walk that projected path.

Georges Perec quoted in the prologue to Life: A User’s Manual that “the ultimate truth of the puzzle: despite appearances, it is not a solitary game: every gesture that the actor of the puzzle does, his author has done it before him; every piece that takes and resumes, examines, caresses, every combination that tries and tries again, every one of its groping, to sense, to hope, all its discourages, has already been decided, calculated, studied by the other.”

This analogy with the puzzle could serve us, a priori, to explain the potential relationship between the editor and the spectators.

But thinking a little more about it, a posteriori, it also offers a poetic reading of the relationship established between the film itself and who edits it. The editing ideas dialogue and discuss with the film itself, there being so many happy ideas that, on paper, are extraordinary, but that have no place within it no matter how much one tries, such as, on the contrary, decisions or intuitions that seem like a univocal conclusion of what the film says, as if it didn’t give us another possible alternative.

How much freedom do we have when making a film? How much freedom does the spectator have when facing it?

The answer to both questions is the same since they go closely together. This workshop seeks to explore the (few) disappointments and the (many) hopes around that one answer.

Carlos Cañas Carrera is a film editor graduated from ECAM (School of Cinematography and Audiovisual of the Community of Madrid). He begins his professional career in 2021 by editing short films selected in many international film festivals. He edits the feature film Tener tiempo and is working on the third season of La Reina del Sur (Netflix). In 2023 Cañas works editing Hija del Volcán (Jenifer de la Rosa), MAFIZ award at the 2023 Málaga Festival; Adolescencia Infinita (Víctor Soho), special mention in the Corte Final section of Documenta Madrid 2023; STREAM (Sergio Pereda) and Almudena por Almudena (Azucena Rodríguez).

Cañas is member of the espirituesscalera film collective, whose works have been exhibited at international film festivals and in biennials such as in Venice or Rabat, editing most of his works and the collective’s first feature film, Mitología de barrio. Coordinator of post-production and mastering of feature films such as Vida Férrea, FIPRESCI award at Visions du Reel 2022, he combines his work while teaching at ECAM and being an active member of the training work group of AMAE (Association of Editors Audiovisuals of Spain).