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ANGELA SCHANELEC: MÁRGENES SPECIAL AWARD
German filmmaker Angela Schanelec (Aalen, 1962), one of the most significant auteurs in contemporary European cinema, will receive the 2025 Márgenes Special Award in recognition of her singular career and her contribution to the renewal of cinematic language.
An actress by training and a director closely linked with the so called Berlin School, Schanelec has developed a body of work defined by an austere, poetic, and deeply emotional style. Her films—often compared by critics to those of Robert Bresson, Michelangelo Antonioni, or Chantal Akerman—address, with radical delicacy, themes such as grief, motherhood, and miscommunication.
Her films have been presented at festivals such as Cannes, Locarno, and Berlin, where she won the Silver Bear for Best Director for I Was at Home, But… (2019) and the Silver Bear for Best Screenplay for Music (2023), a contemporary reinterpretation of the Oedipus myth.
An actress by training and a director closely linked with the so called Berlin School, Schanelec has developed a body of work defined by an austere, poetic, and deeply emotional style. Her films—often compared by critics to those of Robert Bresson, Michelangelo Antonioni, or Chantal Akerman—address, with radical delicacy, themes such as grief, motherhood, and miscommunication.
Her films have been presented at festivals such as Cannes, Locarno, and Berlin, where she won the Silver Bear for Best Director for I Was at Home, But… (2019) and the Silver Bear for Best Screenplay for Music (2023), a contemporary reinterpretation of the Oedipus myth.
The filmmaker will join a public conversation and will be honored with a retrospective focus showcasing a selection of her work.
JAIME PUERTAS CASTILLO: MÁRGENES FUTURA AWARD
As part of this tribute, two activities are presented: the performative installation "The Room of the Three Desks" and the screening of his debut feature Historia de pastores, accompanied by the short film Anunciación a los pastores.
METAHAVEN: FILM FOCUS
Márgenes Festival and the Museo Reina Sofía are dedicating a special focus to the Dutch art collective Metahaven.
Composed of Vinca Kruk and Daniel van der Velden, Metahaven develops its work at the intersection of communication, aesthetics, and politics. Metahaven’s practice brings together graphics, video, installations, writing, and design around urgent questions of governance, identity, power, and transparency in the digital age. The duo’s moving-image work sits at the crossroads of art, cinema, and critical thought, using audiovisual language as a tool to explore the tensions between technology, politics, and perception.
The program features works such as The Sprawl (Propaganda About Propaganda) (2016), Chaos Theory (2021), or The Feeling Sonnets (Transitional Object) (2024), in which the collective examines how media systems and digital infrastructures shape the way we understand reality, identity, and truth, and it includes a masterclass.
The program features works such as The Sprawl (Propaganda About Propaganda) (2016), Chaos Theory (2021), or The Feeling Sonnets (Transitional Object) (2024), in which the collective examines how media systems and digital infrastructures shape the way we understand reality, identity, and truth, and it includes a masterclass.
LIVE AV
Márgenes extends its program beyond the traditional screen to venture into the border zones between image and sound. AV live performances overflow not only the classical notion of the screening room, but also the limits of the audiovisual language itself: here, innovation happens live, in the uncertain and immediate terrain of the performative. These encounters, where visual and sonic arts converse in real time, become a laboratory in which a new, hybrid, and living language emerges.
