ESEN

Andrés Duque

Filmmaker — documentary, essay film, experimental cinema

Caracasborn 1972 Barcelonabased since 2000 Cali2010 Maputo2011 Saint Petersburg2012–2022 Karelia2017–

A body of work made at the edge of non-fiction. Self-produced, unscripted, indifferent to standard lengths and formats, moving between portrait, diary, essay and archive. The films come out of living alongside others in particular places, and are also points on a map with no centre that trace an immigrant aesthetic.

Films premiered at the International Film Festival Rotterdam, Documenta Madrid and San Sebastián, shown repeatedly at the Mar del Plata International Film Festival, and screened at the Reina Sofía National Museum, MACBA, CCCB, mumok Vienna, Garage Moscow and the Hermitage. Retrospectives at FIDOCS Santiago de Chile, Cineteca Matadero Madrid and Alcances Cádiz. Based in Barcelona, where he also teaches avant-garde cinema and visual culture.

Andrés Duque

Work in progress

Currently in development, with fieldwork based in Finland.

2027
Working title
Unexplored Region
Running time
60–70 min
Format
16 mm, colour and black and white
Languages
vienankarjala, Spanish, Finnish
Territory
Finland
In development

Unexplored Region

Región inexplorada · tutkimatoin aloveh

A film about learning vienankarjala, Viena Karelian, one of the three dialects of the Karelian language, spoken on both sides of the Finnish–Russian border. The film follows that learning not as documentation but as a way of living inside the language. The title comes from an inscription on a map that appears in Iván Z, his first film, shot two decades earlier. Between the two there is also a turn in the material: where that one celebrated the digital, this one takes on celluloid and a wind-up Bolex.

The film is shot on celluloid. Not as a position on film versus digital, but because a language being safeguarded deserves a carrier that lasts longer than a hard drive: the aim is a photochemical record of Karelian that will still be readable in a hundred years.

Its working framework, an immigrant aesthetics, treats identity as a tonality rather than a border, and takes the Soviet interlinear translation method — the podstróchnik — as a way of working in two directions at once: preserving old words and following the invention of new ones, for the weather, the machine, the body and love as they are now. Karelia here is a chosen place, not a refuge.

Partner and supporting institution: Karelian Language and Culture, University of Eastern Finland, Joensuu. Joensuu is the fixed point of the shoot; the remaining locations will be decided together with their team.

Map inscription reading Unexplored Region
Still from Arrebato, by Iván Zulueta

Selected films

Feature-length and medium-length work, most recent first, with a selection of festivals and awards.

2024
Country
Spain
Running time
25 min
Format
Single channel / video installation

The King is Dead

As a child, Robert Wilson told his teacher he wanted to be king. The film takes that anecdote as its premise and revisits the figure of the monarch through the theatre of the absurd, as a triptych of sequence shots built on Gogol, Jarry and Beckett. Wilson reads to camera, seated, against a minimal setting, and the satire moves with dry black humour towards a question about the solitude of those who rule.

The project grew out of the invitation the curator Imma Prieto extended to Wilson in 2022 to stage Ubu Roi at Es Baluard in Palma, where Jarry's play meets Mori el Merma, the version Joan Miró made with the theatre company La Claca in the 1970s.

With: Robert Wilson. Script: José Luis Corazón Ardura. Cinematography: Blai Tomàs. Sound: Lucía Millán. Executive production: Paco Poch — Mallerich Films. Curated by: Imma Prieto.

  • Es Baluard Museu d'Art Contemporani, Palma — origin of the project
  • CaixaForum+ — available on the platform
  • La Semaine des Arts et Médias, Université Sorbonne Nouvelle, Paris — France 2026
Robert Wilson, still from The King is Dead
2022
Country
Spain
Running time
73 min
Premiere
Documenta Madrid, Official Section

Tropic Seamount, a tale of the lockdown

Monte Tropic, una historia del confinamiento

Agadiri has just come out of prison and spends a few days at the flat of his friend Oussama, who looks after him and tries to find him a future. Both have recently arrived in Spain, and the pandemic locks them into a second confinement on top of the one their status already imposes. Filmed almost entirely indoors, the film drifts towards a more dreamlike space in which the two young men stage their memories of Morocco through gesture and theatre exercises. Their inactivity becomes a claim: the right simply to exist, against the political use made of their situation.

Monte Tropic is a mineral-rich undersea mountain disputed between Morocco and Spain — an invisible place that gives a name to the space migrants occupy.

Produced within the Transgang project, led by Universitat Pompeu Fabra, funded by the European Research Council under Horizon 2020. Ethnographic advisors: Carles Feixa Pàmpols, Eduard Ballesté, Margot Mecca.

  • Documenta Madrid, Official Section — world premiere, Spain 2022
  • Porto/Post/Doc, Cine Fiesta — Portugal 2022
  • L'Alternativa Barcelona, Satèl·lits — Spain 2022
  • MUSAC León · Filmoteca de Catalunya · DA2 Salamanca
Still from Monte Tropic, a Story of Confinement
2019
Country
Spain
Running time
90 min
Premiere
IFFR Rotterdam, Voices

Karelia: International with Monument

Carelia: Internacional con monumento

In a settlement near the Russian–Finnish border, a family keeps a non-dogmatic spiritual life alive: rituals, prayer, children playing in the forest. The same forest holds photographs nailed to trees, markers of the mass graves left by Stalin's purges. The film moves between the two without reconciling them, assembling nature footage, historical material, family scenes and testimony — including a conversation with Katerina Klodt about her father, the historian Yuri Dmitriev, imprisoned after decades spent locating those graves. A region that has belonged to Sweden, Novgorod, Finland and Russia, filmed as a wound rather than a border.

With: the Pankratiev family and Katerina Klodt. Colour grading: Federico Delpero. Made with the BBVA Foundation Multiverso grant for video art creation, 2017.

  • Best Feature Film, 51st Alcances, Cádiz — Spain 2019
  • DOCMA Award ex aequo, Alcances, Cádiz — Spain 2019
  • Young Jury Prize, IsReal Festival, Sardinia — Italy 2019
  • IFFR Rotterdam, Voices — world premiere, Netherlands 2019
  • Art of the Real, Film Society of Lincoln Center — USA 2019
  • FICUNAM Atlas · FIDMarseille · Play-Doc · D'A Barcelona, Directions
  • Montevideo IFF, Human Rights · Tabakalera · Cineteca Matadero, retrospective
The Pankratiev family, still from Karelia: International with Monument
2016
Country
Spain
Running time
70 min
Premiere
IFFR Rotterdam

Oleg and the Rare Arts

Oleg y las raras artes

At eighty-seven, the composer Oleg Karavaichuk was still an unsettling figure in Russian culture: a child prodigy who played for Stalin, a Leningrad Conservatory student, later the author of scores for Paradjanov and Muratova, and the only person permitted to play the imperial piano at the Hermitage on days when the museum was closed. Drawn in by the music Karavaichuk wrote for Kira Muratova, the film earns the trust of a man who had let almost no foreigner near him, and lets him talk, gesture and play — a portrait made of consented performance rather than argument.

With: Oleg Karavaichuk. Executive production: Marta Andreu, Tània Balló, Lluís Miñarro, Serrana Torres. Cinematography: Carmen Torres. Sound: Boris Alekseev. Distribution: Márgenes.

  • Best Feature Film and Lab80 Award, Seeyousound, Turin — Italy 2017
  • Audience Grand Prize for Best International Documentary, AricaDoc — Chile 2017
  • Punto de Vista Grand Prize, Navarra — Spain 2016
  • Best Feature Film, DokuFest, Prizren — Kosovo 2016
  • Original Music Award and Special Mention of the SCAM International Award, Cinéma du Réel, Paris — France 2016
  • Best Foreign Documentary, Golden Unicorn Awards, London — United Kingdom 2017
  • Best Feature Film and Critics' Award, CaracasDocs — Venezuela 2016
  • Talents Award and Critics' Mention, D'A Barcelona — Spain 2016
  • IFFR Rotterdam — world premiere, Netherlands 2016
  • Art of the Real, Lincoln Center · BAFICI · Filmfest München · Bildrausch Basel · Beat Film Festival Moscow
Oleg Karavaichuk at the piano, still from Oleg and the Rare Arts
2012
Country
Spain
Running time
75 min
Premiere
IFFR Rotterdam, Bright Future

Dress Rehearsal for Utopia

Ensayo final para utopía

A trip to Mozambique in search of films made during the revolutionary years is interrupted by news that the filmmaker's father is gravely ill in Venezuela. What had been a research journey turns into something else: recovered footage of dance and revolution set beside the last days spent at a hospital bedside. Sound and image mostly refuse to agree; silence carries much of the film. Politics, mourning and the faded idea of a collective future are held in the same frame without either explaining the other.

  • Premi Ciutat de Barcelona for best audiovisual work — Spain 2013
  • Honourable Mention, IBAFF Murcia — Spain 2013
  • Flaherty Film Seminar, Open Wounds — New York 2012
  • Viennale · Edinburgh IFF, New Perspectives · Mar del Plata · FIDOCS
  • Anthology Film Archives, New York 2013 · Dockanema, Mozambique 2012
Still from Dress Rehearsal for Utopia
2011
Country
Spain
Running time
70 min
Premiere
IFFR Rotterdam, Bright Future

Colour Runaway Dog

Color perro que huye

After an accident leaves him bedridden for two months, the filmmaker goes back through eight years of footage stored on hard drives — portraits of friends, walks through Barcelona, a return to Caracas where chaos sets the terms. There are no dates and no hierarchy between the chapters. The result is a first feature assembled as a kaleidoscope rather than a chronology, a diary that refuses the diary's order, funny in places and estranged throughout.

  • Audience Award, Punto de Vista, Navarra — Spain 2011
  • IFFR Rotterdam, Bright Future — world premiere, Netherlands 2011
  • Viennale · Mar del Plata, Panorama · FIDOCS · Las Palmas IFF
  • CCCB Xcèntric · La Casa Encendida · ARTIUM · MUSAC · L'Alternativa
Still from Colour Runaway Dog
2005
Country
Spain
Running time
26 min
Premiere
Mar del Plata Festival

Parallel 10

Paralelo 10

On a corner of Avinguda del Paral·lel, at the corner of Carrer d'Entença, Rosmarie lays out a set of rulers and set squares every day at the same hour, some of them marked with formulas. With them she builds balanced figures, composes words and draws structures that only she can read. She is Filipina, she lives in Barcelona and she speaks to almost no one. The film makes no attempt to explain her: it records the choreography and leaves its meaning intact. That decision — not to translate the other, but to make room for them — already contains much of the work that followed.

With: Rosmarie. Direction and production: Andrés Duque. Cinematography: Andrés Duque and Sergi Vilanova. Sound: Wyz.

  • Mar del Plata IFF, Official Section — Argentina 2006
  • Málaga Film Festival, Official Section — Spain 2006
  • Reina Sofía National Museum, Locuras contemporáneas — Spain 2006
  • mumok Vienna, Taking the Measure of the World · 11th Media Arts Biennial, Santiago de Chile — 2013
  • MAMBA Buenos Aires, Mapa Export — 2014 · Fotogalerie Wien, Rituale I – Korrelationen — 2019
Rosmarie on Avinguda del Paral·lel, still from Paralelo 10
2004
Country
Spain
Running time
53 min
Premiere
San Sebastián IFF

Iván Z

Shot alone in three days with a small digital camera, a first film that got the cult director Iván Zulueta to break a silence he had kept for years. The film climbs through the house where Zulueta had shut himself away, punctuated by conversations in the garden, and instead of a full biography it stays with the obsessions that fed his imagination: sticker albums, childhood, the impossibility of making films and the impossibility of not making them. A portrait that works as a set of mirrors, and one of the works that helped return Zulueta to Spanish film history.

With: Iván Zulueta. Production: Estudios Pirámide — Cristina Alastruey. Post-production: Martín Sappia.

  • Goya Award nomination, documentary — Spain 2004
  • Best Documentary, Fuendetodos Cine Arte — Spain 2007
  • San Sebastián IFF, Incorrectos · Sitges · Málaga · L'Alternativa
  • Pesaro, Mostra Internazionale del Nuovo Cinema — Italy 2007
  • NCCA Moscow · MAMBA Buenos Aires · Media Arts Biennial, Santiago de Chile
Iván Zulueta, still from Iván Z

Other works

Twenty-seven pieces alongside the feature films: documentary shorts, works built from found material, a musical series, and pieces conceived as installations for museum spaces. They have circulated through art centres as much as through festivals.

Recognition

Awards

  • Best Feature Film and DOCMA Award, 51st Alcances, Cádiz — 2019
  • Young Jury Prize, IsReal Festival, Sardinia — 2019
  • Best Feature Film and Lab80 Award, Seeyousound, Turin — 2017
  • Audience Grand Prize for Best International Documentary, AricaDoc, Chile — 2017
  • Best Foreign Documentary, Golden Unicorn Awards, London — 2017
  • BBVA Foundation Multiverso grant for video art creation — 2017
  • Punto de Vista Grand Prize, Navarra — 2016
  • Best Feature Film, DokuFest, Prizren — 2016
  • Original Music Award and SCAM Special Mention, Cinéma du Réel, Paris — 2016
  • Best Feature Film and Critics' Award, CaracasDocs — 2016
  • Talents Award and Critics' Mention, D'A Barcelona — 2016
  • Special Jury Mention, Antofadocs, Chile — 2016
  • Special Mention, Les Rencontres Cinématographiques de Cerbère-Portbou — 2016
  • Sublimage Award and Videopoche Award, FIDLab, FIDMarseille — 2014
  • Premi Ciutat de Barcelona, best audiovisual work — 2013
  • Honourable Mention, IBAFF Murcia — 2013
  • Audience Award, Punto de Vista, Navarra — 2011
  • Román Gubern Essay Film Award — 2009
  • Best Audiovisual Creativity Award, En Piezas, Madrid — 2008
  • Best Documentary, Fuendetodos Cine Arte — 2007
  • Goya Award nomination, documentary — 2004

Retrospectives

  • DA2 Salamanca, Visiones Contemporáneas — 2022
  • Alcances Cádiz — 2020
  • Cineteca Matadero Madrid — 2019
  • Atlàntida Film Fest / Filmin — 2019
  • Cuarto Cine, Orion Cinema, Helsinki — 2019
  • FIDOCS Santiago de Chile, Foco Andrés Duque — 2016
  • Lima Independiente, Peru, Homenaje a Andrés Duque — 2016
  • Bilbaoarte Fundazioa, Ensayos para el futuro — 2013

Institutions

Reina Sofía National Museum, MACBA, CCCB, Filmoteca de Catalunya, Tabakalera, MUSAC, mumok Vienna, Garage Museum of Contemporary Art Moscow, State Hermitage Museum, Anthology Film Archives, Museo de Arte Moderno de Buenos Aires.

Seminars and masterclasses

  • Masterclass on immigrant aesthetics, L'Alternativa, CCCB, Barcelona — 2022
  • Film workshop and retrospective “Kinu #4”, Tractora Koop. E., Azkuna Zentroa, Bilbao — 2021
  • Online workshop “Cine de apropiación”, La Casa Encendida, Madrid — 2020–2021
  • Masterclass, New Holland Film Festival, Saint Petersburg — 2020
  • Universidad Torcuato Di Tella, Buenos Aires. No toda imagen es cuerpo, no todo cuerpo es humano — 2020
  • Masterclass on documentary and essay film, Escola Lliure, Barcelona — 2019
  • Invited director, seminar Territorios y Fronteras. Experiencias documentales contemporáneas, UPV/EHU and BilbaoArte, Bilbao — 2011 and 2019
  • Masterclass on auteur cinema, ECIB, Barcelona Film School — 2016–2018
  • Masterclass, UnionDocs, Brooklyn, New York — 2012 and 2016
  • Workshop “El cine-ensayo (o la forma peligrosa de mezclar lo personal con el presente)”, Hangar, Barcelona — 2011–2014
  • Workshop “El cine soy yo”, La Casa Encendida, Madrid — 2012
  • Invited filmmaker, The Flaherty Film Seminar, New York — 2012
  • Aula Xcèntric, CCCB, Barcelona. The Dancing Death. Subversión carnavalesca y cine de no ficción, with Loïc Díaz Ronda — 2011
  • Presentation of the cycle “Del éxtasis al arrebato. 50 años del otro cine español”, Cali International Film Festival and Centro de Arte Los Galpones, Caracas — 2010

Live sessions and interventions

  • “Давай тусить” (Davai tusit'), live session with YouTube footage, Cineteca Madrid, Matadero — 2021
  • Live action with the audience at the installation El pasado es más incierto que el futuro, TEA Tenerife, Fotonoviembre, curated by Cine por venir — 2019
  • “Sound Street”, sound intervention in Paul Graham's exhibition “La blancura de la ballena”, cycle “Imágenes sobre imágenes. Del cine a la fotografía”, Bombas Gens Centre d'Art, Valencia — 2018
  • “Nosotros, los vivos”, live session with YouTube footage, CCCB, Xcèntric, Barcelona — 2011

Curatorial work

Teaching and mentoring

University

Professor of avant-garde cinema and visual culture at ESCAC in Barcelona and at the EICTV in San Antonio de los Baños, Cuba, at both since 2015. Visiting artist at the documentary film ateliers of the Department of Film, Aalto University, Helsinki, in 2019 and 2023.

Project development

  • Project tutor, Master's in Theory and Practice of Creative Documentary, Universitat Autònoma de Barcelona — since 2002
  • Tutor, Ibermedia — 2015 and 2016
  • Tutor, Curt i Ras — L'Alternativa, Barcelona — since 2024
  • Tutor, Arché — Doclisboa — since 2018

Background

Degree in journalism, Universidad Central de Venezuela. From 1994, writer and director of film reports for HBO Latin America, covering Cannes, Berlin, Sundance, San Sebastián and Toronto. Moved to Barcelona in 2000 for the Master's in Theory and Practice of Creative Documentary at the Universitat Autònoma de Barcelona.

Press and texts

Features, interviews and essays published on the work. See the full bibliography.