Still from 'Saute ma ville', by Chantal Akerman (1968)
When we think of how the baserri has been represented in cinema, a few titles immediately come to mind: Vacas (Julio Médem, 1992), Amama (Asier Altuna, 2015), Handia (Aitor Arregi, Jon Garaño, 2017). But if, as Rhizoma does, we broaden the question and if we look for the different lines of reflection that could be crossed in the baserri, cinema also branches out. For example, if we think that in the baserri the kitchen has been a meeting place and not a space of confinement for women, we remember the first short film by Chantal Akerman, Saute ma ville (1968) where the filmmaker herself blows up her kitchen. Or if we think of the concept of circularity, we remember Maddi Barber's Gorria (2020) where the director portrays through the actions of different hands the circular relationship that exists between peasants and animals. In this session I propose a journey where the starting point will be the baserri, where the journey will take place between different fragments of films but whose end I am not yet sure where it will take us.