Almudena sanchez

Almudena sanchez

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Almudena sánchez. hay festival cartagena

“Today I couldn’t get up from the sofa, I don’t know why, and another day comes, and another, and again… What’s wrong with me? How come I suddenly have a fade to black?” This happened one day to the writer Almudena Sánchez and this is what happens every day to hundreds of thousands of people, more women, and the word that encompasses this tearing, this black cloak that covers a life, suddenly, this suffering, is: Depression.
Q.- At a time when mental disorders, depression, anxiety or stress have suffered an increase due to the pandemic, and when it is necessary to talk about the care and fragility of the human being, “Fármaco” appears, a book in which you relate your depression.
A.- “I believe that this is a moment in which there is a debate, at last, or it is beginning to be discussed, ‘stuttering’, about mental health. I think it is a good thing. Science is advancing by leaps and bounds, we have more and more drugs, but in humanistic terms we can’t talk about it like this. Every time someone tries to talk about it they are interrupted or told to ‘go to the doctor’, insulted or made fun of. I think we are way behind when it comes to talking sensitively and humanely about this. I have suffered from it. I’ve suffered from other physical illnesses where I’ve been very supportive, but not so with mental illness. You feel very unprotected, you feel misunderstood and you feel bad, you feel crazy.

Fármaco’ de la escritora almudena sánchez

Almudena es una directora de fotografía con larga experiencia en Madrid. Es licenciada en Cinematografía por la prestigiosa EICTV, (Cuba) y en Ciencias de la Comunicación por la Universidad Complutense de Madrid.
Su primer largometraje de ficción, “La cicatriz”, ganó la Biznaga de plata del Festival de Málaga 2005, en la sección Zona Zine. Su largometraje documental “Sacromonte, los sabios de la tribu”, obtuvo la espiga de oro al mejor documental en la Seminci 2014.
“Haber trabajado tanto en ficción como en documental me ha proporcionado una doble estrategia: lo que he aprendido de un medio lo puedo explotar en el otro. En el documental, he desarrollado una visión intuitiva que guía mi cámara. En la ficción, construyo una luz expresiva siempre inspirada en la sencillez de la elegancia”.

Autoficción en benengeli”: almudena sánchez #benengeli2021

Almudena imparte clases de español a estudiantes de grado y postgrado en el Programa de Lenguas Abiertas y es organizadora de la etapa 1 y 4 de español. Ha desarrollado los Epacks de español, que son materiales de aprendizaje multimedia diseñados por London Met.
Almudena comenzó su carrera como profesora y formadora de profesores en International House, Londres, y ha enseñado español en varias instituciones de educación superior en el Reino Unido. Sus principales intereses se centran en el desarrollo de materiales de aprendizaje de idiomas, la enseñanza a distancia/mezclada y el impacto de las tecnologías digitales en el aprendizaje de idiomas.

Almudena sánchez presents ‘fármaco’.

Her feature documentary “Sacromonte, los sabios de la tribu” won the Golden Spike for best documentary at Seminci 2014. He has collaborated with Almudena Carracedo and Robert Bahar in the second unit of “El silencio de otros” winner of the Goya for best documentary in 2019.
In 2008 I was lucky enough to be invited as a jury member by the directors of the Play-doc Festival, Anxo and Sara, and I fell in love. I fell in love with Tui, with Galicia, with the Festival and with the way they were doing things!
18sep19:3021:30Screening and Creators Meeting “Creators Meeting” between Eric Pauwels, Marta Andreu and David Varela.19:30 – 21:30 Cine Estudio del Círculo de Bellas Artes3XDOC:Screening,Special Sessions
The session consists of the screening of the film Letter from a filmmaker to his daughter, followed by the “Meeting of creators” that gives title to our event, between Eric Pauwels and Marta Andreu, led by our programmer David Varela.
To be precise, for us there are two elements that link his gaze and his way of understanding documentary cinema: one, time, both in its narrative and expressive facet (the possibility of memory), as well as in the purest factor and measure of production for the development of his films. The time of dedication, and that of all its possible synonyms: dedication, eagerness, enthusiasm… And the time that their films need and ask for, in the certainty that only within the specificity of the documentary, of its requirements, of its phases and specific intervals, are works born with the beauty and integrity like the ones they create and produce.