A Storm Was Coming
In 1904, Ësáasi Eweera, the last native Bubi leader who opposed the Spanish rule at the current island of Bioko, Equatorial Guinea, was detained by colonial guards and died three days later. By reenacting written texts through voiceovers, taping and studying native oral accounts and identifying historically charged sites, A storm was coming reflects on the gaps, contradictions and falsehoods that colonial history is built upon.
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Javier Fernández VázquezDirectorSeñales de indiferencia, Los materiales, Árboles
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Javier Fernández VázquezProducerLos materiales, Árboles
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Justo Bolekia BolekáKey Cast
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Reha-Xustina Bolekia BueriberiKey Cast
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Nieves Posa BohomeKey Cast
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Paciencia Tobileri BepeKey Cast
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Ricardo Bulá BitemaKey Cast
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Donato Muatetema MuelachuáKey Cast
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Fermín Muatiché BurelepeKey Cast
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José Fernando Siale DjanganyKey Cast
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Project Title (Original Language):Anunciaron tormenta
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Project Type:Documentary, Experimental
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Genres:History
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Runtime:1 hour 27 minutes
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Completion Date:November 7, 2019
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Production Budget:50,000 EUR
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Country of Origin:Spain
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Country of Filming:Equatorial Guinea, Spain
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Language:Spanish
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Shooting Format:HDV
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
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BerlinaleBerlín
Germany
February 23, 2020
World Premiere
Berlinale Forum. Nominated to Best Documentary Award -
Festival Internacional de Cine de Cartagena de IndiasCartagena de Indias
Colombia
March 13, 2020
Latin American premiere -
Jeonju International Film FestivalJeonju
Korea, Republic of
Asian premiere -
Black Canvas FCCMexico City
Mexico
October 5, 2020
North American premiere -
FIC ValdiviaValdivia
Chile
October 12, 2020
Chilean premiere -
DokufestPrizren
Kosovo
August 15, 2020
Kosovo premiere
International Competition -
ViennaleViena
Austria
October 31, 2020
Austrian premiere
Official selection -
Pápa International Historical Film FestivalPápa
Hungary
November 13, 2020
Hungarian Premiere
Finalist -
Mar del Plata International Film FestivalMar del Plata
Argentina
November 25, 2020
Argentinian Prmiere
Official Selection. Estados Alterados -
Pravo LjudskiSarajevo
Bosnia and Herzegovina
December 4, 2020
Bosnian premiere -
Frames of RepresentationLondon
United Kingdom
December 8, 2020
UK premiere -
Documenta MadridMadrid
Spain
December 11, 2020
Spanish premiere
International Competition -
Novos CinemasPontevedra
Spain
December 19, 2020
Best Film. Latexos Section -
DocLisboaLisbon
Portugal
January 14, 2021
Portuguese premiere -
Transcinema Film FestivalLima
Peru
January 15, 2021
Peruvian premiere
Resistencias Competition -
Las Palmas International Film FestivalLas Palmas
Spain
April 10, 2021 -
D'A Film FestivalBarcelona
Spain
May 5, 2021
Un impulso colectivo -
Festival de Cine Africano de Tarifa-TángerTarifa
Spain
June 3, 2021
Miradas españolas -
The African Film FestivalDallas, Texas
United States
June 1, 2021
USA Premiere -
L'Incontrolat. Muestra Documental y EtnografíaValencia
Spain
July 14, 2021 -
NEMAF Seoul International ALT Cinema & Media FestivalSeoul
Korea, Republic of
August 25, 2021
Best Glocal Propose -
FLIGHT Mostra Internazionale di Cinema di GenovaGenova
Italy
October 1, 2021
Italian Premiere
Best Non-Fiction Feature Length Film -
FotogeniaMéxico DF
Mexico
December 17, 2021 -
L'Europe Autour de L'EuropeParis
France
November 25, 2021
French premiere
Special Mention. Prix Sauvage
Distribution Information
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Arsenal DistributionDistributorCountry: GermanyRights: All RightsCountry: AustriaRights: All RightsCountry: Switzerland
Javier Fernández Vázquez is a filmmaker, anthropologist and visual culture researcher. In 2007 he directed his first short film Señales de Indiferencia / Marks of Indifference, which received the award to the best international short film in the Valdivia International Film Festival (Chile).
In 2008, he founded with Luis López Carrasco and Natalia Marín Sancho the experimental and documentary film collective, Los Hijos. Their first feature-length film, Los materiales / The Materials (2010), won the Jean Vigo award to the best direction in Punto de Vista Pamplona International Film Festival 2010 and a special mention in FID Marseille 2010. Their next feature-length films as well as several shorts and video installations were selected by international film festivals and exhibited in contemporary art centres. Their work has also received special retrospective sections in Mar del Plata International Film Festival (Argentina) or Distrital (Mexico).
In 2015, Javier Fernández Vázquez began an academic career in Film Studies and Visual Culture that has led him to research on issues related to history, memory, colonialism, visual culture and object theory.
Anunciaron tormenta / A storm was coming (2019) is his first solo feature-length film.
Filmography:
Señales de Indiferencia / Marks of Indifference (2007, 14')
El sol en el sol del membrillo / The sun on the quince tree of the sun (2008, 12', co-dir)
Ya viene, aguanta, riégueme, mátame / It’s coming, hold on, spray me, kill me (2009, 8´, co-dir)
Los materiales / The materials (2010, 75´, co-dir)
Circo / Circus (2010, 71´, co-dir)
Tarde de Verano / Summer afternoon (2011, 6´, co-dir)
Evacuación / Evacuation (2011, 2´, co-dir)
Enero 2012 o la apoteosis de Isabel La Católica / January 2012 or the apotheosis of Isabel, the Catholic Queen (2012, 18´, co-dir)
Árboles / Trees (2013, 61’, co-dir)
Anunciaron tormenta / A Storm Was Coming (2019, 87')
As far as I know, Anunciaron tormenta is one of the firsts attempts in Spanish cinema that addresses the colonial past of Equatorial Guinea. My concern about this issue began more than ten years ago, when I found out that the bibliography on this territory was very scarce. Moreover, very few people in Spain seemed to know or remember that Equatorial Guinea was controlled by Spain until 1968.
Most of the reference texts that deal with this period belong to the Francoist era and helped to construct the idea of a benevolent, condescending metropole that peacefully persuaded natives of the kindness of Catholic religion. A closer reading between the lines of such texts tells a different story. A violent one.
Apart from the archive and field research undertaken in Spain and Equatorial Guinea, my main task has been to define the audio-visual tools that would help me to mark those gaps and contradictions in the official texts that would expose the operations of concealment carried out by colonial institutions.
Therefore, I established three paths: reflecting on the status of orality versus writing; identifying historically charged sites and exploring the materiality of the documents. My creative process has been focused on experimenting with the relations among them, always reemebering what the writer Justo Bolekia Boleká once told me after he agreed to take part in the project: 'Bubis will tell you a lot of things about their collective and individual memory but they will always keep something for themselves'.