Questioning the Contemporary European Cinema
The past, present and future of European audio-visual production was the main focus of study. Keynote speakers such as Alain Bergala (‘Aesthetic Tendencies of Contemporary European Cinema’), Francesco Casetti (‘European Cinema and Postmodernity’) and Nicole Brenez ‘The Signs Amongst Us: Futures of European Audio-Visual Production’) examined current tendencies in European cinema and its relationship to cultural and technological shifts. In homage to a key figure in this context, the film producer Paulo Branco, the following recent films were screened: Vai e vem (João César Monteiro, 2003) and La captive (Chantal Akerman, 2000).

Babelic Identities
In the European context, contemporary film mutations dovetail with national realities, which was the focus of the keynote lecture by Gian Piero Brunetta, Jean-Claude Seguin and Román Gubern ‘National Identities and Multi-Ethnic Communities’ and the panel discussion ‘New Geographies in European cinema’, with Jean-Michel Frodon, João Maria Grilo, Àngel Quintana and Olivier Assayas, who introduced his most recent film, Clean. Spanish cinema was the subject of the panel discussion ‘Peripheric Views: Spanish / European Cinema’, where film-makers Marc Recha, Enrique Urbizu, Mariano Barroso, Mercedes Álvarez and Isabel Coixet addressed the identity of national cinema, or the lack thereof. Italian and German cinema also received special attention, with screenings of films such as I nostri 30 anni. Generazioni a confronto, by Giovanna Taviani, who attended the CICEC, and The Best Youth (2003), by Marco Tullio Giordana, on the one hand, and Di Innere Sicherheit (Christian Petzold, 2000) as well as Lichter (Hans Christian Schmid, 2003), on the other.

Eastern Europe: Béla Tarr and Aleksandr Sokurov
Aiming to map national cinematographies in the European continent, the CICEC invited two key European directors. On the one hand, the complex and enigmatic films of Béla Tarr were celebrated with a screening of two of his most important films, Almanac of Fall (1984) and Werckmeister Harmonies (2000). On the other hand, a screening season celebrated the career of Russian film-maker Aleksandr Sokurov. Out of his large filmography, the retrospective included a film dedicated to his master, Andrei Tarkovski, Moscow Elegy (1987), and three films belonging to his series The Diary of St. Petersburg: Inauguration of the monument to Dostoievsky (1997), The Kosintsev (1998) and Mozart Requiem (2004). The screenings of his films Madre e hijo (1997) and Padre e hijo (2003) closed the Congress.

The Borders of Cinema
The first edition of CICEC focused on the borders of aesthetic trends in European cinema and the emergence of new formats. This question was addressed in the panel discussion ‘Author, Genre, Seriality’ by Michel Marie, Vicente Sánchez-Biosca, Miguel Marías, Xavier Pérez and Pascal Bonitzer, who also introduced his film Rien sur Robert (1999) and Histoire de Marie et Julien (Jacques Rivette, 2003), which he scripted. The debate on new forms of audio-visual production was also the topic of the conversation between Giovanni Spagnoletti and Jordi Balló on ‘New Formats’ and the question of the relationship between fiction and documentary forms emerged as a particularly relevant topic. Santos Zunzunegui analysed some key works in this regard, in his keynote lecture ‘Documentary, Fiction, Essay, Intimate Diaries’, and it was also discussed in four conversations on the borders of genres: Joaquim Jordà and Javier Maqua, Víctor Erice and José Luis Guerín, Philippe Grandrieux and Nicole Brenez, and, finally, Yervant Gianikian and Angela Ricci Lucchi. Some of the speakers also introduced their films at the CICEC: Jordà presented his documentary Veinte años no es nada, Grandrieux, La vie nouvelle and the pair Gianikian-Ricci Lucchi, their film Oh Uomo. Films by Jean-Marie Straub and Danièle Huillet (Une visite au Louvre) and Péter Forgács (El perro negro: Stories from the Spanish Civil War) completed the screening programme.

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Arroba, Álvaro and Villamediana, Daniel V.: La representación de lo real y la necesidad de nuevos caminos para la ficción.

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Canga, Manuel: La fractura del sentido y la apertura de la forma.

Carrera, Pilar: Dos ciertas tendencias del cine europeo, una isla y un libro sobre nada.

Casanova, Basilio: Presencia/Ausencia del padre en el cine europeo contemporáneo.

Casas, Quim: Philippe Garrel. Los ministerios del arte.

Cascajosa, Concepción: Europeos sin Europa: los auto-remakes norteamericanos. Alejandro Pardo: Europa vs. Hollywood en la era de la globalización.

Castro de Paz, José Luís: Materia para el ojo o el retorno a lo real.

Català, Josep Maria: Documental y tiempo.

Cuéllar, Carlos: El feísmo hiperbólico: una categoría estética del cine europeo postmoderno.

Cuevas, Efrén: El cine de Peter Forgács: de la compilación a la autoría.

Custodio, Ángel: El cine musical de Carlos Saura.

De Felipe, Fernando: Las películas que no se ven.

De Lucas, Gonzalo: Las correspondencias de Chantal Akerman.

De Miguel García, Marcos: Las influencias de Andrei Tarkovski en el cine europeo contemporáneo.

Eades, Caroline: Traverser les frontières : passerelles linguistiques, esthétiques et stylistiques.

Fillol, Santiago: Avanzar hacia el pasado.

Forgione, Anna Pasqualina: Dalla Sicilia a Napoli. Percorsi del cinema degli anni '90.

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Gómez Tarín, Francisco Javier: La representación de la violencia en la Europa de fin de milenio.

González, Begoña: Subversiones fílmicas: la escritura del yo en dos obras de Agnès Varda.

Heitz, Françoise: El pequeño teatro del mundo.

Izquierdo, Jéssica: La tecnología digital y las políticas de protección.

Jiménez, Manel: Identidad individual y nacional en "The Kingdom".

Jover, Fernando: La influencia de la tecnología digital en las estrategias comerciales.

Juel, Henrik: Intellectual Video Filming.

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Losilla, Carlos: La edad del duelo.

Luque, Ramon: Cine norteamericano y cine europeo: apuntes sobre confluencias e influencias.

Maqua, Javier: Europa V.O.S.

Merino, Imma: Les mans d'Agnès Varda.

Miranda, Luis: El "desafío oriental" de la cinefilia.

Nasta, Dominique: Mythopoïétique et cinéma contemporain.

Nozal, Teresa: El cine francés del siglo XX: ¿historia o historiografía?

Obradors, Matilde: 25 directores de cine catalanes y una canción desesperada.

Ortiz Villeta, Áurea: La huida de la realidad en el cine de ficción español actual.

Otero, Renata: La identidad judía de Chantal Akerman.

Palencia, Rosa María: Identidad femenina en el cine europeo contemporáneo.

Petrus, Ana: Mirades a l'invisible. Una certa tendència del documental contemporani.

Pintor, Iván: Vagabundeos iniciáticos: el nomadismo en el cine.

Romo Mellid, Marisol: Cuerpo del deseo y cine.

Sánchez, Jordi and Zilles, Klaus: The Politics of Cultural Connotations in Film Adaptations of Literary Texts.

Sánchez, Santiago: La decadencia de la Europa moderna y su expresión cinematográfica.

Seguer, Daniel: La Guerra de Yugoslavia a través del cine.

Torres, Lorenzo Javier: Por qué no ser de Amenábar.

Vicente, Ana and Cerdán, Josetxo: Cartografía(s) del documental en Europa.

Vidal Estévez, Manuel: El mundo desencantado de Aki Kaurismaki.

Viota, Paulino: La herencia de Víctor Erice.

Weinrichter, Antonio: Una forma que piensa: notas sobre la tradición ensayística europea.

Chantal Akerman
MICEC’06 paid homage to the Belgian film-maker Chantal Akerman with a retrospective introduced by Dominique Païni, director of MAEGHT Foundation. Akerman had the opportunity to talk about her work and discuss it together with Xavier Antich, Imma Merino and Mercè Coll. Out of her long filmography, the following films were screened: Je tu il elle (1974), Nuit et jour (1991), D’Est (1993), De l’autre côté (2002), Là-Bas (2002) and Demain on déménage (2004), plus the episode of Cinéma de notre temps directed by herself and titled Chantal Akerman par Chantal Akerman (1997).

The Identity of European Cinema: Portugal and Spain
Following on from the first edition, MICEC’06 enquired about the specificities of the babelian European continent. For instance, this was the question posed by the keynote lectures ‘Europe, a Central Void’, by Jesús González Requena, and ‘The Filmic Form and the Drift of Identity’, by Paolo Bertetto. It was also at the centre of the panel discussions ‘Aesthetic Tendencies of Contemporary European Cinema’, with contributions by Thierry Jousse, Miguel Marías, Adrian Martin, Edoardo Bruno, Santos Zunzunegui and Carlos Losilla; ‘National Cinemas’, where Gian Piero Brunetta, Jean A. Gili, Serge Toubiana, Àngel Quintana and José Enrique Monterde discussed the relationship between nationalisms and the multiple European cinemas, and ‘Cinéma(s)’, with João Botelho, Andreas Dresen and David Trueba, which tackled this question from the point of view of film-makers. In parallel to these discussions, the screenings mapped an extensive territory of national cinematographies, including for instance the collective film Visions of Europe, with works by 26 different film-makers, such as Aki Kaurismäki, Béla Tarr or Sharunas Bartas. Special attention was given to Portugal, with a homage to Manoel de Oliveira, who came to Barcelona to intrdoduce and discuss his films O Espelho Mágico and Um filme falado (2003), and other Portuguese film-makers such as João Botelho and Pedro Costa. On the other hand, the most experimental Spanish cinema was also present through works by Ricardo Íscar, Joaquim Jordà, Albert Serra and Isaki Lacuesta.

Film-makers of our Time
In 2006 MICEC brought together again some of the most interesting film-makers of the contemporary European panorama. Alongside those already mentioned, film-makers Bertrand Bonello, Stig Björkman, Thierry Jousse, Andreas Dresen and Raoul Ruiz all came to Barcelona to introduce their films. Phillipe Garrel also attended the festival, with a surprise screening of his film Les amants réguliers, who discussed the current situation of European cinema with Domènec Font. Moreover, MICEC’06 also paid homage to one of the most important projects of the history of European cinema, the series Cinéma de notre temps, and one of its ideologues, André S. Labarthe, also present in Barcelona, by screening the episodes Pasolini, l’enragé (Jean-André Fieschi, 1966), Nanni Moretti (André S. Labarthe, 1990) and Kaurismäki (Guy Girard, 2000).

European Production and Exhibition
The fields of film production and distribution were two of the main focus of attention of MICEC’06 and were intensively debated in a panel discussion including Claude-Eric Poiroux, Paul Branco, Enrique González Macho, José María Morales and Esteve Riambau. Another one, with contributions by José María Álvarez Monzoncillo, Javier Maqua and Àngel Sala, discussed the polítics of European audio-visual production. Furthermore, the festival paid homage to one of the most important producers of European and international cinema, the French of Romanian origin Marin Karmitz, responsable of films by Resnais, Chabrol and Haneke. Karmitz attended the screenings of two films by Krzysztof Kieslowski that he produced: Dekalog I (1988) and The Double Life of Veronica (1991).

Other Screens
The second edition of the MICEC delved into the relationship between cinema and other areas of audio-visual representation, such as television, which was the subject of the keynote lecture by Jordi Balló ‘Cinema, Television and Seriality’ and of the panel discussion ‘Cinema and Television: Correspondances’, with Manuel Gutiérrez Aragón, Enrico Ghezzi, Sergio Pelone, Salvador Agustín, Mark Shivas, Àngel Sala and Paco Poch. On another hand, the drifts and hybrids of contemporary cinema and other languages and spaces (for instance, exhibition spaces) was the focus of the keynote lecture ‘The Migrating Image: Marker, Godard, Varda’, by Raymond Bellour, and of the panel discussion ‘Hybridations’, with Christa Blümlinger, Jean-Pierre Rehm, Isaki Lacuesta, Vito Zagarrio, Àngel Quintana, Carles Guerra and Josep Maria Català.

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Fortes, Raúl: La frontera entre la ficción y la no ficción en el cine alemán contemporáneo. Los casos de Wim Wenders, Werner Herzog y Ulrike Ottinger

García, Laura: La postmodernidad del brit-grit. Ficción y no ficción en el cine de Michael Winterbottom

Gómez, Francisco Javier: La realidad como construcción o la fragilidad del concepto “documental”

González, Begoña: Una forma narrativa que piensa: la dimensión ensayística del relato fílmico

González, Marta: La destrucción de un estado y la construcción de nuevas patrias: el cine de la antigua Yugoslavia en la encrucijada

González, Xurxo: El “Sebastianismo” de Manoel de Oliveira

Ibarz, Mercè: Perturbando las fronteras entre “ficción” y “documento”. Dos films: “Paraísos” (B. Martín Patino, 1995) y “Le peintre, le poète et l’historien” (J.L. Comolli, 2006)

Izquierdo, Jessica: Tecnología e iniciativas de digitalización en Europa

Kerfa, Sonia: La mujer, la lucha social y el cine : Suzanne (y las otras) frente al ojo vacilante del primer Groupe Medvedkine (francia 1967-1971)

Latorre, Jorge: El último refugio europeo de la utopía quijotesca. Algis Arlauskas y Slava Amirhkanian o la herencia olvidada de Andrei Tarkovski

Longhi, Ludovico: L’articulación de las formas fílmicas con la realidad histórica y la experiencia sociolingüística del boom: una historia difícil

López, Elena: El concepto de extraterritorialidad en el cine de Pere Portabella.

Markuš, Saša: Drácula: el antagonista balcánico en el cine europeo

Marzal, Javier and Soler, María: Las ayudas a la producción en el cine norteamericano. Notas sobre los mitos del libre mercado en la era de la globalización

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Pardo, Alejandro: Radiografía de las coproducciones internacionales españolas: ¿estrategia comercial o expresión multicultural?

Pedraza, Pilar: El ensayo en díptico. Agnès Varda y Joaquín Jordá

Petrus, Anna: La seducció de la ficció. Viatge(s) documental(s) als paisatges de l’emoció

Pitarch, Daniel: “Tu n’as rien vu”: límits de la representació / llindars de la percepció en Steve McQueen

Rubio, Agustín: Primitivismo/revisionismo: la animación de la estampa histórica en “L’anglaise et le duc”

Salvadó, Glòria: CONTRAPLANO CON LA MUERTE "Un filme falado", "Vai e vem", "No quarto da Vanda / Ossos"

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Berlin Alexanderplatz
On the occasion of the 25th anniversary of his death, MICEC paid homage to controversial film-maker Rainer Werner Fassbinder with an integral screening of the television series Berlin Alexanderplatz (1980), based on the novel by Alfred Döblin, which was introduced by Juliane Lorenz, editor of some of his films and president of the Fassbinder Foundation, and German theoretician Thomas Elsaesser. The work of Fassbinder was also the subject of lectures by Sylvie Rollet and Imma Merino and of a panel discussion with contributions by Alfred Holighaus, Jean Paul Fargier, Jordi Balló and Xavier Pérez.

Jacques Rivette
The MICEC’07 also paid homage to Jacques Rivette and his cinema on chance, theatre and self-reflexivity. His work was discussed in the panel discussion ‘The Mistery of Jean Rivette’, with contributions by the scriptwriter and film-maker Pascal Bonitzer, the Producer Martine Marignac and professors Hélène Frappat and Domènec Font. Some of his most important films were also screened , such as Le pont du Nord (1981), La belle noiseuse (1991) or Jeanne la Pucelle (1994), as well as the film Claire Denis made on his work as part of the series Cinéma de notre temps, titled Jacques Rivette, le veilleur (1990).

Rethinking Europe: Germany and Portugal
As in past editions, MICEC’07 studied the singularity of the European continent and how this is manifested in cinema. The keynote lectures ‘To Inhabit Europe Artistically’, by Rafael Argullol, and ‘Culture and Symbolic Deficit in Europe’, by Bernard Stiegler, were focused on this question, and its relation to cinema was addressed in the panel discussion ‘European Cinema: Debts, Projections, Fugues’, with contributions by Jean-Michel Frodon, Carlos F. Heredero, Hélène Frappat, Pedro Costa, Roberto Cueto, Miguel Marías and Carlos Losilla. National identities and the multi-culturality inherent to Europe were the subject of Thomas Elsaesser’s lecture ‘European cinema: between identity and diversity’, and of a new panel discussion, ‘European Cinema and National Identities’, with contributions by Jean-Pierre Rehm, Sandra Hebron, Alfred Holighaus, Frédéric Sojcher, Enrico Ghezzi, Àngel Quintana and José Enrique Monterde. A series of screenings also dedicated a special attention to Germany and Portugal, showing films such as Pingpong, by Matthias Luthardt; Montag kommen die Fenster, by Ulrich Köhler; Vier Minuten, by Chris Kraus and Nachmittag, by Angela Schanelec, in the German case, and of the Portuguese films 98 octanas, by Fernando Lopes; Transe, by Teresa Villaverde; Body Rice by Hugo Vieira da Silva and Vanitas, by Paulo Rocha.

Spanish Cinema
As in previous editions, the MICEC paid a special attention to Spanish cinema, chiefly in three panel discussions. The first, ‘Spanish Festivals and European Cinema’, brought together directors of the main Spanish festivals: José Luis Cienfuegos, Àngel Sala, José Luis Rebordinos, Manuel Grosso and Luis Miranda. Under the title ‘Five Prespectives on Spanish Cinema’, the second included critics such as Santos Zunzunegui, José Luis Castro de Paz, Sergi Sánchez, Eulàlia Iglesias, Carlos Losilla and Quim Casas. Finally the panel discussion ‘Horizons of Spanish Cinema’ brought together film professionals such as Ángeles González-Sinde, Manuel Gutiérrez Aragón, Jaume Roures, Joaquim Oristrell, Montxo Armendáriz, Gerardo Herrero or Jaime Rosales. Alongside these discussions, some of the most important recent Spanish films were included, such as El ciclo Dreyer, by Álvaro del Amo; La línea recta, by José María de Orbe, or Mujeres en el parque, by Felipe Vega.

Other Territories
MICEC’07 also paid a special attention to the borders of the cinematographic act and its dialogue with other audiovisual languages. The keynote lecture ‘New circuits, new behaviours’ by Serge Toubiana and Jean-Pierre Rehm set the main lines of enquiry in this area, which were then further discussed in the panel discussions ‘Leaving the Cinema’, with Philippe Dubois, Leonardo Quaresima, Santos Zunzunegui and Jordi Balló, and ‘Cinema and Television: dialogues and distrusts’, with Michel Reilhac, Enrico Ghezzi, Paulo Branco, Manuel Pérez Estremera and Paco Poch.

Presentations
The intellectual debate and research that served as a background to the MICEC’07 was brought together in the book Derivas del cine europeo contemporáneo, edited by Domènec Font and Carlos Losilla, which analyses European cinema, from its aesthetic drifts to its industrial panorama, with case studies such as Portuguese, French and German cinema, or the former Eastern Europe. On another note, the new cinema journal Cahiers du cinéma – España was also presented during the MICEC.

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Ibarz, Mercè: L’empremta del clàssics documentals en Joaquim Jordà: Vint anys no és res (2004) / Més enllà del mirall (2006)

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Rodríguez, Hilario J.: Un futuro sin porvenir

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Sánchez, Anna Paula: Viaje y territorio. Percepción y apropiación de la naturaleza en el cine de Marc Recha.

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Zavala, Diego: La figura heroica en El pequeño Dieter necesita volar (1997) de Werner Herzog. la hibridación de la narración mítica y el documental contemporáneo.

Zumalde, Imanol: El mosaico neotribal. El cine europeo frente al multiculturalismo.

Europe and History, under Discussion
A number of lectures and panel discussions at the MICEC’08 revolved around the concepts of Europe and History. As part of the section Forum Europe – Intercultural Dialogue, Julia Kristeva imparted the lecture ‘Is there such thing as European culture?’ and the panel discussion ‘The Other, the Strange, the Stranger’, with contributions by Spanish and International speakers such as Paolo Fabbri, Maria José Mondzian, Manuel Cruz, Jorge Lozano and Jordi Balló. On the other hand, the section ‘(Re)thinking Histories’ focused on the notion of History, and included lectures by Thomas Elsaesser (‘The History-Palimpsest: Diagonal Itineraries’), Michèle Lagny (‘The Order and Time of History’), Dudley Andrew (‘André Ba zand the Origins of an Aesthetic Idea’) and Domènec Font (‘Vaivens of History, Spirals of Time’).

Arnaud Desplechin
The MICEC’08 also paid homage to French film-maker Arnaud Desplechin by presenting, for the first time in Spain, a full retrospective of his work: La vie des morts (1991), La sentinelle (1992), Comment je me suis disputé... ma vie sexuelle (1996), Esther Kahn (2000), Leó, en jouant “Dans la compagnie des hommes” (2003), Rois et reine (2004) and L’Aimée (2007) – a cinema characterised by a passage of alive and dead bodies, fathers and sons, friends and lovers, theatre and cinema, tragedy, dreams and vaudeville. Desplechin himself attended the festival, and his work was analysed by Emmanuel Burdeau, Jean-Michel Frodon, David Trueba, Àngel Quintana, Daniel V. Villamediana and Eulàlia Iglesias.

May ’68
On its 40th anniversary, the MICEC paid homage to the events of May’68, aiming to rethink the meaning that its political content and cinematic representations have today. These issues were at the core of the discussion between Manuel Vidal Estévez and Santos Zunzunegui, as well as of the related programmes: on the one hand, films produced in subsequent years, such as Le vent d’est (Jean-Luc Godard, group Dziga Vertov, 1970), the chapter ‘Mai 68 et tout ça’ of Le fond de l’air est rouge (Chris Marker, 1977) or Mourir à 30 ans (Romain Goupil, 1982); on the other, contemporary films looked bac kat this event from the perspective of myth: Dreamers (Bernardo Bertolucci, 2003) and Les amants réguliers (Philippe Garrel, 2005).

Cinema Lessons
Four of the films screened at MICEC proposed a teaching of cinema using cinema itself: The Pervert’s Guide to Cinema, by Sophie Fiennes, which gives a cinemàtic form to Slavoj Žižek’s lessons on cinema; Auge in Auge – Eine deutsche Filmgeschichte, presented at MICEC by its authors, Michael Althen and Hans Helmut Prinzler, which follows the history of German cinema; La dernière utopie: la television selon Roberto Rossellini, by Jean-Louis Comolli, also present in Barcelona, which follows the Italian director’s career, and the project Chacun son cinéma, conceived by Gilles Jacob to celebrate the 60th anniversary of the Festival de Cannes: 3-minutes films by 35 film-makers from 25 countries (Theo Angelopoulos, Olivier Assayas, Nanni Moretti, Lars von Trier...). The surprise screening of O Estado do Mundo, comprised of episodis directed by Chantal Akerman, Pedro Costa, Wang Bing, Apichatpong Weerasethakul, Vicente Ferraz and Ayisha Abraham, culminated this series of cinematic lessons.

Peripheral Cinema
A number of contemporary European films are situated at the intersection between documentary, filmic essay, narrative and experimental cinema; they are non-identified filmic objects that have flooded alternative circuits, galleries and museums. The MICEC’08 dedicated a special attention to three film-makers that are investigated the possibilities of digital technologies to expand this unclassifiable territory: British-American Stephen Dwoskin, French Erik Bullot and German Romuald Karmakar, the last two also present in Barcelona. Alongside their retrospectives, the MICEC’08 also screened other experiences, beyond traditional screening spaces, such as films by Pedro Costa, Harun Farocki and Péter Forgács (present in Barcelona), and the screening programme Showcase of New Formats Festival Pocket Films – Movil Film Fest. This question was addressed in a public debate with contributions by Bullot himself, Álvaro Arroba, Jaime Pena, Àngel Sala, Gonzalo de Pedro, Fernando de Felipe, Benoît Labourdette, Alberto Tognazzi and Josetxo Cerdán, and a panel discussion on Distribution and exhibition with contributions by Claude Éric Poiroux, Enrique González Macho, Enric Pérez, Lluís Miñarro, Ramon Colom and Paco Poch.

Contemporary Spanish Cinema
The MICEC raised the question of whether we can speak of a ‘new cinema’, given the multiplicity of tendencies and phenomena of contemporary production. Some of the most intriguing films recently released such as El cant dels ocells, La soledad or Tuya siempre, and the question was debated in two panel discussions: a critical debate with Jaime Pena, Javier Maqua, José Enrique Monterde, Xavier Pérez, Imma Merino and Carlos Losilla and an analysis of future perspectives by Ángeles González Sinde, Manuel Gutiérrez Aragón, Felipe Vega, Jaume Balagueró, Cesc Gay, Jesús Garay, Javier Rebollo and Carlos F. Heredero.

MICEC’08 also invited the following theoreticians to discuss their ideas: François Albéra, Adriano Aprà, Alain Bergala, Jean-Loup Bourget, Josep Maria Català, Jean Douchet, Bruno Fornara, Jesús González Requena, Cyril Neyrat, Manuel Palacio, Luc Vancheri and Antonio Weinrichter.