Cayetana Guillén Cuervo Closes Orotava Short Film Festival's 20th Edition

The La Tijera Orotava Short Film Festival wraps up its 20th year this Saturday evening at Cines Yelmo La Villa. This year, actress and journalist Cayetana Guillén Cuervo is the patroness of the short film competition in the northern town.

She appears weekly on Spanish TV with two shows. One, 'Atención obras,' focuses mainly on performing arts (Guillén Cuervo also heads the Spanish Academy of Performing Arts), but also covers art, photography, and other cultural topics. Her other show, 'Versión española,' explores modern Spanish cinema through interviews with filmmakers and actors, followed by a film screening.

Both 'Versión española' and 'Atención obras' are part of the TVE schedule. 'Versión española' particularly champions short films, thanks to a competition it runs with the SGAE Foundation, which recently finished its 22nd year.

Cayetana Guillén Cuervo will be at the Orotava festival's awards ceremony this Saturday at 8:30 PM. During the event, the second group of short films from the official competition will be shown. Afterwards, the winners for both the official section and the Canary Islands-made short films section will be announced. Comedian Darío López will host the evening.

This year's official selection includes short films like 'Juanita' (Karen Joaquín, Uliane Tatit), 'Al fresco' (Ignacio Rodo), 'Pobre marciano' (Álex Rey), 'Corre, Adela' (Alba Pino), 'Puedes tú solito' (Silvia Pradas), 'Pipiolos' (Daniel Sánchez Arévalo), 'Depredador' (Javier Fesser), 'Tito' (Javier Celay), 'Kokuhaku' (Adrià Guxens), 'Discordia' (Álvaro Amte), 'Ghosting' (Yago Casariego), 'Huir' (Kike Maíllo, Alejandro Pereira), and 'Mosquito' (David R. Losada).

Twelve films were part of the Canary Islands section, screened on Thursday. These included: 'La paciente desconocida de Freud' (Antonia San Juan), 'Las churreras' (Tomasi Doblecero), 'Giros' (Willy Suárez), 'La lluvia que se fue' (Estela Lola Cedrún Lastra, Álvaro Carrero Puig), '¿Falta mucho?' (Sara Madoz), 'La habitación' (Nacho Peña Ahedo), 'Toma Tierra' (Yon Bengoechea Peña), 'Rabuda' (Alexandra M. Añón), 'Dale Like' (David Brito), 'Desahogo' (Hugo Cardozo), 'Como antes' (Alberto Gross Molo), and 'Cortes tontos' (Lionel Marrero).

Before the winners were chosen, DIARIO DE AVISOS spoke with Cayetana Guillén Cuervo.

Q: "This year, you're the patroness of the La Orotava Short Film Festival, celebrating its 20th anniversary. What does it mean to you to support a competition focused on short films, a format often seen as a stepping stone for new talent?"

A: "At 'Versión española,' we've championed short films for many years. It's a unique format, not just a calling card for new directors. Even established filmmakers create shorts with the same dedication they give to feature films. These are complete stories with a beginning, middle, and end, demanding the same dramatic skill as longer movies. The teams behind them also show incredible commitment. Our 'Versión Española/SGAE Short Film Competition' has helped us spotlight individuals who are now brilliant Spanish filmmakers, like Juan Antonio Bayona, Daniel Sánchez Arévalo, and Alauda Ruiz de Azúa. So, these kinds of festivals are incredibly important for discovering great creators, and I hold them in very high esteem."

Q: "What's your personal connection to short films?"

A: "I've acted in several short films throughout my career ['Los amigos del muerto' (Iciar Bollaín, 1993), 'Amor digital' (Ramón Margareto, 1996), 'Válido para un baile' (Gabi Beneroso, 2006), 'Buen viaje' (Zoe Alameda, 2009)]. I haven't had time for more, but I have immense respect for this type of filmmaking. Often, no one gets paid, except maybe a few technicians; everyone involved shows total dedication to the project. Those of us in cinema are driven by our passion, and short films truly capture that spirit. The people making them are driven by a desire to tell a story, and everyone pours their heart into bringing that vision to life."

Q: "How do you feel about these public events centered around cinema, like the one in Tenerife?"

A: "I love them! I enjoy communicating, and it's wonderful to see my broad cultural activism resonate. I feel like an ambassador, promoting the importance of performing and audiovisual arts. I've always tried to convey how valuable culture is to any society, so I'm here in Tenerife with great enthusiasm."

Q: "You host 'Versión española' and 'Atención obras' on TVE. In an age dominated by instant gratification, 'black screens,' and fleeting content, does the role of public service broadcasting and cultural dissemination become even more crucial?"

A: "Absolutely. Both programs are pure public service. Televisión Española's mission includes this, but it also respects its viewers and aims to protect its legacy – educating generations through cinema, theater, and art. Educational programs are always vital because they inform society about what's out there. 'Versión española,' in particular, has been like a school for viewers, teaching them to appreciate cinema in a new way over the years."

"Short films truly capture the spirit of those who live for cinema, who pour their hearts into bringing a story to life."

Q: "As president of the Spanish Academy of Performing Arts, how do you see the field today? What are its current needs, and what areas need improvement?"

A: "There's always room for improvement. At the Academy's board, we work to elevate the performing arts and ensure they are valued. We do this actively and inclusively, embracing diversity and all artistic disciplines. We are very aware of the power the performing arts have to benefit society, both on stage and through all their forms, and that's what we aim to promote."

Q: "Cinema, theater, television, radio... Which of these do you identify with most, and which challenges you the most?"

A: "All of them interest me. I'm drawn more to the project itself than the medium; a good project can work anywhere. However, theater is in a league of its own – it's a space that demands more from you and presents greater challenges."

Q: "What qualities must a project, script, or play have for you to decide to get involved?"

A: "The team is always crucial for me. The text or script – the story itself – is also fundamental. It needs to connect with what I want to communicate to people, with what I'm interested in expressing at that particular time."

Q: "Has the understanding of filmmaking changed much since you started, or is it still about bringing a fictional story to life as authentically as possible?"

A: "Everything has changed a great deal. My family is deeply involved in this world [her parents are actors Fernando Guillén and Gemma Cuervo; her brother is actor Fernando Guillén Cuervo], so I've witnessed these changes firsthand and know my parents' history well. These shifts have always been for the better. For instance, cinema now has an essential female perspective that has gradually emerged and complements other viewpoints. The perspective of female directors is truly vital."