Albert Triviño Massó (Barcelona, 1984) is an experimental filmmaker, teacher, and audiovisual programmer. After graduating in Art History and Experimental Film, he obtained a Master’s degree in Management and Production of Exhibition Projects. Since 2006 he has participated in several exhibitions and festivals, and in 2010 he was recognized with the BCN Producció Award granted by the Barcelona City Council. That same year his work was featured at Xcèntric. Triviño’s artistic and film practice is characterized by an anti-iconic treatment of the image, and he has explored several art forms, such as painting, photography, video installation, super 8, 16mm, and documentary. He co-founded Zumzeig Cinecooperativa, where he currently is a member of the cinema as programming coordinator.

Andrés González, graduated in Audiovisual Communication from the University of Alcalá, specialising in Film and Photography. After completing his degree, he began his professional career in the fields of film production and communication. He then went on to study a Master’s Degree in Film Criticism at ECAM, where he co-founded the Termita Collective, focused on film criticism, programming and creation. His interest in experimental and avant-garde cinema led him to continue his training through the Insubordinaciones Fílmicas programmes at LAV. He currently combines his work as a critic and curator with film programming in the commercial exhibition circuit. He is also a member of the editorial board of Mutaciones magazine, where he works as an editor.

Coral Piñeiro is a new Galician director. She has directed the short films Dores and Na pel da memoria (the latter together with Laura Piñeiro) and is currently working on her first feature film, Da túa man para a miña, in collaboration with Fran Rodríguez Casal. She is co-founder of Memoria e Cinema, a collective of new filmmakers who explore memory, from the personal to the historical memories. She also collaborates with various Galician festivals in the areas of programming and communication, and teaches in film education projects, such as the MICEscola da Mostra Internacional de Cinema Etnográfico do Museo do Pobo Galego.

Elena del Olmo Andrade is a contributor to Caimán Cuadernos de Cine magazine and the online media outlet Filmtopia. As a programmer, she was part of the eighth edition of CineZeta at the Cineteca de Madrid, the seventh edition of the Puwerty Festival at La Casa Encendida, and is currently part of the programming team for the Another Way Festival as a coordinator of the short film sections. With a degree in Bilingual Audiovisual Communication from the Carlos III University of Madrid and in Film Criticism from ECAM, she has been part of the Youth Jury at the 71st edition of the San Sebastián Film Festival and the 22nd edition of Documenta Madrid. With her work, specialising in horror, queer and independent cinema created by women, she aims to provide an analytical, thought-provoking, political and well-founded view of the film scene.

Eva Blanco Alonso (Pontevedra)
Programa de Doutoramento en Comunicación Uvigo

Gael Martínez Rodríguez (México)
3º curso de Comunicación Audiovisual Uvigo

Germán Labrador Méndez is a Distinguished Researcher (ATRAE) at the Spanish National Research Council (CSIC) in Madrid, attached to the Institute of Language, Literature and Anthropology at the Centre for Social Sciences and Humanities in Madrid (CSIC-ILLA-CCSH). He was a professor at Princeton University until 2024 and Director of Public Activities at the Reina Sofía Museum in Madrid. He is currently developing a research project on the relationship between culture and democracy in Spain (1868-2024). He recently curated Esperpento. Arte popular y revolución estética (MNCARS, 2024-2025) and Ollos de vidro. As formas doutra historia de Galicia (Auditorio de Galicia, 2025). His publications include Culpables por la Literatura. Contracultura e imaginación política en la transición española (Akal, 2017). He is an expert in the fields of cultural studies, memory studies and modern and contemporary Spanish literature. As a cultural historian, he works at the intersection of aesthetics and politics in relation to cultural traditions that have been marginalised, erased or suppressed in the Iberian world.

Jean-Jacques Martinod (Guayaquil, Ecuador, 1990) is a filmmaker, artist, film curator, abyssal researcher, and clandestine anarchivist. He obtained his master’s degree from Concordia University (Montreal), where he was a member of the Centre for Expanded Poetics, The Global Emergent Media Lab, and the Fabrique-mondes Research Group. He is currently pursuing his PhD in the Emergent Technologies and Media Art Practices programme at the University of Colorado, where he continues to research the intersection between technology, ecology and artistic expression. His work addresses the relationships between the human and the non-human, exploring popular mythologies, anaemic memories and supra-regional biomes. As a curator, he has worked with Cámara Lúcida (Ecuador), V-F-X (Slovenia), and Xinema (Canada), among many others. He is currently the programmer and coordinator of expanded documentary at the Mimesis Documentary Festival (USA). As an artist and educator, he extends his practice beyond the realm of film, creating environments where media experimentation and community engagement converge. In 2025, he published the experimental novel Arkta Cirklo in collaboration with artist Paulus van Horne. His films have been screened at festivals, museums and film libraries such as IFF Rotterdam, FIDMarseille, Sheffield Doc/Fest, CIFF Camden, PHI Montreal, Cineteca Nacional de México, Cinemateca do MAM Rio de Janeiro and Cinemateca de Bogotá, among others.

Manuel Asín, coordinator of the cinema department of Círculo de Bellas Artes de Madrid and member of FID Marseille selection commitee. He has curated cycles for Filmoteca Española, MNCARS, CCCB, Festival de Sevilla, Zinebi, Instituto Moreira Salles, etc. As a film scholar, his articles have been published in magazines such as Trafic, Blogs & Docs and Caimán Cuadernos de Cine, where he is a member of the editorial board. He was in charge of the edition and prologues of two books on Jean-Marie Straub and Danièle Huillet: Escritos (2011) and Hacer la revolución es también volver a colocar en su sitio cosas muy antiguas pero olvidadas (2016). Asín is Associate Professor at Carlos III Madrid University and also holds a teaching position at Elías Querejeta Zine Eskola (San Sebastián) and at SUR (Madrid). From 2011 to 2015 he directed the distribution company and publishing house of books and DVDs Intermedio and from 2022 to 2025 has been artistic director at Punto de Vista Navarra International Film Festival.

Mariana Hristova is a Bulgarian film critic, cultural journalist and programmer based in Barcelona, interested in cinema from Eastern Europe, the Middle East and the Caucasus, as well as avant-garde, amateur and underrepresented cinema. She is a regular contributor to publications such as Cineuropa, Modern Times Review, The New Arab and the Bulgarian magazine KINO. She is a member of FIPRESCI, FEDEORA and the European Film Academy. She is also on the selection committee for Sheffield DocFest.

Marta Rodríguez Quintana (España)
3º curso de Comunicación Audiovisual Uvigo

Nacho Álvarez, graduated in Art History from the Complutense University of Madrid with a specialisation in Contemporary Art and Cinema, and postgraduate in the Master’s Degree in Theory and Criticism of Culture from the Carlos III University of Madrid, dedicating his research projects to Terence Davies and Terrence Malick, respectively. After completing his Master’s Degree in Film Criticism at ECAM, he founded the Termita Collective (film programming, criticism and creation). His current work is divided between programming at festivals and institutions (Intersección and Cineteca), collaborating with the editorial team at SEMINCI (Valladolid International Film Festival) and film criticism in media outlets such as Caimán Cuadernos de Cine, El antepenúltimo mohicano and Revista Mutaciones (of which he is a member of the editorial board).