The closing of the third edition of DocsValencia, held in La Mutante hall, awarded to the documentary production ‘Contra el No-Do, Llorenç Soler o la pulsión por la honestidad’, directed by Albert Montón and the executive production of Miquel Francés, in the section Miradas dedicated to Valencian documentary films.

Also, in Panorama section was awarded the documentary ‘Ainhoa. Yo no soy esa’ (Ainhoa. I’m not her) directed by Carolina Astudillo Muñoz; and the work ‘Thangam’ of Sarai Ramírez-Payá in Fragmentos section. Special mention to ‘En la brecha’ (On the edge) of Claudia Reig in the section Miradas and ‘La posibilidad de un volcán’ (The possibility of a volcano) of Laura Garcia, in Fragmentos.

In this edition of festival DocsValència competed 22 works from all the national territory. During seven days, the productions were screened in the different venues that counts on the festival this year: Colegio Mayor Rector Peset of Universitat de València, Filmoteca, Centre of Contemporary Culture Octubre or La Mutant hall. Among the productions stood out documentaries such as ‘Almost Ghosts’ of Ana Ramón Rubio and with nine nominations to Goya Awards 2020; ‘El cuarto reino’ (The fourth Kingdom) of Adán Aliaga with seven nominations to Goya Awards or ‘Ara Malikian. Una vida entre cuerdas’ (Ara Malikian. A life among strings), with quite nominations to the same awards.

On the other hand, the TAU’s production was also awarded with Film-Rescue Prize for the best job file and documentation in the closing ceremony of Memorimage 2.019-International Festival of Reus Theatre, which took place on Saturday 9 November.

'Contra el No-Do. Llorenç Soler o la pulsión por la honestidad' offers a review of the work and life of Llorenç Soler (València, 1936), a creative man, free and incorruptible that becomes in one of the precursors of independent documentary cinema in Spain in the 60’s. In the Franco’s Spain, the informative audio-visual speech was monopolized by TVE (Televisión Española - Spanish Television) and No-Do. Soler and other independent documentary cinema pioneers rebelled against this monolithic and authoritarian speech. In this context, Soler, documentary maker almost by accident, becomes obsessed with giving voice to those who have never had the possibility of expressing, the land disowned and at the same time he becomes a great experimenter of film technique. Also, Soler has worked as documentary maker teacher, as well as from the point of view technical and stylistic to ethical and moral, influencing the next filmmaker generations.