The narratives of the future as a path of progress, as a transition to a better time in the economic, emancipatory, living conditions, etc. they have long since broken down, but the coronavirus crisis has made it more apparent and transparent. To the uncertainty and precariousness of the living and working conditions of large sections of the population, to the concerns about climate change and the environmental crisis has been added the qualitative change in everyday life that means confinement. Definitely the story of a future of progress has lost all meaning as we find ourselves in a present of dystopian and apocalyptic threats that feed back and explode into extreme situations like the one we are currently experiencing. The projections for the future are increasingly a countdown to a dystopia that gradually takes shape and becomes concrete in all aspects of daily life: precarious work, the environmental crisis, the refugee crisis, epidemics and the increasing and immediate control over citizenship by the power. An increasingly individualized control, exercised through information and communication technologies, so that we become entrepreneurs of our identities and our lives.
But the future matters to us, because we care about other human beings and the other living beings.
In this context, our F5 FESTIVAL project raises questions about the future such as those that currently arise in the minds of millions of people around the world. Now is the time to remember some of the FF Cinema sessions in which the films we have screened over ten years posed similar questions. Like Andrei Tarkovsky’s Solaris, in which Hari, the replicant materialized through Kris’s memories, expresses her questioning of the future, her fear of loneliness, and her identity crisis.
Questions for which the capitalist system offers no more answer than those derived from the potential of technoscience in the framework of the so-called fourth industrial revolution, based on a fusion of disciplines such as artificial intelligence, genetic engineering, nanotechnology, robotics, 5G and quantum computers. Fusion of disciplines that propose a redefinition of what it means to be human today and are often seen as a danger to the human species, because they will leave the power of trascendental decisions in the hands of machines. In the film Ex-Machina, the progressive humanization of the Ava robot by changing its appearance reminds us of the importance of the body in human identity while showing us that human qualities such as wisdom and love can be simulated but not duplicated in non-biological systems. The human brain is not a computer with binary logic, but is installed in a biological system impossible to replicate with current technologies.
The F5 FESTIVAL has to be a call to the artists of the cinematographic image to be insubordinate against the fear derived from the dystopian and catastrophic vision of the future, to dialogue with uncertainty using it as an opportunity for creativity, to promote like Tarkovsky the power of the images and metaphors to explore human nature and convey emotions, to create characters like Watanabe from Kurosawa’s filmIkiru, who loses fear and fills his life with meaning right at the moment in which he knows he will die soon, a character who reminds us the shortness of life and the need to enjoy it. An enormously relevant and necessary F5 FESTIVAL in these times we are living.