2018 — Locarno Film Festival. Sección Signs of life . World Premiere
2018 — TIFF Toronto International Film Festival. Wavelengths
2018 — Festival Internacional de Cine de Mar del Plata
2018 — VIFF – Vancouver International Film Festival
2018 — VIENNALE – Vienna International Film Festival
2018 — FIDOCS – Festival Internacional Documentales de Santiago
2018 — Festival Internacional de Cine de Xixón/Gijón
2018 — Festival de Cortometrajes de Aguilar de Campoo
2018 — MÁRGENES – Festival internacional de cine de Madrid
2018 — FICValdivia – Festival Internacional de Cine Valdivia
2018 — Festival de Cortometrajes de Aguilar de Campoo
2018 — Antofacine – Festival Internacional de Antofagasta. Chile
2019 — The Art of the Real. Film at Lincoln Center
2019 — Chicago International Film Festival
2019 — BOGOSHORTS – Bogotá Short Film Festival
2019 — ALCINE – Festival de Cine de Alcalá de Henares
2019 — Stuttgarter Filmwinter – Festival for Expanded Media
2019 — D’A Film Festival Barcelona
2019 — Cinema Jove – Festival Internacional de Cine de València
2019 — Jeonju International Film Festival
2019 — FestCurtasBH – Belo Horizonte International Short Film Festival
2019 — CURTOCIRCUÍTO – Festival Internacional de Cine
2019 — International Screening of Experimental Films and Videopoems TRANÅS AT THE FRINGE. Suecia
2019 — Certamen Internacional de Cortos Ciudad de Soria
2020 — Regensburg Short Film Week. Alemania
2020 — Stuttgarter Filmwinter – Festival for Expanded Media. Alemania
Awards
2018 — Festival Internacional de Cine de Xixón/Gijón. Best Atlantic Short Film, Youth Jury Award
2018 — MÁRGENES – Festival Internacional de Cine de Madrid. Escáner Section Best Film
2019 — ALCINE – Festival de Cine de Alcalá de Henares. Best Screenplay
Exhibitions
2019 — ‘Expanded Plus Utopia’ en Jeonju, Corea del Sur. Artistas: Ben Rivers, Helena Wittman, Malena Szlam, Laura Huertas Millán y James Benning.
2019 — BIAU. Bienal de Arquitectura de Paraguay. Comisaria: Andrea Franco
Spanish singer Julio Iglesias once stated about his work, “Some people belong to history. I do not.” Iglesias owns houses around the world, notable among them a 4000-square meter mansion in Miami. Each of Natalia Marín’s films, often produced in collaboration with the collective trio Los Hijos, has dealt with the history and geopolitics of Spain. Quietly set against a white backdrop, Marín’s new solo work JULIO IGLESIAS’ HOUSE is instead a dense and caustic look at Spain as a global construct.
RACHAEL A. RAKES, FILM COMMENT
Taking a strikingly different approach, Spanish filmmaker Natalia Marín’s Julio Iglesias’s House addresses the re-creations of the titular mansion as exemplars of the “typical Spanish house” in exurban residential developments in China. The joke, of course, is that Iglesias’s pad is anything but typical or Spanish, but Marín wittily engages the subject through bizarre CG renderings of surface textures—abstractions of abstractions.
LEO GOLDSMITH, ARTFORUM
Media Gallery
