From october 18 to october 28

Showroom Ceramista Gimeno Casa de la Cultura C/Major, 91 Manises

Free Entry

The Ceramic School of Manises has developed a series of activities and graphic works inspired by different topics.This year the reference selected is a classic of the fantastic cinema: The Golem. Coming from a fascinating text published in 1915 that was based on a Jewish legend from XVI, in 1920 an expressionist German film was released. The Golem is a clay figure that comes to life through a magical ritual (kabbalistic) that defends the Jewish in Praga. This is a metaphor of the divine creation, the automatised human in modern dehumanised society. The Golem ends up losing control and provoking chaos and catastrophes in its path.


Saturday october 30 12:00h

Showroom Vicent Ros Casa de la Cultura C/Major, 91 Manises

3€ Ticket –  Box Office Sale

Mario Campoy and Irene Rio from Baconsfx will perform a masterclass where they’ll explain step by step how to make a prosthetic zombie makeup. That will include explanations of the different techniques that can be used for this kind of effects, how silicone prosthesis works and which materials are necessary (such as dentures and lenses) in order to create from zero a complete character for the audiovisual media. During the class, we’ll hear about their experiences and stories related to their profession and we’ll have ample room for questions about the world of FX.



After a decade as freelance workers in the FX makeup field and having worked for the leading studios in Spain and UK, Mario Campoy and Irene Rio founded Baconsfx company, located in Bilbao, where they have participated in several cinematic projects like Jules D, La noche del virgen or Sweet Pain. One of their latest projects is El Hoyo of Galder Gaztelu-Urrutia with Ivan Massagué, Zorion Eguileor and Antonia San Juan. Their task in this movie was awarded with a Gaudí and a Goya for the FX in 2020.


Friday october 29 17:00h

Showroom Vicent Ros Capilla de la Casa de la Cultura C/Major, 91 Manises

Free Entry


A soundtrack in continuous movement through the landscapes of the music.

A travel through KARLHEINZ STOCKHAUSEN, TANGERINE DREAM or KLAUS SCHULZE and many variations made by BRIAN ENO and some of his collaborators (MOEBIUS, HARMONIA, GAVIN BRYARS, HAROLD BUDD, etc.).

Remí works fully focused on his discipline, watching the huge screen. The scenes of the movie catch your heart rates with its oscillators, sampler sequence rhythms, ‘white noise’ and intermittent pulses. 

Avelino uses chains, double bass or cello arches, maces, even dishes and brushes in order to speed up your pulsations, crackle the scene, squeak in anguish, exasperate the public in the tensest shots or bring calm in the most bucolic scenes.

Juan Angel’s task is to moderate or create tension with his guitar, even more, if possible, what the rest of the members build. He makes the most scenic landscapes even more special (usually cosmic) and helps to create the feeling of anguish in the most suffocating and claustrophobic ones.

The three of them are the closest to perfection than a MURNAU ever would have imagined with the soundtrack of their undoubted masterpiece: NOSFERATU. 

These representations have taken place in Russafa’s Theatre (Valencia), Arniches’ Theatre (Alicante) and The Film Library (Murcia) and have achieved a great reception from critics and the public.