–Who is Candy Lopesino?

Spanish Photographer and Cinematographer born in Madrid. Member of the global Community Women Street Photographers. I live and work in Madrid. The first time I saw the black and white image appear in the developer tank, I knew that photographing was what I wanted to do for a lifetime. Photography it is a means that helps me discover the world around me, to know myself and to express myself. With which I manage to unite two of my passions, photography and traveling. My profesional career begins in 1984 as a graphic reporter under the signature of Hidalgo-Lopesino photographers collaborating with the Incafo publishing house and in collaboration with the UNESCO it realizes articles for the collection of books ” The Heritage of the Humanity ” in Mexico, Bulgaria, Tunis, Portugal, Italy, Great Britain, Spain, France, Panama… I collaborate with magazines: GEO Spain, GEO Japan, Viajes National Geographic, Traveler, Volta ao Mundo, Saveur Magazine New York, Rutas del Mundo, Península, Descubrir, Altaïr… There was a first photography exhibition that made a huge impact on me. They were the portraits that Edward Sheriff Curtis had made of the North American Indians and to which he had dedicated 30 years of his life. The portraits were impressive, and the time spent on the project blew me away. I left the showroom wanting to do a long-term personal project. This is how I start my project THE IBERIANS in which I have been working for the first two decades of the 21st century and in which I continue to photographing. After years dedicated to Photography, in 2016 I decided to learn to record moving images with my camera, motivated to finalize my photographic project THE IBERIANS with a photobook and a documentary film. The following three years I dedicate to the study of Documentary Cinema.

–What inspired you to become a filmmaker?

There are two filmmakers who have clearly marked my cinema: DZIGA VERTOV and his film “The Man with a Camera” and PETER HUTTON with his trilogy about New York City. My cinematographic vision is based on the “Cinema eye” theory created by the Soviet filmmaker DZIGA VERTOV in 1920.

-Do you think the cinema can bring a change in the society?

The cinema can raise awareness in each individual and get each one to contribute their small grain of sand, acting in their own environment, but a large-scale change I think not.

-What would you change in the world?

The violence, the wars, the suffering caused by the abuse of power.

–Where do you see the film industry going in the next 100 years?

A hundred years is too long in a time of continual change. New technologies have popularized both Photography and Films, now with a mobile you can make a report and a film. Imagine yourself in 100 years!! The entertainment film industry is adapting to new television series because the new generations do not go to the Cinemas. I see the future in the Independent Cinema favoring the release of films with a lower budget, with work teams of fewer people, with the possibility of creating more with less.