The portrayal of ETA in film at the San Sebastián International Film Festival

Abstract

The article analyzes the role of the San Sebastián International Film Festival as a cultural agent in shaping the social narrative surrounding ETA through its film programming. It is based on the premise that film festivals are not neutral spaces, but rather mediators that influence collective memory and the interpretation of political phenomena such as terrorism.

Based on a qualitative methodology, the study examines 13 works (12 films and one series) screened in the Official Selection between 1953 and 2025 whose central theme is ETA. Although its presence is limited, as only 0.0087% of the 1,492 films selected for this section since 1953 make direct reference to ETA, this figure, while anecdotal, is nevertheless significant, as it makes it possible to identify a clear evolution in the treatment of terrorism.

In the early decades, especially during the end of the Franco regime and the Transition, a mythologized representation of ETA predominated, in line with a social perception that linked it to the struggle against the dictatorship. Over time, and especially from the 1990s onward, this view shifted toward more critical and complex approaches. Since then, perspectives have diversified, including the moral questioning of violence.

Following the cessation of armed activity in 2011, cinema reflects a social consensus rejecting terrorism and shifts the focus toward the victims, their experiences, and the processes of remembrance, forgiveness, and reconciliation. Furthermore, the prominence of female characters has increased, though they are generally cast in the role of victims.

In conclusion, the article demonstrates that the cinematic narrative regarding ETA at the festival has evolved in parallel with social changes, shifting from implicit legitimization to explicit condemnation, and contributing to the construction of collective memory and the public debate on terrorism.