Cinema and science: a journey between screens, knowledge and debate

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The relationship between film and science has become one of the great cultural driving forces of our time, a realm where on-screen stories engage directly with research, outreach, and critical thinking. From the physics of black holes to bioethics, and encompassing anthropology, ecology, and mathematics, this intersection allows audiences to approach complex concepts in a much more accessible, entertaining, and, indeed, deeply moving way.

Within this context, the "Cinema and Science" series, promoted by the Basque Film Archive, the DIPC (District Institute of Cinematography and Television), and the San Sebastián Film Festival , stands out, having established itself as a leading project in Spain. Year after year, the program expands in venues, audience, and thematic scope, bringing high-quality films to cities such as San Sebastián, Bilbao, Vitoria-Gasteiz, Pamplona, ​​and Saint-Jean-de-Luz, always accompanied by scientists and specialists who lead engaging discussions after each screening.

Origin and philosophy of the Cinema and Science cycle

The "Cinema and Science" series was launched in 2018 as a joint initiative of the Donostia International Physics Center (DIPC), the Basque Film Archive, and the San Sebastian Film Festival (SSIFF), with the aim of demonstrating that science is a central part of contemporary culture. Far from being limited to academic dissemination, the project embraces a humanistic approach: using film as a universal language to explain how science transforms our lives, our worldview, and our questions about the future.

Between January and March of each edition, the program features around 12 films screened at venues such as Tabakalera (Donostia / San Sebastián), the Bilbao Fine Arts Museum (currently at Bizkaia Aretoa-Sala Mitxelena of the UPV/EHU), Artium Museoa in Vitoria-Gasteiz, the Golem Baiona cinemas in Pamplona, ​​and Cinéma Le Sélect in Saint-Jean-de-Luz. Year after year, other venues have also joined, reinforcing its character as a cultural network connecting science, film, and the public.

The screenings don't happen in isolation: each film is preceded by a presentation from experts in disciplines such as physics, biology, medicine, anthropology, economics, and philosophy. Following the screening, discussions allow the audience to ask questions, compare ideas, and update their knowledge in light of the latest scientific advances. In this way, the experience goes far beyond simply "watching a movie": it becomes a vibrant forum for debate and learning.

A cinematic look at science: from time to ethics

One of the project's distinctive features is that each edition of "Cinema and Science" is structured around major thematic axes , which serve as a common thread between films that, at first glance, appear very different. Far from being a simple catalog of "scientific" titles, the series prioritizes works that allow for a rigorous, thought-provoking, and, above all, pluralistic reading of science and its social implications.

The eighth edition, for example, was built around a key concept in scientific thought: time . From there, the program proposed a journey from cosmology and black holes to World War II, encompassing debates on historical memory, medical research , and the limits of the human body under extreme conditions. Time as a physical dimension, but also as a human, historical, and political experience.

Furthermore, the series has progressively incorporated social sciences and ethical reflection into its core. Films about fascism, social media, gender inequality in science, and the end of life coexist with science fiction classics, documentaries about pioneers of electronic music, and intimate stories where scientific research intertwines with everyday emotions.

This desire for pluralism is encapsulated in an idea often repeated by its organizers: science appears where one expects it… and where one least expects it . Cinema, for its part, is capable of portraying natural phenomena and social conflicts with a visual and narrative power that opens doors to new questions. That is why so many seemingly “non-scientific” films fit perfectly into this program.

Time, black holes, and scientific adventure on screen

In the eighth edition, the concept of time was addressed through a carefully curated selection of titles that explored time travel, multiverses, relativity, and physiological limits . Stephen Hawking himself appeared as a symbolic thread running through the program, both for his work on black holes and for his enormous cultural impact.

The opening film was “The Theory of Everything” (James Marsh, 2014) , which focuses on the relationship between Hawking and his first wife over 25 years. The film portrays, with a strong emotional component, the coexistence of his research in cosmology, the scientist's degenerative disease, and the couple's shared struggle. Following the screening, a discussion was held where the audience could ask questions about physics, disability, resilience, and science communication.

The program was rounded out with a gem of classic science fiction: “The Time Machine” (George Pal, 1960) , an adaptation of H.G. Wells's novel that pioneered the introduction of time travel into popular culture, blending scientific speculation with a clear political critique of social inequalities. Years later, films like “Everything Everywhere All at Once” (Daniel Kwan and Daniel Scheinert, 2022) would revisit the idea of ​​the multiverse to explore family, identity, and life choices, opening the door to reflecting on physical theories of multiple universes.

The issue of black holes featured particularly prominently in “High Life” (Claire Denis, 2018) , where a space mission conducting sexual and reproductive experiments heads toward one of these extreme objects. In this film, co-written with physicist and black hole expert Jean-Pol Fargeau, questions about extreme gravity are interwoven with ethical dilemmas surrounding the use of human bodies in scientific experiments.

Time as a bodily limit was explored in “Djúpiò – The Deep” (Baltasar Kormákur, 2012) , which dramatizes a true story in which an Icelandic sailor survives an unbelievable amount of time in icy waters . While some in society sought to explain the event as a “miracle,” the scientific community focused on studying the physiological mechanisms that made it possible, raising questions about hypotheses, evidence, and sensationalism.

The race against time in military research during World War II also came into play with "Kampen om tungvannet – The Battle of Heavy Water" (Jean Dréville and Titus Vibe-Müller, 1948), which reconstructs the efforts to sabotage the Nazi nuclear program from Norway. This film, somewhere between adventure cinema and historical narrative, invites discussion about scientific responsibility, weapons of mass destruction, and the moral dilemmas linked to nuclear energy.

As if that weren't enough, horror also found its place with "The Thing" (John Carpenter, 1982) , set in an experimental base in Antarctica where an extraterrestrial being capable of mimicking any organism puts a group of researchers in jeopardy. Carpenter's classic combines biology, parasitology, extreme weather, and paranoia in a scenario that offers ample opportunity to discuss the scientific method, trust, and risk management in isolated environments.

Science, work, memory and social commitment

Beyond physics and cosmic speculation, the series dedicates significant space to films focused on the everyday practice of science, medicine, and research , as well as their social impact. The aim is to show that scientific work doesn't only take place in spectacular laboratories or on space missions, but also in small-town medical clinics, environmental lawsuits, or end-of-life clinical decisions.

In “Marguerite’s Theorem” (Anna Novion, 2023), the protagonist is a brilliant young mathematician who, after academic failure, must rebuild her professional and personal life. The film allows for discussion of pressure in research careers, gender in the hard sciences, error management, and resilience , as well as offering the audience a unique perspective on mathematical creativity.

Medicine is portrayed with great sensitivity in "Sachs's Illness – The Confessions of Dr. Sachs" (Michel Deville, 1999) , where a rural doctor dedicates time and attention to his patients in a context of limited resources. The film, which won an award at the San Sebastián Film Festival, sparks debates about the doctor-patient relationship, the ethics of care, the bureaucratization of healthcare, and active listening as an essential clinical tool.

Environmental and legal commitment takes center stage in “Erin Brockovich” (Steven Soderbergh, 2000) , based on the true story of a woman who uncovers a serious case of water contamination by toxic compounds. Beyond its feminist and individual struggle aspects, the series uses this film to discuss toxicology, public health, environmental regulation, access to information, and power imbalances between citizens and large corporations.

Political and historical reflection is reinforced by “Vincere” (Marco Bellocchio, 2009) , which delves into the rise of fascism and the manipulation of memory. Its inclusion marks the explicit entry of the social sciences into the program, opening the door to debates on authoritarianism, propaganda, the construction of official narratives, and civic responsibility . As Mark Twain reminded us, history may not repeat itself, but it “often rhymes,” and the series uses these rhymes to activate a critical perspective on the present.

Science fiction classics and monsters in lab coats

The world of classic science fiction and horror films holds a place of honor in "Cinema and Science." This is not only due to their cinematic value, but also because many of these works anticipated debates that are still very much alive today: genetic manipulation, artificial intelligence, ecological catastrophes, bioethics, and so on. The series brings them back with restored prints, expert presentations, and updated scientific context.

On its journey toward its tenth anniversary, the program has been adding titles that had almost become a long-overdue addition. One of them is undoubtedly "Planet of the Apes" (Franklin J. Schaffner, 1968) , a subversive classic that uses an ape-dominated society to ask uncomfortable questions about human progress, racism, totalitarianism, and environmental destruction . As Susan Sontag pointed out, there is a haunting beauty in seeing on screen the devastation and confusion that our own species causes.

Biology and metamorphosis take center stage in "The Fly" (David Cronenberg, 1987) , where a scientist accidentally teleports himself alongside a fly and begins to transform. This film allows for discussions on topics such as mutation, bodily boundaries, experimentation on living beings, technological risk, and research ethics . It is no coincidence that this edition includes a lecture by biologist Ginés Morata to further explore many of these issues with the audience.

Humor also has its place with "The Nutty Professor" (Jerry Lewis, 1963) , a comedy about a clumsy and marginalized chemistry teacher who develops a potion to transform himself into an idealized and arrogant version of himself. Beyond the laughs, the film serves as a springboard for discussing stereotypes of the "mad" scientist, self-esteem, identity, the risks of experimental substances, and the representation of science in popular culture.

Among the monuments of fantasy cinema, James Whale's Frankenstein universe could not be missing , with "Frankenstein" (1931) and "The Bride of Frankenstein" (1935), shown as a double feature. Both films allow for a rich visual exploration of classic and contemporary debates on the creation of artificial life, the responsibility of the creator, the limits of experimentation with human bodies, the loneliness of "anomalous" creatures, and society's fear of difference.

The series also features animation with “Nausicaä of the Valley of the Wind – Kaze no Tani no Naushika” (Hayao Miyazaki, 1984) , set in a post-apocalyptic future where Earth is covered by toxic forests and giant creatures. This masterpiece offers a powerful message about ecology, interspecies coexistence, the consequences of war, and intergenerational responsibilities . It has also been chosen to close some editions of the festival and to be featured in special screenings for schoolchildren.

Language, social networks and electronic music: science in everyday life

One of the series' greatest strengths is showing how science permeates our daily lives in areas we often don't identify as scientific: language, social media, music, economics, and emotions. Several recent films appropriate these themes to guide audiences to familiar territory and, from there, introduce fundamental questions.

“Haur basatia – L'Enfant sauvage” (François Truffaut, 1970) is based on the true story of a child found in a French forest at the end of the 18th century. Through the child's upbringing, the film invites us to reflect on what we understand by “human,” the role of the social environment in development, language acquisition, and the formation of emotions . It is a magnificent gateway to anthropology, developmental psychology, and the neuroscience of learning.

The digital age and its contradictions are brought to light in "The Social Network" (David Fincher, 2010), which reconstructs the birth of Facebook when its creator was still a university student. Beyond the personal and business drama, the film opens up debates about the social impact of social networks, privacy, the concentration of power in the technological world, the architecture of algorithms, and the erosion of face-to-face relationships.

Electronic music and its hidden history are explored in the documentary “Sisters with Transistors” (Lisa Rovner, 2020) , narrated by Laurie Anderson. This work highlights the visionary role of numerous women who, from the beginning of the 20th century, invented devices, techniques, and styles fundamental to experimental and electronic music, yet remained invisible in official narratives. The film connects sound science, technology, gender, and cultural memory.

In “La Voie royale” (Frédéric Mermoud, 2023), the focus returns to mathematics, but from the perspective of a young woman from a humble background whose talent leads her to a demanding preparatory science class . The film allows the audience to closely observe the pressure of the education system, class differences in access to elite studies, and the challenges women face in highly competitive academic paths.

Meanwhile, “Sare soziala”, “Sisters with Transistors” and other titles are often integrated into thematic frameworks such as Emakumeak Zientzian , initiatives that underline the importance of making women in science and technology visible, showing that innovation is not neutral or unrelated to issues of gender, language or social context.

Life, death and contemporary ethical dilemmas

Over the years, the series has increasingly incorporated reflections on bioethics, end-of-life issues, and caregiving , recognizing that these are matters where science, medicine, law, and personal experience constantly intersect. These films are often accompanied by panel discussions and related activities that extend the conversation beyond the theater.

“The Glimmers” (Pilar Palomero, 2024) tells the story of Isabel, whose routine is disrupted when her daughter asks her to frequently visit Ramón, her ailing ex-husband, with whom she has had no contact for fifteen years. The film explores themes such as end-of-life care, the re-establishment of emotional bonds, shared memory, and anticipatory grief . The screening is complemented by a panel discussion entitled “The End of Life: Literature, Film, and Science,” featuring the director herself and oncologist Ander Urruticoechea, moderated by researcher Itziar Vergara.

The anthropological perspective on aging and death is explored in “Narayama Bushi-ko – The Ballad of Narayama” (Shohei Imamura, 1983) , set in a village where, according to an ancient law, people aged 70 must leave home to live—and die—on the mountaintop. This ritual raises questions about the social value of old age, sacrifice, limited resources, community norms, and dignity , which are analyzed in presentations by specialists in human rights, psychology, and anthropology.

In parallel, the series organizes specific conferences and informative talks . One example is the presentation by biologist and Prince of Asturias Award winner Ginés Morata, who will give a talk at Tabakalera coinciding with the screening of "The Fly," delving into genetics, development, and biological architecture using the case of the fruit fly Drosophila melanogaster.

These parallel activities are free of charge until capacity is reached and have become one of the great attractions of the program, as they allow you to hear firsthand from internationally renowned scientists who link the plots of the films with their own research practice and with current debates in bioethics, clinical practice or public policy.

The ninth edition: thematic plurality and territorial expansion

The ninth edition of the "Cinema and Science" series returns to continue exploring major scientific and humanistic questions , maintaining the same spirit with which it began but broadening its perspective and scope. The program unfolds in its usual venues in Vitoria-Gasteiz, San Sebastián, Bilbao, Pamplona, ​​and Saint-Jean-de-Luz, strengthening a network of collaborations between museums, film archives, commercial cinemas, and research centers.

The press conference, held at Tabakalera, was attended by institutional representatives such as Ibone Bengoetxea (First Vice-President and Minister of Culture and Language Policy), Juan Ignacio Pérez Iglesias (Minister of Science, Universities and Innovation), Joxean Fernández (Director of the Basque Film Archive) and Ricardo Díez Muiño (Director of the DIPC), as well as key figures from the cultural ecosystem such as Pedro Miguel Etxenike, Miguel Zugaza, Maialen Beloki, Beatriz Herráez and Edurne Ormazabal.

In their presentations, the idea that culture and science are tools for social cohesion was emphasized , fundamental for building shared knowledge, critical thinking, and common values. It was also stressed that film facilitates the acquisition of an accessible, relatable, and understandable language for science, making it a powerful tool for social transformation.

The director of the DIPC, Díez Muiño, emphasized that the selected films serve as a mirror and catalyst for many of the concerns, utopias, and dystopias that arise in the face of scientific and technological advancements. Joxean Fernández, in turn, reiterated that the spirit of the series remains unchanged: to showcase the beauty of science through the language of cinema, and to use the universality of scientific thought to illuminate the moving images that touch us on screen.

The result is a program they champion as “a celebration of art and knowledge ,” demanding high-quality cinema while also seeking films that offer a stimulating scientific perspective. With over 5.600 viewers in 2024 and a well-established presence in five cities, the series has become an unmissable event for film buffs and science enthusiasts—who, fortunately, in many cases, are one and the same.

Detailed program: film, science and open debates

The sessions are usually held on Wednesdays in January, February, and March at 19:00 p.m. , with very affordable prices (general admission around €3,5, reduced rates for Friends of Artium Museoa, and free admission in some cases for those under 25). Tickets can be purchased at the physical ticket offices of the venues and on their websites, while the talks and parallel roundtables are usually free to attend.

Among the featured titles being screened during the ninth edition at Artium Museoa are:

“Planet of the Apes” (Franklin J. Schaffner, 1968). An astronaut arrives on a seemingly unknown planet where apes rule and humans are treated as inferior beings. Presented by particle physicist Juan José Gómez Cadenas at some venues and by Pedro Miguel Etxenike at others, the film sparks debates about evolution, power, racism, ecological ruin, and the use of science for purposes of domination.

“The Wild Child” (François Truffaut, 1970). The true story of the “Wild Child of Aveyron,” a key case for studying language development and socialization. The presentation is given by specialists in neuroscience and developmental disorders, who connect the story with current research on brain plasticity and learning.

“The Social Network” (David Fincher, 2010). A blend of legal drama and coming-of-age story, it depicts the birth of Facebook in a college dorm room and its rapid global growth. The discussions surrounding the film focus on the ethics of algorithms, data governance, the psychological impact of social networks, and new forms of economic power.

“The Birds” (Alfred Hitchcock, 1963). Starting with a seemingly trivial anecdote—a woman traveling to a small coastal town—the film unleashes a series of inexplicable bird attacks on humans. Scientists and science communicators analyze the multiple possible interpretations: animal behavior, environmental changes, collective fear, and the fragility of the ecological balance.

The selection is completed with “Sisters with Transistors” (pioneering women of electronic music), “The Fly” (teleportation experiments and body metamorphosis), “The Nutty Professor” (stereotypes of the scientist and delirious chemistry), “La Voie royale” (mathematics and social ascent), “The Flashes” (accompaniment in illness), “The Third Man” (post-war, penicillin, corruption), “Narayama Bushi-ko” (old age and community norms) and “Nausicaä of the Valley of the Wind” (toxic future, poisonous fungi and giant mutant insects).

Meanwhile, other venues are showing films such as “Gorillas in the Mist,” which focuses on the life and work of primatologist and conservationist Dian Fossey, or titles related to general relativity and gravitational waves such as “Interstellar,” which in previous editions served to celebrate recent scientific milestones.

A network of specialists dedicated to dissemination

One of the greatest strengths of "Cinema and Science" is the extraordinary roster of scientists and specialists who participate in the presentations . Their backgrounds range from theoretical physics to social anthropology, and include molecular biology, applied economics, philosophy, ecology, and law.

Among the names that have participated in the series are such prominent figures as Pedro Miguel Etxenike, María Martinón, María Blasco, Rafael Rebolo, and Juan Ignacio Cirac , who contribute their international experience and passion for public outreach to the discussions with the public. They are joined by researchers from centers such as the DIPC, the UPV/EHU, the Basque Center on Cognition, Brain and Language (BCBL), Biogipuzkoa, and the Public University of Navarre.

In the ninth edition, for example, profiles such as Amaia Carrión-Castillo (educational neuroscience and developmental disorders), Antonio Casado da Rocha (philosophy of values ​​and social anthropology), Gabriel Berasategui (biologist), Monica Bello (art historian and former director of Arts at CERN), Lorea Argarate (technologist, science communicator and musician), Ginés Morata (biologist and Princess of Asturias Award winner), Beatriz Díaz (entomologist), Xabier López (chemist and associate of the DIPC), eva ferreira (economist and mathematician), Ander Urrutikoetxea (oncologist), Pillar Dovecote (film director), Itziar Alkorta (biochemistry), María Jesús Goikoetxea Iturregi (human rights), Aitzpea Leizaola (social anthropology), Ibone Ametzaga (ecology) or Bosco Imbert (ecologist).

Thanks to this network, each session becomes a space where fiction intersects with the reality of research : the speakers connect specific scenes with current experiments, theories, or controversies, correct artistic liberties when necessary, and leverage the narrative power of film to better explain their field of work. Often, the audience leaves the room with new questions and a renewed curiosity to learn more.

Over its first six editions, the series has accumulated around forty-five screenings followed by discussions , building a loyal community of viewers who value both the pleasure of discovering or revisiting great films and the opportunity to hear from top-level experts. This combination of rigor, approachability, and cinephile passion is probably the secret to its success.

This entire framework demonstrates that cinema and science form a first-rate cultural alliance today : films offer images and narratives that make the complexity of the world tangible, while science provides tools to better understand what lies behind those narratives. Ultimately, what is built in each edition of "Cinema and Science" is a shared space where the public can enjoy themselves, learn, ask uncomfortable questions, and verify, as Leonardo da Vinci said, that everything is connected to everything else.