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

Home » Culture » Cinema and science: a journey between screens, knowledge and debate

The relationship between cinema and science It has become one of the great cultural engines of our time, a territory where on-screen stories engage directly with research, popularization, and critical thinking. From the physics of black holes to bioethics, by way of anthropology, ecology, and mathematics, this crossroads allows the public to approach complex concepts in a much more accessible, entertaining, and, why not, deeply moving way.

Within that context, the cycle stands out. “Cinema and Science” promoted by the Basque Film Archive, the DIPC and the San Sebastian Festivalwhich has established itself as a leading project in Spain. Year after year, the program grows in venues, audience, and thematic ambition, bringing high-quality films to cities such as Donostia / San Sebastián, Bilbao, Vitoria-Gasteiz, Pamplona, ​​and Donibane Lohizune, always accompanied by scientists and specialists who open up fascinating discussions after each screening.

Origin and philosophy of the Cinema and Science cycle

The “Cinema and Science” series was created in 2018 A joint initiative of the Donostia International Physics Center (DIPC), the Basque Film Archive, and the San Sebastián International Film Festival (SSIFF), the project aims to demonstrate that science is a central part of contemporary culture. Far from being limited to academic dissemination, the project takes 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 cycle around 12 films which are 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 spaces have also been added, reinforcing its character as a cultural network that connects science, cinema and the public.

Projections don't come on their own: Each film is preceded by a presentation by experts. in disciplines such as physics, biology, medicine, anthropology, economics, and philosophy. After 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 film": it becomes a lively forum for debate and learning.

A cinematic look at science: from time to ethics

One of the distinctive features of the project is that Each edition of “Cinema and Science” is structured around major thematic axeswhich 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 reflection: ThereFrom there, the program proposed a journey from cosmology and black holes to World War II, including debates on historical memory, the Medical Investigation or the limits of the human body in extreme conditions. Time as a physical dimension, but also as a human, historical, and political experience.

Furthermore, the cycle has been progressively incorporating social sciences and ethical reflection to its DNA. Films about fascism, social networks, gender inequality in science or the end of life coexist with science fiction classics, documentaries about pioneers of electronic music or intimate stories where scientific research mixes with the most everyday emotions.

This desire for plurality is condensed into an idea that is often repeated among its organizers: Science appears where you expect it… and where you don't expect it at all.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's 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 limitsStephen Hawking's own figure appeared as a symbolic thread in the programming, both for his work on black holes and for his enormous cultural impact.

The opening film was “The Theory of Everything” (James Marsh, 2014)The film, which focuses on the relationship between Hawking and his first wife over 25 years, portrays, with a strong emotional component, the coexistence of his cosmology research, 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 completed with a gem of classic science fiction: “The Time Machine – Denboraren makina” (George Pal, 1960)An adaptation of H.G. Wells' novel that pioneered the introduction of time travel into popular culture, blending scientific speculation with a very clear political critique of social inequalities. Years later, films like “Everything Everywhere All at Once – Dena batera leku guztietan” (Daniel Kwan and Daniel Scheinert, 2022) They would revisit the idea of ​​the multiverse to talk about family, identity, and life choices, opening the door to reflecting on physical theories of multiple universes.

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

Time as a bodily limit was addressed in “Djúpiò – The Deep” (Baltasar Kormákur, 2012), which dramatizes a true story in which an Icelandic sailor survives an unbelievable amount of time in freezing watersWhile 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 time trial race also came into play military research during World War II 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 debate on scientific responsibility, weapons of mass destruction, and moral dilemmas linked to nuclear energy.

As if that weren't enough, horror also found its place with “The Thing – Gauza” (John Carpenter, 1982)Set at an experimental base in Antarctica, where an extraterrestrial being capable of mimicking any organism challenges a group of researchers, 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 cycle reserves an important space for Films focused on the everyday practice of science, medicine, and researchas well as its social impact. The idea is to show that scientific work doesn't only happen in spectacular laboratories or space missions, but also in small-town medical consultations, environmental lawsuits, or end-of-life clinical decisions.

In “Le Théorème de Marguerite – 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 us to talk about pressure in research careers, gender in the hard sciences, error management and resilienceas well as offering the public an unusual look at mathematical creativity.

Medicine appears with enormous delicacy in “Sachs’s Disease – The Confessions of Doctor Sachs” (Michel Deville, 1999)The film, which won an award at the San Sebastián Film Festival, explores the role of a rural doctor in providing time and attention to his patients in a context of limited resources. It sparks debate about the... 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 component, the series uses this film to discuss toxicology, public health, environmental regulation, access to information, and power inequalities 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, construction of official narratives, and civic responsibilityAs Mark Twain reminded us, history may not repeat itself, but it "often rhymes," and the cycle takes advantage of these rhymes to activate a critical look at the present.

Science fiction classics and monsters in lab coats

The universe of science fiction and horror classics It occupies a place of honor in "Cinema and Science." Not only for its 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 an updated scientific context.

On its journey towards its tenth anniversary, the program has been adding titles that had almost become a long-overdue addition. One of them is, without a doubt, “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 destructionAs Susan Sontag pointed out, there is a disturbing beauty in seeing on screen the havoc 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 next to a fly and begins to transform. This film allows for discussion of topics such as mutation, bodily limits, experimentation with living beings, technological risk and research ethicsIt is no coincidence that the edition includes a specific lecture by the biologist Ginés Morata to expand on many of these issues with the public.

Humor also has its place with “The Nutty Professor – Iraqasle zoroa” (Jerry Lewis, 1963)A comedy about a clumsy, marginalized chemistry teacher who develops a potion to transform himself into an idealized, arrogant version of himself. Beyond the laughs, the film serves as a springboard for discussion. Stereotypes about 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, it could not be missing James Whale's Frankenstein universe with “Frankenstein – Dr. Frankenstein” (1931) and “The Bride of Frankenstein” (1935), programmed as a double feature. Both allow for a rich visual exploration of classic and current debates on creation of artificial life, responsibility of the creator, limits of experimentation with human bodies, loneliness of “anomalous” creatures and societal fear of difference.

The cycle also pays attention to 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 discourse on ecology, coexistence between species, consequences of war and intergenerational responsibilitiesIt was also the film chosen to close some editions and to star in special sessions for schoolchildren.

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

One of the great strengths of the series is showing how Science also permeates our daily lives in areas we don't often identify as scientific: language, social media, music, economics, or emotions. Several recent films appropriate these themes to bring the audience to familiar ground 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 reflection on what we understand by “human”, the role of the social environment in development, language acquisition and the construction of emotionsIt is a magnificent gateway to anthropology, developmental psychology, and the neuroscience of learning.

The digital present and its contradictions become visible with “The Social Network – Sare soziala” (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 social impact of networks, privacy, concentration of power in the technological world, algorithm architecture, and erosion of face-to-face relationships.

Electronic music and its hidden history are featured in the documentary. “Sisters with Transistors” (Lisa Rovner, 2020)Narrated by Laurie Anderson, this work highlights the visionary role of numerous women who, since the beginning of the 20th century, They invented fundamental devices, techniques, and styles. for experimental and electronic music, but they were rendered invisible in official narratives. The film connects sound science, technology, gender, and cultural memory.

In “La Voie royale” (Frédéric Mermoud, 2023), the focus is once again on mathematics, but from the perspective of A young woman from a humble background whose talent leads her to a demanding science preparatory class.The film allows the public to see up close the pressure of the education system, the class differences in access to elite studies, and the challenges that 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 ZientzianThese initiatives underscore the importance of making women visible in science and technology, 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 cycle has increasingly incorporated reflection on bioethics, end of life and careUnderstanding that these are issues where science, medicine, law, and personal experience constantly intersect, these films are often accompanied by panel discussions and parallel 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 raises issues such as end-of-life support, the reappearance of emotional bonds, shared memory, and anticipatory griefThe cycle complements its screening with a round table entitled "The end of life: literature, cinema and science", in which the director herself and the oncologist Ander Urruticoechea participate, moderated by the researcher Itziar Vergara.

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

In parallel, the cycle organizes specific conferences and informative talksOne example is the presentation by biologist and Prince of Asturias Award winner Ginés Morata, who gave a talk at Tabakalera coinciding with the screening of "The Fly," delving into genetics, development and biological architecture based on the case of the Drosophila melanogaster fly.

These parallel activities are free of charge until capacity is reached and have become one of the program's major attractions, as they allow hear firsthand from internationally renowned scientists that 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 big scientific and humanistic questionsMaintaining the same spirit with which it was born 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, reinforcing 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 Perez Iglesias (Advisor for 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 in the cultural ecosystem such as Pedro Miguel Etxenike, Miguel Zugaza, Maialen Beloki, Beatriz Herráez and Edurne Ormazabal.

In their speeches, the idea was emphasized that Culture and science are tools for social cohesionThese are fundamental for building shared knowledge, critical thinking, and common values. It was also emphasized 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, highlighted that the chosen films function as mirror and trigger of many of the concerns, utopias and dystopias that emerge in the face of scientific and technological advances. Joxean Fernández also noted 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 defend as “a celebration of art and knowledge”The series demands 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, are often one and the same.

Detailed program: film, science and open debates

The structure of the sessions usually focuses 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 throughout the ninth edition in 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 opens up debates about evolution, power, racism, ecological ruin, and the use of science for purposes of domination.

“L'Enfant sauvage – Haur basatia” (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 – Sare soziala” (David Fincher, 2010). Straddling the line between a courtroom drama and a coming-of-age story, it depicts the birth of Facebook in a college dorm room and its rapid global growth. The discussions surrounding it focus on ethics of algorithms, data governance, psychological impact of 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 popularizers 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 in electronic music), “The Fly” (teleportation and body metamorphosis experiments), “The Nutty Professor – Iraqasle zoroa” (stereotypes of the scientist and delusional chemistry), “The Royal Way” (mathematics and social advancement), “The flashes” (accompaniment during illness), “The Third Man – Hirugarren gizona” (post-war, penicillin, corruption), “Narayama Bushi-ko – The Ballad of Narayama” (old age and community norms) and “Nausicaä of the Valley of the Wind – Kaze No Tani No Naushika” (toxic future, poisonous fungi and giant mutant insects).

Meanwhile, other venues are showing films such as “Gorillas in the Mist”, focused on the life and work of primatologist and conservationist Dian Fossey, or titles linked 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 team of scientists and specialists participating in the presentationsTheir careers range from theoretical physics to social anthropology, including molecular biology, applied economics, philosophy, ecology, and law.

Among the names that have appeared on the show are such prominent figures as Pedro Miguel Etxenike, María Martinón, Maria Blasco, Rafael Rebolo or Juan Ignacio Ciracwho contribute their international experience and their 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 the investigationThe speakers connect specific scenes to 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 cycle has accumulated around forty-five screenings with their corresponding discussionsThis has fostered a community of loyal 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 a passion for cinema is probably the secret to their success.

All this framework demonstrates that Today, cinema and science form a first-rate cultural alliance.Films offer images and stories that make the complexity of the world tangible, while science provides tools to better understand what lies behind those stories. 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.