PROGRAMME 2024

CineMística2024-Ritos, mitos y cotidianedad_logo

Form 7 to 24 NOVEMBER 2024

 

10 FESTIVAL CINEMÍSTICA: 2024 RITES, MYTHS AND EVERYDAY LIFE

Although the figure 10 could invite us to consider the current 2024 edition as an exceptional anniversary (which it is, at least because of the improbable nature of the festival continuing to exist), at Cinemística we prefer to avoid any sense of complacency, and continue to occupy ourselves, without further ado, of the current state of art cinema, of wonderful anthropological cinema, of free cinema, of reality cinema, of cinematograph focused directly and critically towards the borders of the external and internal world.

Thus, in addition to the usual competitive sections of Cinemística (1), Anthropological Cinema (2), Film Schools (3) and Children's Cinema (4), as every year a special competitive section is proposed, this time under the topic: Myths, Rites and everyday Life (5).

Everyday life not devoid of, when conscious, an infinite diversity of repetitive formal procedures, rites, often astonishing, consciously or unconsciously linked with the personal and collective imagery and symbolism of myths. We will talk about mythologies only when the myths are binding for a certain society.

In praise of diversity, some everyday things are admired, others tolerated, and there are those who are forced to resist in hiding, due to a logic of survival. This was, for example, the case of the Moors of Granada in the 16th century. Today, almost 500 years later, there are unfortunately still similar conflicts in our world, if possible even more painful because they are anachronistic and absurd.

No strangers to dystopia, in our Western societies the use of social networks configures an everyday life, as false as it is hegemonic and current, in an often aggressive and perverse mosaic of voyeuristic banalities, which remind us of Georges Perec, when in 1978 he referred in his novel “Life: Instructions for use”: “I imagine a Parisian building whose façade has disappeared (...) so that, from the mezzanine to the attics, all the rooms in front are visible instantly and simultaneously.”

Already in 1944 Georges Bernanos spoke about the dictatorship of technology, and our admired filmmaker Jean-Marie Straub, whom we honored in the last edition of the festival, dedicated his last film to this topic: “La France contre les robots” (2017) .

What to do then under pressure from the dominant media proposal, which, through the apparent innocence of the continuous and obligatory downloading of applications, includes the daily subjugation of humanity to a renewed and global dictatorship of technology?

Perhaps it is worth considering today the added importance of revolutionary everyday life, as a silent daily rebellion carried out by the individual. By each individual, by people, each for their own reasons and with their own personal style, with audacity, discretion and diverse mischief. These intimate micro-revolutions, even the secret ones (they are the best), when exercised ritually and daily, can convey a respect, truthfulness and deep attention to the closest real, to what is operationally close, without losing the holistic sense of the universal.

The fact that Chantal Akermann's film “Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles” (1976), portraying the daily life of a prostitute mother, has recently been awarded by one of the most influential association of film critics in all the world (Sight & Sound), as the best film in history, should be considered an indicator of the collective feeling of necessary cinematographic return to everyday life and its rituals. A commendable option from our point of view, quixotically confronted with that of the dominant and insatiable consumption of audiovisual eccentricities.

In the history of ethnographic cinema, attention to rituals, myths and everyday life has always allowed, both from an anthropological and simply human point of view, a potential for artistic creativity in the filmmaker's gaze. The anthropologist and father of “cinema-vérité” Jean Rouch, in his “Chronicle of a Summer” (1961) proposed with Edgar Morin that such ethnography could avoid the temptation of the exotic and colonial sentiment, to situate itself very interestingly in our own context. urban social, in our apparent normality.

The device of collective film projection, in itself, undoubtedly constitutes the last great Western rite, with impunity on the way to extinction: A group of spectators, people unknown to each other, gather in a dark room, in silence. Soon a ray of light passes over them, in the tantric space of the movie theater, above their heads: it is then that said light projects on a canvas, initially white and that regardless of its dimensions will become immense, the dreams of a demiurge (the filmmaker) come true. After this collective ritual (with or without a cinema-forum type discussion), all participants will return to the outside world, which we will possibly find changed, since so will we.

It is also necessary to remember here that everyday life is one of the stages described by the referential work of Paul Schrader (1974) regarding the style of transcendental cinema in Ozu, Bresson and Dreyer. An everyday life that speaks to us and questions us, and even astonishes, in the same sense that the alchemist of Granada cinema Val del Omar told us in 1954, when he stated that “The extraordinary is found within the ordinary.”.

For all these reasons and others that we will discover during the development of the festival, in this 2024 Cinemística chooses to place itself at the rear of the film avant-garde of the international festival framework, a bit in the sense that Alice Letoulat has recently highlighted in her study “Archaism and impurity” (2022) on the cinema of Paradjanvov (this year is his centenary), Pasolini and Oliveira.

An exciting rearguard because, without ceasing to belong to our world/time, which by definition is avant-garde, we do not wish to be part of its devouring current affairs, but rather to live somewhat backward, in the innocence of childhood, and in that of a world at risk of disappearance, which we must try to retain and express poetically. As Sartre said about Baudelaire: “Advance backwards as much as possible, in the back seat of a car that is taking us away, trying to fix our gaze backwards and forwards, on the road that leads us away.”

Although by academic convention we are taught that there was a "passage from myth to logos", the myth never left and continues to accompany human beings. The convention according to which Philosophy emerged from the “passage from myth to logos” implies a Eurocentric point of view about what is considered rational, which has permeated all Western thought with tragic consequences for other cultures. However, in a certain way, myths continue to fascinate us beyond a mechanized and commercialized life to the extreme, with a certain balsamic character that comforts and connects with that human part of passions, dreams, desires, fantasy, mystery, the mystical, the inexplicable or unspeakable of the existential story.

We therefore invite you to present your films to the 10th edition of the Cinemística Festival – 2024 Myths, Rites and Everyday Life, guaranteeing you an absolutely attentive and respectful look from the selection committee towards all the candidate works.

The 10th edition of the Cinemística Festival will continue to be vocationally only in person, with abundant discussions with guest directors and specialists, always open to the intervention of spectators. We are all convinced that in part the survival towards the future of humanism in our species should be accompanied by the conservation of the cinematographic ritual and myth of collective projections.


2024 Rites, myths and everyday life - We will celebrate the Paradjanov Centenary

DAILY PROGRAMME

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CATALOGUE OF SELECTED FILMS

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FILMS IN COMPETITION

ACORDA, CAJUEIRO ! / ALGO QUE EU DISSE / AMANDA / AMOR É AGUA QUE CORRE / AND THE ALLEY SHE WHITEWASHED IN LIGHT BLUE / AND WHAT IF IT NEVER COMES / BAZAAR BUS / BRAINVERSE / CÓMO DESAPARECER COMPLETAMENTE / COMPETING PATTERNS OF THOUGHT / DAYIPÂPÂRÂ LA MADRE / DESARRAIGO / DÉTRESSE SYMPHONIQUE / DEVOÇÕES / DO I REALLY HAVE TO DIE? / DOVE / EDÉN / EL CONSORCIO / EL CORTIJO DE LAS CIJAS / EL OFICIO DIVINO / EL TREN DEL OLVIDO / EN MESQUIDA / ENFOLD / ENTRE UNA MANO Y LA OTRA / EL VIENTO SIGUE SOPLANDO / FALE / FRICCIÓN / GATHERING FIREWOOD / GUAJARDO - “EL PINTOR” X - IN MEMORIAM P.G.E. / HISTOIRE DES SABLES / HUMANS DON'T COME WITH INSTRUCTIONS / I HAVN’T TOLD MY GARDEN YET / I SUTRA JE ĐURĐEVDAN / JULIENNE D'AMPOULES / L'OR OU L'ARGENT / LA APROPIACIÓN COMO HERRAMIENTA ARTÍSTICA / LA ELABORACIÓN ARTESANAL DEL YESO DE ESPEJUELOS / LA INTELIGENCIA ARTIFICIAL / LA PACIENCIA DEL AGUA / LES SIRÈNES NAGENT A CONTRECOURANT / LIZZY / LOCUS AMOENUS / LUZ INTERMINABLE / MÉMOIRES DE HUMBERSTONE / MEZIMĚSTÍ / NOW & THEN: NOTES FROM A FRAGMENTED LIFE / O ENCANTAR DAS FOLHAS / OCHO PASOS / PAPY FAIT DU CINÉMA! / PATH TO MOKSHA / PICO SACRO / POLVO / QUAND IL Y N’Y AURA MÊME PLUS / RITUAL UTÓPICO / SENSIBLE / SERPARI / SHAKESPEARE FOR ALL AGES / SISYPHUS WORKS / SOFT / SPELL / STEHENDE WELLEN / TAKE IT BACK / THAIPUSAM - TRANCE FOR THE SON OF SHIVA / THE GONE MISSING / THE PARTY / THE SOUL OF JASMINE / THE STOWAWAYS / THE VILLAGE OF KENOU / TRÍPTICO ELEMENTAL / UN MARIN À MINUIT / UN RASTRO DE LUZ / UNA BUONA GIORNATA / VISITORS / VUELO LIBRE / WHEN I WAS CLANDESTINE / WÜSTENTIER / YAKUTIA - BETWEEN THE WORLDS

PROGRAMME 2023

CineMística2023-Mirrors of love_logo

The ninth edition of Festival Cinemística took place in Granada (Spain) from 9 to 26 November 2023. As every year, Festival Cinemística included a special thematic and competitive section, which on this occasion was entitled "2023 MIRRORS OF LOVE": Films about love. The cinematograph as a mirror of the phenomenology of love in the human being: Each frame, each sequence, each sound and each silence, can potentially generate love in the spectators, regardless of the subject matter, with narrative or non-narrative style.

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Love with small letters and with capital letters. There is an infinite distance between the word Love and the phenomena of love in the experiential context of what we usually call reality. It is precisely this distance, sometimes simple and diaphanous, but sometimes complex, with anomalies, mishaps, detours and contradictions, that interests us.

Love (and lack of love) between people, love for life, for art, for the cinematograph, for nature, for places and things, love for the everyday and its rituals, for the exceptional, humanist love, love for science, for history, spiritual, literary, cultural loves, concrete and abstract loves, ethics in love, love in religions, evolution of the concept of love in the human species, love and genetics, love and sociobiology, love and pantheism, projimisation, the future of love...

Amateur cinema (made for the love of art), industrial or poor. At Cinemística we are not concerned with the economic circumstances of the films, but with the inner and production ethics of each film.

Holding up a mirror to nature: For Orson Welles, this is what the job of a film director was all about: reflecting human nature through a gaze. "If you know nothing of the nature in front of which you hold the mirror, how limited your work must be," he said. What is interesting in the end is not the romantic tremor or the nervous movement with which the mirror is held, but the image it gives us back.

Another great director in the history of cinematography, and a great lover of mirrors along with his friend Andrei Tarkovsky, the unclassifiable Armenian artist Sergey Paradzhanov, said in 1977 on his release from a Soviet prison, for non-existent political crimes: "My revenge will be love!". We allow ourselves to understand him in the sense that in cinema, and perhaps also in life, the aim should not be to impart justice, but love.

Love and Cinemystics.

In each of the four sections of 9 Festival Cinemística, short, medium and feature films, fiction, documentary, video-art, experimental, and of course interstitial works between genres took part. Comedies, ataraxies and/or cinematic dramas.

PROGRAMME BY DAYS AND SCREENINGS CINEMÍSTICA 2023 MIRRORS OF LOVE
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DAILY PROGRAMME

CATALOGUE OF SELECTED FILMS

(CLICK ON TITLE)

FILMS IN COMPETITION

3 ERASURES AT AWAR / A POEM FOR GISELLE, A POEM FOR A PEASANT / A ROSA INCANDESCENTE / A-DENTRO / AMARILLO HOJA MUERTA / ANASTÁTICA / ÁRBOL QUE (ME) MIRA / ASIMÉTRICA / AYKUO / AYNI / BEAUTIFUL FIGURES / BIND / BLAME THE FOX / BOTH BREATH AND CLAY FRAGMENTS OF A RITUAL PRAYER / CALL ME JEANNE / CARRACO / CECI N'EST PAS UN GIF / CREYENTE / CTRL – APUNTES DE DIARIO 03-2020 / DEATH WILL COME LIKE A SHADOW / DUNYALAND / EARTH WATER MOTOR II / ECOTONE / EL VIAJE / EN ATTENDANT LOLO / ESCAPE FROM INERTIA LAND / ESPEJISMOS / FIN DE LA VEJEZ / FINALLY / FLORECER / FOR THE SKEPTICAL / FRÁGIL / FUMO / GREEN TEENS / HE WISHES FOR THE CLOTHS OF HEAVEN / HIROSHIMA ESPIRITUAL / IDOL / JUAN / KROŠNJA / L'HÉRITAGE / L’EPÉE DU SOLEIL / L’IMPASSE PRIMORDIAL / LA CERVA / LA VIE EN ROSES / LAS CALLES DE GRANADA / LAS RAZONES DEL LOBO / LEONOR / LETTER FROM THE AGE OF THE ECOCIDE / LLEGARÁ LA NOCHE / LOS 24 PERIODOS DEL TIEMPO / LOS AMANTES DE AVIGNON / LOS NIÑOS DE LA TERMINAL / LULLABY FOR STANISLAV / MARE / MONTE HORQUERA / MOON LAKE / MOTUS / MUTSOÓNGO MALAÁVU / ORBAYU / OSSIP E MARINA - ENTRE AS LINHAS / PACHAMAMA / PALINGENETICS / PIBLOKTO / PLEIN AIR / POEMA A UNA MUJER QUE SE DESVANECE / POSITIVE THINKING / RAZONES DE LO ÍNTIMO / RELENTLESS / REPRESENTAR LA ALPUJARRA. REFLEXIONES POLFÓNICAS DESDE Y A TRAVÉS DE LA ANTROPOLOGÍA VISUAL / RIG VEDA / RING WANDERING / RUA AURORA–REFUGIO DE TODOS OS MUNDOS / RUINAS / SAMA SLODYCZ / SEEW TO SAY / SENZA ETÁ / SOFÍA VOLVERÁ / STORIA PER UN TEATRO VUOTO / THE BANISHMENT / THE CHALICE. OF SONS AND DAUGHTERS / THE DOOR / THE LIFE WE LIVE IS NOT LIFE ITSELF / THE PINK ELEPHANT / THE SECRET LIFE OF TOM LIGHTFOOT / THINGS THAT MIGHT HAVE BEEN / TODOS ESTÁN MUERTOS / TUPIANAS / UNA FACETA DE LA VIDA / VOYAGES EN TÊTES ÉTRANGÈRES

ARMENIAN CINEMA CENTENARY

AU-DELÀ DU PAPIER / APRIL / BAREV, YES EM / MENQ ENQ, MER SARERE / NRAN GUYNY / SPITAK QAGHAQ / TTENI / ZARE

PROGRAMME 2022

CineMística2022-El Refugio_logo

The eighth edition of Festival Cinemística took place in Granada (Spain) November 2022. As every year, the programme included a special thematic and competitive section, which on this occasion was generically entitled The Refuge.

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Indeed, since its beginnings, Festival Cinemística has had the vocation of constituting a cinematographic refuge for those films and authors who would like to find in our event a humble, but convinced and kind, refuge along the way.

A hospitable stop for the artistic and personal itinerary of the protagonists of The Other Cinema.

There are places-refuge, people-refuge, books-refuge, moments and situations-refuge, thoughts-refuge, images-refuge, sounds and music-refuge, and a multitude of different kinds of refuges, which offer the human being a necessary refreshment and rest, advisable to be able to continue the vital pilgrimage.

Of course there are also Refuge-films...

In these chaotic times in the world we live in, physical and psychological shelter must be sought. Individual refuge, but also, if possible, shared refuge.

A libertarian refuge, courageous, of comradeship, in the front line of action against ignorance, confronting the cowardice of submission to the status quo.

The cinematograph as a refuge against the temptation to misanthropy.

A joyful refuge, an inner and outer oasis, alien to the dominant political and socio-economic proposals (including health and military ones). A refuge that creates its own references, protecting us from the dystopia of a controlled society governed by the technocracy of macro-data.

In this general framework of unofficial and insubmissive art, and in particular in that of the refuge-films, filmmakers have a responsibility and a right, especially lawful and necessary, to exercise with exigency.

In 2022 Cinemística will therefore deal with art cinema as a refuge, in its many facets. With praise for stylistic, investigative, experimental, thematic difference and anomalous, minority narrative attitudes. With openness, affection and attention to the apparently "small".

Also, of course, with great respect for the Spectators-refuge, guardians of the necessary free critical discourse, in the face of the malicious inertias of the new communication technologies, their covert directives and their acolyte cultural managers.

PROGRAMME BY DAYS AND SCREENINGS CINEMÍSTICA 2022 THE REFUGE
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Programa de Mano_CineMística2022-ElRefugio

DAILY PROGRAMATION

CATALOGUE OF SELECTED FILMS

(CLICK ON TITLE)

1:1 / 2020 / ADDIO AL PADRE / ALL EYEZ ON ME! / ANHELOS / DAARA / DE PASSAGE / DES-CONTINUAR / DES-NUDOS /DISCARNATE: MCLUHAN'S WAKE / EL DOLOR DE DOLORES /EL ÚLTIMO DE ARGANEO / EL ULTIMO TRAMO / EXPONENTIALS / FACELESS / FAMILY STORY / FOR WAAD / FUSION / GUERRERO. LA CABEZA ENTRE LAS MANOS / HIT LIST/THE LOVE PROJECT / I WILL WADE OUT - PIECES IN THE FORM OF…#1 (REMIX) / LA ESCULTURA / LA EXPOSICIÓN / LA PELL DE LA TERRA / LE VIE CAVE / LOST IMAGES / MAMODY, THE LAST BAOBAB DIGGER / MARGARITA LEDO. PAROLAR CUN EU / MECHANICAL SEA / MY FRIEND ALEXANDER GRIGORIEVICH / ODA / O LUTHIER E O FAZEDOR DE PILÕES / ONCE I PASSED / OTROS MARES OTRAS BALLENAS / PASOLINEIDE / POÈMES / POESÍA NUEVA YORK / RAJAA / REHILETE / RUST / THAT SPRING IN THE SKY OF H-VILLE, THERE WAS… / THE FACE OF A CITY / THE GUN / THE ISLAND LOOKS OUT TO SEA / THE SILENT REVOLUTION / TRAMWAJ / TRUE BLUE / US / V / VERCORS / VIDEOMUSICANDO AL ANDALUS / WHERÁ TUPÃ E O FOGO SAGRADO / IL SE PASSE QUELQUE CHOSE / INVISIBLE MALAGNOU / LE CABANON DE LE CORBUSIER / NANOOK EL ESQUIMAL

PROGRAMME 2021

CineMística2021-Los alrededores del silencio_logo

After the obligatory postponement in November 2020 for social and health reasons of the COVID pandemic, the VII Cinemística Festival was held FROM 4 TO 28 NOVEMBER 2021.

The theme of this issue is very topical at the time, THE SURROUNDINGS OF SILENCE, which is timeless, due to the noisy change of language that has occurred worldwide with the accumulation of telematic methods of communication.

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Films about the external and internal silence, about the paradoxes of language, about the before and after of action, the silence which precedes and follows spoken outcomes. Films that map silent, silent, forgotten places and characters. In praise of silence as an ecosystem in which talking codes, idiograms and statements, voices and indiscreet symbols, with their niches/significant and beings/significants interacting, cohabit. The infinite distance between words and things. Silences that fight against the mutism and the excess of information of the monoform in the monoworld. Films about silent breaks, quiet revolutions, silences against the oppressive discourse system of indifference, based on lies and other truths. Shouting in a low voice. Insubordination and silence!

PROGRAMME BY DAYS AND SCREENINGS CINEMÍSTICA 2021 THE SURROUNDINGS OF SILENCE
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DAILY PROGRAMME

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SELECTED FILMS AND CATALOGUE:

SCREENINGS OUT OF COMPETITION

PROGRAMME 2019

CineMística2019-LOS SUEÑOS DE LA MATERIA_logo

The VI Festival was held between 7 and 30 November 2019. The theme of this year's special section was 2019 DREAMS OF MATTER, with the selected films being screened in different venues in the city of Granada.

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The Dreams of Matter, referring to the world of objects and things, bodies and substances, morphogenesis and metamorphosis, the symbolism of matter and its values in anthropology, the processes of individuation and the spirituality that inhabits the material and its becoming, at all scales and in relation to the representation of the world in people.

PROGRAMME BY DAYS AND SCREENINGS CINEMÍSTICA 2019 DREAMS OF MATTER
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DAILY PROGRAMME

PROGRAMME 2018

CineMística2018-LA ABOLICIÓN DEL TIEMPO_logo

The V Cinemistica Festival took place from 1 November 2017 to 1 December 2018. The theme of the special section of this year was 2018 THE ABOLITION OF TIME.

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The headquarter of this festival was Granada (Spain), next to other Spanish and international host cities.

PROGRAMME BY DAYS AND SCREENINGS CINEMÍSTICA 2018 THE ABOLITION OF TIME
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DAILY PROGRAMME

PROGRAMME 2017

CineMística2018-CUMPLEAÑOS DEL AGUA_logo

The IV Cinemistica Festival took place from 2 November 2017 to 1 December 2017. The theme of the special section of this year was "2017 ANNIVERSARY OF THE WATER".

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The headquarter of this festival is Granada (Spain), next to other Spanish host cities: Córdoba, Malaga and Madrid. The guest city in 2017 ANNIVERSARY OF THE WATER was Iquitos (Peru), which in the Amazonas region means "city on water".

PROGRAMME BY DAYS AND SCREENINGS CINEMÍSTICA 2017 ANNIVERSARY OF THE WATER
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DAILY PROGRAMME

DAILY PROGRAMME

PROGRAMME 2015

ANTHROPOLOGICAL AUTUMN

CineMística2015-Otoño antropológico_logo

Premieres and revivals of short films, documentaries and feature films of an anthropological nature, always in V.O.S.E. followed by a film forum.

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PROGRAMME BY DAYS AND SCREENINGS ANTHROPOLOGICAL AUTUMN 2015
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OTOÑO ANTROLÓGICO

CINEMISTICA SPRING

logo Primavera Cinemística

The 2nd edition of the Cinemística film festival is included in the official UNESCO program that declared 2015 the International Year of Light . Cinemística® takes part in the international program as well as in the spanish program. Indeed, on December the 20th 2013 the United Nations (UN) in its 68th Annual Meeting proclaimed 2015 as the International Year of Light and Light-based Technologies. The International Year of Light aims to raise global awareness on the importance of light and its associated technologies in key areas of our contemporary world such as energy, education, health, communication, etc.

International Year of Light 2015It is obvious that cinematography benefits and is in fact immersed in the physical and intellectual mystery that is light, but surprisingly Cinemística is the only film festival internationally to join the International Year of Light proclaimed by the UNESCO. Russian film director Andrei Tarkovsky saw cinema as “the art of sculpting in time”, to which we might easily add it is also “the art of sculpting in light”. Perhaps these are equivalent terms: light and time go hand in hand, or are part of something substantial, subjacent, identical or immanent…

In the same way that 2014 edition, the Festival programme will be based in 14 seminars, all the weekends between spring equinox and summer solstice, that includes: shorts films, documentaries and/or feature films unpublished in Granada. Films projections with mystic, philosophic, religious, anthropologic and/or poetic nature, followed by a forum between the assistants. In the sessions can be included, like a retrospective, feature films from differents periods of history of cinema, from renowned directors.

La Corrala de Santiago (UGR, Historical Monument) is the festival neuralgic centre, which is located in Santiago street, 5, Granada (Realejo district). All projections will be in original version with Spanish subtitles. The discussions will be oversee by experts, critics and specialists in the different thematics.

PROGRAMME BY DAYS AND SCREENING CINEMÍSTICA SPRING 2015
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OTOÑO ANTROLÓGICO

DAILY PROGRAMME

PROGRAMME 2014

CineMística2014-Primavera Cinemística_logo

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DAILY PROGRAMME