Chronicle Sitges 2018: “Die, monster, die” fear of fear
World premiered in the Un Certain Regard section of the last Cannes Film Festival, “Die, monster, die” caused both stupor and fascination among the international critics displaced at La Croisette. No wonder, without a doubt we are facing one of the most imposing and disconcerting terror proposals of the season. Of course, Sitges is his home.
What is it?
Nothing else to begin, it is clear the mastery of Alejandro Fadel: between sheep, a trail of blood, and a woman who tries to hold her head because she has been decapitated. From this death, a violent and deep plot begins, located in a remote village near the Andes, where a policeman will try to solve a mystery that we do not know if it is the result of madness or a monster.
“Die, monster, die” is the second film as director of the Argentine Alejandro Fadel after that shocking debut that turned out to be “Los Salvajes” (2012), a visually powerful anti-western luck with which he left his mark at the Sitges Festival 2012, where he was selected in New Visions. Note that as a scriptwriter he has worked for leading names in Argentine cinema, such as Pablo Trapero or Israel Adrián Caetano.
Who goes out?
Víctor Lopez , Esteban Bigliardi and Tania Casciani give us interpretations marked by an overwhelming presence, by a penetrating and solemn oratory whipped at all times by the existential anguish they suffer. The monster on the other hand, deserves mention to part. May it be discovered by your own eyes.
What is it?
“History of Fear” + “The Wild Region”
What does it offer?
“Die, monster, die” is fear within fear, a kind of cross between the crudest romantic drama and the most evil terror that oppresses the soul and cuts to the breath. Both its protagonists and the viewer. As philosophical as it is violent and visceral, a tremendously corporeal but also cerebral proposal, the second and notable film by Alejandro Fadel takes us to a non-border place where, at more than 2000 meters away, Argentina separates from Chile. It is from this remote and sublime Andean landscape where the person in charge of “Los Salvajes” penetrates into the bowels of the phobia and locks up his characters in fear of fear. A desolate human map where misery is explicitly shaken by the vile and atrocious, where the supernatural lurks the real, where its inhabitants subsist as they may be beset by a tangible and material submission that, as its title suggests, acquires in this case the form of a monster. A disconcerting and bestial figure that in this case, one intuits that it does not have an intrinsically metaphorical meaning. Its function seems more aimed at making us reflect on power, control and of course, on the fear of the unknown. Plasma on an imposing formal device, on a deeply disturbing and atmospheric character, “Die, monster, die” is lived and experienced from the absolute sensation of strangeness and unpredictability. A very powerful work in terms of form as well as in depth, which should well be recognized in the official record.