Chronicle Sitges 2018: “Lords of Chaos” black metal psychos

Chronicle Sitges 2018: “Lords of Chaos” black metal psychos

In “Lords of Chaos” the story of a young man who wants to give a new twist to the black metal scene in Oslo ends up having fatal consequences. The new movie of the father of the video clip, Jonas Akerlund , is a nimble, vibrant and unique hybrid of biopic, horror and teen-angst that tells the tragic and terrifying real events that concern the infamous history of the black metal band Mayhem from a tantrum so provocative and reckless, as definitely stimulating.

What is it?

“Lords of Chaos” tells the bizarre story of Mayhem after the death of “Dead”, one of its members; it was then that the relationship between bassist Varg Vikernes and his leader Euronymous led to the burning of some churches and a real blood bath.

Who’s behind?

Its responsible is none other than the renowned video artist Jonas Akerlund , prodigal son of the videoclip who has worked with such disparate groups as U2 , Blondie , Lady Gaga , Smashing Pumpkins, Rammstein, Madonna or Beyoncé . As a film director he debuted with the cult work “Spun” , a frantic descent into the world of drugs where comedy and debauchery reign that you can (re) discover in Filmin.

Who goes out?

Perhaps it is one of its main burdens, not because of the work of its actors, but because of the credibility and veracity of those who endow the recreation of this real story. That the Americans Rory Culkin , Emory Cohen and Sky Ferreira give life to the members of an intrinsically Norwegian band does not fit. Your language should be Norwegian and not English. Once again, commercial scope is imposed on artistic and conceptual rigor. It is what it is.

What is it?

“Metalhead” + “American Psycho”

What does it offer?

“Lords of Chaos” is an agile, vibrant and unique hybrid of biopic, horror and teen-angst that recounts the tragic and terrifying real events that pertain to the infamous history of the black metal band Mayhem from a treatment as provocative and reckless as definitely stimulating. And is that the rigor of the truth of the story directly collides with the transgression of it. Here there is room for huge blood baths, for excessive gore shocks, for the torture of animals, satanism, suicide, or even casual Nazism. All this under an extremely macabre and equally unprejudiced comic record, although it does not feel paradoxical, much less light. His virtuous ability to avoid bad taste or screw up in the politically incorrect when everything points to it is undeniable and at least praiseworthy.

Under this premise, the new and striking film by Jonas Akerlund we can identify as a leap without a network that, beyond telling us chronologically and in first person (the voice-over of the deceased Eponymus guides the whole story) the history of the group from its foundation until its first dissolution, it also stops at the relationship of bizarre rivalry between its two main leaders. A clash of egos whose friendship was always governed by the envy they professed for each other and in the competitiveness brought to its most extreme consequences. Not so much in terms of seeing who can do more, but in terms of who ends up becoming the true leader.

Praiseworthy conglomerate of attributes that would elevate “Lords of Chaos” to one of the most remarkable proposals of Official Section if it were not for two defects that for a server are fragrant. First, its submission to commercial scope. Let me explain, it is quite incongruous that a film begins with an emphasis on Welcome to Norway , which constantly insists on its Norwegian roots and how it affects it, which does nothing but repeat the motto of true norwegian black metal , be spoken in English. Even more so in the case of the staging of a real story. Nor is consistent with his treatment and tone that a work in which constantly resonates black metal ends to the sound of Sigur Ros. Anyway, you know, who pays. It’s the toll.

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Chronicle Sitges 2018: “Fugue”; I am no longer that

Chronicle Sitges 2018: “Fugue”; I am no longer that

One of the great challenges to overcome of the first directors who hit a real bombshell with their debut are the expectations that are generated around everything they will do next. This has been the case of Agnieszka Smocynska , director of the wonderfully excessive “The Lure” , a powerful debut that surprised at festivals such as Sundance and was an absolute success in its premiere on Filmin. Well, three years later, the young director presents her second work, “Fugue” , present at the Critics’ Week in Cannes and now premiered in Spain by the Sitges Festival. A continuation not without risks of which we can already consider as one of the most interesting Polish and European filmmakers of recent years.

What is it?

From the tunnel of a subway station, a woman appears, who stands on the platform and urinates before the astonished gaze of the other passengers. He does not know who he is or where he is. Two years later, her family finds her, forcing her to regain her place as mother, wife and daughter, and adding her to the fascinating list of women in crisis that recent horror films have given us.

Who’s behind?

The new Polish cinema has us in love. If in this past Atlàntida Film Fest we vibrate with the disturbing “Tower: A bright day” by Jagoda Szelc, Smocynska confirms her good health with “Fugue” , a risky second job that supposes a change of absolute record for the director that fascinated us with the lights and the glitter of “The Lure”. From a musical comedy starring two vampire sirens to atmospheric drama about trauma and memory.

Who goes out?

In this case, the one who leaves well could be worth to us who is behind. And it is that Smocynska has not been alone in the conception of ” Fugue”, because the script is signed exclusively by the protagonist of the film, Gabriela Muskala , a long-distance Polish actress who debuts for the first time in her career at the head of the libretto. The strong connection he establishes with his character becomes palpable in each and every one of the scenes he stars in, of a rawness and nudity that overwhelm.

 

What is it?

“Tower: A Bright Day” + “Forget me” in its darkest (and European) version

What does it offer?

Reception between the amazement and the division on the part of the critic, the new work of Agnieska Smocynska has supposed a radical change in appearance with respect to “The Lure” , that embraced the fantastic one of a much more literal way to re imagine the disturbing tale of ” The Little Mermaid “ by Hans Christian Andersen to take him to communist Poland and neon lights of the eighties. On this occasion, the disruptive element is a disease as terrifying as amnesia, which deprives the protagonist of her identity and throws her into a present without a past in which there is nothing but the now. A dark subway tunnel and its light at the end mark the beginning of this escape masterfully interpreted by Gabriela Muskala , a powerful female character who challenges the role that society imposes on her as a caregiver and abandons her husband and children after a mysterious incident. Years later, she was discovered in Warsaw after suffering a panic attack and her family managed to reunite with her. What could be expected as a happy celebration soon becomes uncomfortable situations and indigestible family meals where Muskala refuses to recognize herself in those now strange people, because now, she is no longer that.

Giving a twist to the gender roles that anchor women in the family nucleus and turn their escape into the biggest of the taboos, Smocynka builds a psychological drama at the touch of uncomfortable situations with a film that does not correspond to what we would all expect from his cinema after a work as dazzlingly unique as “The Lure” . Who nothing risks nothing wins, and although Fugue may be much less surprising than its predecessor in conception, is the confirmation of the strong talent of its director, who on this occasion has shown us that a powerful cinematographic temper supported by the magnificent interpretation of its protagonist.

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Atlàntida Film Fest arrives in Portugal

Atlàntida Film Fest arrives in Portugal

Atlàntida Film Fest , Filmin’s online film festival, will celebrate its first edition outside of our borders starting next Monday, October 22, and for a month . Filmin Portugal, the Filmin platform in our neighboring country, will be responsible for organizing the event, which in Spain closed its eighth edition last July registering a total of 70,000 spectators. In this first experience the program will be integrated by 13 feature films , all of them unpublished in Portugal. Emphasize titles that triumphed at Atlàntida Film Fest this summer, such as the controversial “Holyday”, debut by Isabella Eklöf, or “Samantha Hudson” by Joan Porcel, the genuine portrait of the popular queer artist who gives the film its title. This is the complete festival schedule:

HOLIDAY – Isabella Eklöf, Denmark, 2018, 90 ‘

LES GARÇONS SAUVAGESBertrand Mandico, France, 2017, 110 ‘

SAMANTHA HUDSON – Joan Porcel, Spain, 2018, 60 ‘

BLUE MY MIND – Lisa Brühlmann, Switzerland, 2017, 97 ‘

SAMI BLOOD – Amanda Kernell, Sweden, 2016, 115 ‘.

THE SAINT BERNARD SYNDICATE – Mads Brügger, Denmark, 2018, 100 ‘

L’ORDINE DELLE COSE – Andrea Segre, Italy, 2017, 112 ‘

BELINDA – Marie Dumora, France, 2017,107 ‘.

I AM A KILLER – Maciej Pieprzyca, Poland, 2016, 117 ‘.

AMATEURS – Gabriela Pichler, Sweden, 2018 ‘102’

HUNTING FLIES – Izer Aliu, Norway, 2017, 106 ‘

H EAVY TRIP – Juuso Laatio, Jukka Vidgren, Finland, 2018, 92 ‘

BANKSTERS – Marc Roche, Jérôme Fritel, France, 2018, 87 ‘

All films will be included in the catalog for Filmin.pt subscribers, who can also vote for their favorite title.

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Chronicle Sitges 2018: “Climax” danzad, danzad, cursed

Chronicle Sitges 2018: “Climax” danzad, danzad, cursed

You know what you play every time you face Gaspar Noé’s new movie. It is the sensation of absolute vulnerability as a spectator, of having in mind that it will annoy and attack us directly, as well as the assurance that, whether for good or for bad, it will not leave us indifferent. His cinema is pure provocation, where depravity and violence is always present, it is that kind of cinema destined to take us out of our comfort zone at all times. His work does not admit half measures and in this sense, “Climax” was not going to be less.

We are talking about a film that once again, and here if there is no valid discussion, is a technical prodigy, a camera exercise that absorbs you from the first second and does not release you until its very last moment, an immersive experience of an absolutely visceral that again leaves behind the genuine technical capacity that the French filmmaker of Argentine origin treasures in the use of the camera. For some untapped talent, for others, one-of-a-kind excellence, what is clear is that when an author has the nerve to cause such a polarization between criticism and the public, his work has its own unconditional and irrevocable personality. And this will be the case, give it for sure too, of his new movie. . Dance, dance, damn.

What is it?

The story centers on twenty young dancers of urban dance that during the 90s gather for a three-day days of rehearsals in an abandoned boarding school located in the forest. There, they do their last common dance and then celebrate a final celebration party. Soon, the atmosphere becomes electric and a strange madness catches them all night. They have been drugged, they do not know by whom or why.

Who’s behind?

Gaspar Noé is the only filmmaker on the face of the earth capable of staging a coitus from inside a vagina as he did with “Enter the Void” , ejaculating in our very same with all his “Love” or slapping us with a sequence shot of fixed camera with the 12 minutes of unbearable violation that marked his work summit, “Irreversible” .

Who goes out?

With the exception of the Algerian actress Sofia Boutella , the rest of the cast were professional dancers, who were allowed to improvise so much of the choreography as of the dialogues.

What is it?

“Fame: to dance” + “Cabin Fever” + “Suspiria”. Or if you prefer, La Marseillaise versioned by Gaspar Noé.

What does it offer?

Filmed in a single space, confined in a gymnasium converted into a dance hall, at a final degree party, “Climax” represents what cinema really is as an experience. The one that gives us is a marvelous directorial exercise brimming with impossible camera movements, vertiginous zenith planes, an extraordinary choreographic and sonorous work and an extreme care in enlightenment, that beyond offering at the same time a reflection on life, death and sexual relations, we could also point to it as the first political film by Gaspar Noé. And it is not precisely for free whim, it is the French flag, its constant presence, which at all times presides over the party. But no one is wrong, here there is no trace of patriotism, rather erosion and volatilization of the values ​​that supposedly represents. The “liberté, egalité, fraternité” that governs France is put in evidence, the impossibility of a life in collective harmony, between sexual diversity and different origins, is what “Climax” reflects us. It is probably for this reason that among the dancers we find practically all the possible representations   of the citizenship that today lives in France (except the Arab community, a questionable decision).

It is on this discursive approach that the person in charge of “Irreversible” immerses us in the horror of the high. That is, “Climax” is not a lysergic movie to use, rather the opposite. The effects of ingesting a drug involuntarily leads his characters to embark on the dazed delirium, in the self-destructive hallucination, in a kind of bacchanal with the air of “Battle Royale” propelled by physical and oral aggression, by hysterical collective abjection . It is true that the experimentation of “Climax” may well lead one to presume an incongruously moralistic approach and that it takes some other decision as risky as it is wrong, which will raise the indignation of many. “Climax” however, will also raise the fascination of many others. That’s what it is about.

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Chronicle Sitges 2018: “Animal” wild story

Chronicle Sitges 2018: “Animal” wild story

The Oscar-winning screenwriter of “Birdman”, Armando Bo , presents his second film in the Official Competition Section of the Sitges Festival after winning the Horizontes Latinos Award with his remarkable debut, “El último Elvis” , at the San Sebastian Festival 2012. “Animal” is presented to us as an amoral story, a wild story, which means a consequent step forward in his brief but already essential filmography.

What is it?

Antonio is a conservative father who firmly believes in the rules, but fate forces him to face an unexpected situation that will shake him to the core. Antonio starts doing things he never imagined … and that’s how he meets Elías, a young man who does not believe in the rules. Antonio will have to forget his way of understanding life to follow his own animal instinct.

Who’s behind?

Winner of an Oscar for the script of “Birdman”   and also responsible for “Biutiful”, Armando Bo is a renowned advertising creative. With his debut film “El Ultimo Elvis” he won the Horizontes Latinos Award at the San Sebastian Festival 2012.

Who goes out?

Protagonist of Argentine cinema successes of the draft of “El Clan” or “Corazón de León” , Guillermo Francella presents his candidacy to be the Best Actor of this new edition of the Stiges Festival.

 

What is it?

A segment of “Wild Tales” + “The sacrifice of a sacred deer”

What does it offer?

An Elvis impersonator who always considered himself Elvis is forced to choose between his dream of being Elvis or his own family. With such a suggestive point of departure, Armando Bo took to the road, to the adventure of shooting films, to give us “Elvis Elvis”, a charming but also overwhelming portrait, not lacking in humor or hilarious moments, nor bad grape and distressing sequences, about someone who truly believes he is who he is not. About an individual who decides to take his own path and leave his family aside to pursue his own goal in life. An objective in which there is no place for the ‘we’, only for the ‘me’. Well, for his second film the screenwriter of “Birdman” follows the same discursive path, although in this case he goes from the intimate spectrum to the collective, from the personal portrait to the social denunciation. Or rather, to social terror.

“Animal” could well be a segment of “Relatos Salvajes”, an amoral tale that subverts the class struggle also starring a main character who is not able to assume his destiny, which has always been ruled by a deceptive ethical and moral correction , basically because it assumes that it is what has led him to succeed in life, to create an idyllic family and to live in a buoyant economic situation. In other words, he has decided to be a good man thinking only and exclusively for his own benefit. At the moment that this comfort twists without apparent reason or justification, as soon as he falls convalescing for factors that respond to mere human nature, his supposed integrity jumps through the air. There are no longer family or values ​​that are worth, individualism is imposed on collectivism. He first and then if that, his loved ones. With all this one intuits that “Animal” directly attacks the human condition, against those superficial rational virtues that supposedly make us superior to animals. Also with the absurdity of social codes that are dilapidated in terms of our well-being and comfort as individuals are in danger. Deeply cynical and necessarily unfriendly, Armando Bo has taken a consistent step forward with his second film. “Animal” is not designed to please the public, rather to hit him. And it is that it portrays us as what we truly are. Animals.

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October 12: Premieres of the week on Filmin

October 12: Premieres of the week on Filmin

Only a few premieres of the week in Filmin could join so apparently disparate names as Michael Sandel , Robert Mapplethorne or youtuber Wismichu . In one of the most eclectic premieres we’ve had in a long time, from the last sensation of horror movies, Hereditary” , to documentary masterpieces such as “A Fabrica de Nada” , a musical worker who has triumphed in half-world festivals. And if even with this is little the special channels of the Festival of Sitges or Curtocircuito You can finish making a bridge that, with us, will be short.

HEREDITARY

Why watch it?

The horror movie of the year. A disturbing exploration of fear and family relationships through a terrifying atmosphere that takes numerous influences of horror classics such as “The seed of the devil” or “The exorcist”

What is it?

When Ellen, the matriarch of the Graham family, dies, her family begins to discover strange and increasingly frightening secrets about their ancestors. The more they discover, the more they will have to face the sinister fate they seem to have inherited.

THE NUMBER ONE

Why watch it?

The winner of César plays an executive capable of overcoming obstacles in a world of men.

What is it?

Thanks to his efforts, Emmanuelle Blachey, a brilliant and determined engineer, has reached the top of the board of directors of Trident, the leading energy company in France. She has been married to a good and attentive man for 20 years and is the mother of 2 children, so Emmanuelle’s life seems almost perfect. One day, a powerful and influential women’s network offers to help you become president of a CAC 40 company. But to be on top, you’ll have to risk everything! In a world of men, the obstacles accumulate in the professional and personal life of Emmanuelle.

IN TRANSIT

Why watch it?

A suggestive romantic thriller debtor to the cinema of Douglas Sirk and Alfred Hitchcock that the director of “Phoenix” portrays the European refugee crisis during World War II.

What is it?

WWII. In Marseille, refugees from all over Europe embark for America, fleeing the Nazi occupation. Among them, the young German Georg, supplants the identity of a dead writer to use his visa, which guarantees refuge in Mexico. In Marseille he falls in love with María, a young woman who desperately seeks the man she loves, without whom she is not willing to leave …

THE 50 ARE THE NEW 30

Why watch it?

An exquisite entertainment where a woman in her fifties rethinks her life.

What is it?

Marie-Francine’s husband finds her too old and at work is a nuisance. At 50, she is forced to return home to her parents, who are still determined to treat her like a child. Given the circumstances, he has no choice but to accept a job in an electronic cigarette store. There she will meet Miguel, who is going through the same situation as her and does not dare to tell her, but the problems have only just begun …

THE FACTORY OF NOTHING

Why watch it?

Awarded at festivals such as Cannes or Seville, Pedro Pinho’s fourth feature is a free, risky and grandiose political film as Godard understood the term. An essential work of almost three hours in which drama, documentary and musical have a place.

What is it?

One night, a group of workers realize that the administration is stealing machinery and materials from their own factory. When they prepare to organize the team and production, they are forced to do nothing, in retaliation, while the negotiations for their dismissal are underway. The pressure triggers a revolt among the workers, which will affect everything around them.

MAPPLERTHORPE, WHITE AND BLACK

Why watch it?

A portrait of the life and legacy of Sam Wagstaff, collector of photographs, trendsetter and the love of life of Robert Mapplethorpe.

What is it?

told through archival images, photographs and contemporary interviews with those who knew them. Wagstaff was high class, attractive, gay and he reinvented himself after the Second World War as art curator with an extraordinary success. In the 70s he was already a friend of Mapplethorpe and Patti Smith and his mother left him a small fortune that he invested in old photographs. This burned a passion that would lead him to be considered one of the top contributors that turned photography into an art.

WESTERN

Why watch it?

Comradeship, honor, loyalty and empathy are the values ​​that make up the extraordinary Valeska Grisebach film acclaimed by critics and awarded at multiple festivals.

What is it?

A squad of German workers set up camp in a Bulgarian village to build a hydraulic power station. Annoying the uncouth effrontery of its deployment, it offends the efficient sane with which they uproot the landscape, and they aggravate with their masculine sweats to drink the pay and to whistle acute to the step of the girls. The conflict is going to explode …

THE GREAT DEBATE

Why watch it?

An essential series with five master classes on immigration, privacy or digital revolution by Michael Sandel, Princess of Asturias Award 2018.

What is it?

Are healthy societies morally bound to welcome refugees with open arms? Is discrimination always unjustified? Is it logical that Cristiano Ronaldo wins 2000 times more than a primary school teacher? These and other questions are reflected and debated by the participants, an unorthodox group of millennials, in this great debate in which the winner of the Princess of Asturias Award 2018 of the Social Sciences, Michael Sandel, is going to turn his moral convictions upside down.

LOU ANDREAS SALOMÉ

Why watch it?

Biopic of the Russian writer, philosopher and psychoanalyst Lou Andreas-Salomé, one of the most educated women in Europe at the beginning of the 20th century where she worked with Nietzsche and Freud.

What is it?

Lou Andreas-Salomé was born in Saint Petersburg in 1861 in a wealthy family that marks marriage and ignorance as a destiny. Rebelling against that fate, in 1889 he enrolled in the University of Zurich, the only institution that allowed women, and decided that sexual relations are an impediment for women to be considered equal to men. Lou Andreas-Salomé was an exceptional woman, heterodox for the cultural and moral standards of the moment. In her writings we discover a deep vital reflection, about herself, about the condition of women and about human psychology in general.

 

SWEET COUNTRY

Why watch it?

The winner of the Golden Camera of Cannes, Warwick Thornton, returns to his native Australia with a powerfully portrayed drama that exposes the racial division of the country.

What is it?

Sam, a middle-aged Aboriginal man, works for a preacher inside the Northern Territory of Australia. When Harry, a bitter war veteran, moves to a nearby ranch, the preacher sends Sam and his family to help Harry rehabilitate his cattle pens. But Sam’s relationship with the cruel and irritable Harry quickly deteriorates and ends with a violent shooting in which Sam kills Harry in self-defense.

SOMETHING JEALOUS

Why watch it?

A comedy in the midst of the crisis of the 50s, full of situations where Nathalie, the winner of César Karin Viard, will experience inexplicable jealousy by the people around her. The leading actress Karin Viard was nominated for this role at the César awards.

What is it?

Nathalie is a pleasant divorced teacher who, in the middle of middle age crisis, begins to feel an exaggerated jealousy of the people around her. Nathalie’s drastic personality change will soon have unexpected consequences for her neighbors, colleagues and friends.

WHAT GUARA AM!

Why watch it?

Amy Schumer, one of the most prominent female voices of the new American comedy, stars in this romantic comedy that triumphed in the United States.

What is it?

An ordinary girl (Amy Schumer), who faces her insecurities every day, awakes from a fall believing that she is suddenly the most beautiful and safest woman on the planet. With this new confidence in herself she feels capable of living her life without complexes or limitations, but what will happen when she realizes that her appearance has not really changed?

MY WORLD

Why watch it?

Based on the bestselling bestseller of former soccer player Daniel Baldi, “Mi Mundial” is the second highest grossing movie in the history of Uruguayan cinema.

What is it?

Fernando Torres “Tito” is a genius with the ball. With only 13 years they offer him a contract with which he could dedicate himself to what he is most passionate about, football, and take his family out of poverty. Little prepared to deal with the pressures of a professional player’s life, he leaves school and moves away from friends and from Florencia, the girl he likes. One step away from consecrating, an unexpected circumstance will force him to face the biggest challenge of his life.

ONE DAY VI 10,000 ELEPHANTS

Why watch it?

A story of fascination for Africa, the past and the memory that was nominated to Gaudí for Best Documentary and awarded at the San Sebastian Festival.

What is it?

Angono Mba, a Guinean octogenarian, recalls from the living room of his house the expedition in which he was the porter for the Madrid-born filmmaker Manuel Hernández Sanjuán and his team (Hermic Films), who took them between 1944 and 1946 to tour the Spanish Guinea documenting life in the colony and looking for a mysterious lake, where according to an African legend, you could see 10,000 elephants together. From the obsession of the Spanish filmmaker to find that lake, the adventures of an expedition through that unknown place and the contradictory feelings of both characters, this story of fascination for Africa, the past and memory emerges.

IT HURTS HUMANITY

Why watch it?

The unresolved crimes of Francoism and the need for a Law of Historical Memory that does justice to the victims are the issues that underlie this necessary documentary.

What is it?

Giving voice and visibility to the victims of Francoism, collecting their testimonies, ending the indifference of a large part of society and restoring their right to memory and justice are the objectives of the documentary project “Lesa humanity”, a documentary about memory historical and universal justice.

THE ESCAPE OF PRISONER 614

Why watch it?

Ron Perlman stars in this western in which two sheriffs who have been fired chase a convict to get their jobs back.

What is it?

Two sheriffs who have been fired chase a convict to get their jobs back. However, the escaped prisoner is not half as dangerous as the law enforcement officer who follows in the footsteps of these two clumsy agents of the law.

SNACK

Why watch it?

The popular youtuber Wismichu debuts in the cinema with this film in which he defends his vegetarianism. Filmin arrives after his highly anticipated premiere at the Sitges Festival 2018.

What is it?

Ismael decided to be a vegetarian a couple of years ago. As a result, many of the everyday situations, such as eating away from home, became extremely complicated. On any given day, looking for a bar in which to eat a sandwich suitable for him, will begin a great adventure full of drama, romance, comedy and action.

THAT DARK OBJECT OF DESIRE

Why watch it?

The last film by Luis Buñuel, in which the ingredients of all his work meet again: decadent bourgeoisie, (des) Christian education, surrealism, eroticism and perversion.

What is it?

During a train trip, from Seville to Madrid, the autumnal gentleman Mathieu tells his fellow passengers about the story of his misfortunes with the dancer Conchita. From her first encounter in Paris, Conchita plays with Mathieu’s obsession, making him go from desire to frustration and love to the most furious hatred.

DEATH UNDER THE SUN

Why watch it?

Guy Hamilton filmed in Mallorca part of this film that adapts the novel “Maldad bajo el sol” by Agatha Christie. Peter Ustinov plays the detective Hercules Poirot.

What is it?

The investigation into a fake diamond leads Detective Hercules Poirot to stay at a hotel where he meets Arlena, an actress with a tumultuous past that other guests seem to hate.

DEATH IN THE NILE

Why watch it?

Detective Hercules Poirot, played by Peter Ustinov, travels to Egypt in the film adaptation of the homonymous novel by Agatha Christie. Winner of an Oscar.

What is it?

On board a luxurious riverboat, the Karnak, ten people come together who are involved in the mysterious murder of a wealthy American heiress. While ascending the calm waters of the Nile, Hercules Poirot takes charge of the investigation and little by little goes unraveling the enigmatic crime.

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Chronicle Sitges 2018: “Die, monster, die” fear of fear

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.

Who’s behind?

“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.

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Chronicle Sitges 2018: “L’Heure de la Sortie” how to change the world

Chronicle Sitges 2018: “L’Heure de la Sortie” how to change the world

Scheduled in the innovative and transgressive Section Sconfini of the recent Festival of Venice, “L’Heure de la Sortie” arrives at Official Selection of Stiges to postulate as one of the necessary and far-reaching proposals, of how many has offered us this 51st edition of the festival. A sort of peculiar and complex cross between “Merli” and “Who can kill a child?” destined to stir consciences. And how.

What is it?

When Professor Capadis throws himself out of the classroom window before the astonished gaze of some students, a group of six students remains strangely impassive. Pierre Hoffman, the one in charge to take charge temporarily of the classes of French, immediately realizes the disturbing behavior of these lads and becomes obsessed with them, convinced that they plot something truly dangerous.

Who’s behind?

Best known for his literary work, the French Sebastian Marnier Sébastien Marnier presents in Sitges his second feature film after the praise “Irréprochable” (2016).

Who goes out?

“L’Heure de la Sortie” is first and foremost a film of teachers and students that moves us from the strange look of its protagonist. A teacher who gives life Laurent Lafitte , a very recognizable face of French cinema, among whose most relevant roles we can highlight “Elle” (2015), “Do not tell anyone” (2006), “The purple rivers “(2000).

What is it?

“Merli” + “Who can kill a child?”

What does it offer?

Generación Z is the term we use to encompass those young people born between the mid-90s and the mid-2000s. A generation that seems to be doomed to reggaeton, its obsession with social networks, its sole and exclusive aspiration to earn a living based on self- narcissism, based on the law of minimal effort involved in being an influencer or youtuber , and for his staunch rejection of everything that entails rest, reflection and study (that is, by its attraction to emptiness ) has been completed by erecting in a batch that precisely erodes the aforementioned stigmas. In fact, the Z has mutated into a very conscious generation to save the world, very aware that the human being mercilessly exploits each resource to the last drop for his own whim and benefit consequence of a frantic pace of life. A generation more aware of the errors of the previous one than in the face of excessive consumerism, the noise and smoke of big cities, the sensation of suffocation caused by deforestation or melting and the absolute fear of the irreversible consequences produced by climate change , has regained social consciousness and has decided to take action on the matter. Or at least try. Another thing is already, that they can achieve it.

And it is precisely in the factors that prevent it or that it can enable it, where it deepens from a tremendously stimulating focus “L’Heure de la Sortie”. In this sense, the second and excellent film by the Frenchman Sebastien Marnier is an urgent call that points directly to the school and family context, to the responsibility that teachers and parents must have in that, and yet they do not seem to be aware . Or in other words, they are the ones who show the passivity that at first seemed to affect the youngest. Adults who only follow the numerical effect of the notes to assess whether the kids are on the right track or have been twisted, that they trivialize and do not attend to the signals that they may suggest when dealing with the problems that concern them.

It is under this shocking context that the extraordinarily peculiar “L’Heure de la Sortie” is articulated through an atmosphere marked by constant ambiguity, by the intense and permanent sensation of threat and uneasiness, of a latent mystery whose resolution and consequences, one intuits, they can be very disheartening. An extremely disturbing proposal whose impervious ecosystem is built from a pervasive sense of strangeness emanating from the look of its disturbed protagonist, a young teacher who faces this generational schism from incomprehension, also from the coup d’état and the revelation. His and ours. Warned we are. We will see if we definitely act.

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The Madrid Film Festival – PNR opens its doors

The Madrid Film Festival – PNR opens its doors

With the Sitges Festival giving its last throes, we are once again allied with another prestigious festival, this time located in the city of Madrid. Today, September 11 and until next October 23, the Madrid Film Festival FCM-PNR opens its doors with a whopping 70 national works selected, among the nearly 1,500 presented.

The Madrid Film Festival FCM-PNR is already an event of the city of Madrid. It is the oldest film festival in the capital and since its first edition in 1991 is consolidated as a fundamental showcase for emerging productions, which gives shelter and promotion, bringing together the best national and international film selection that is not marketed in our country .

And is that if something distinguishes this genuine festival is for their attention to new narratives and creators who need a window from which to project. Its own and differentiated identity makes its audience grow year after year and is renewed with new generations of spectators and authors. In short, it is one of the unmissable events for the cinephile audience in Madrid and occupies a relevant position in the national circuit of festivals, so it is included in the shortlist of nominations for Best Short Film at the Goya Awards of the Academy of Arts and the Cinematographic Sciences of Spain.

Then, the 70 works that over the next twelve days can be seen in the Spanish capital.

 

Official Section National Feature Film

BÉCQUER Y LAS BRUJAS, Elena Cid
COMPULSION, Ángel González
CARRASCA, Alejandro Cortés
LADY OFF, David RL
ANA DE DÍA, Andrea Jaurrieta
FARAWAY LAND, Daniel A. Azpe, Josepmaria Anglès

Official Selection National Short Film

LA INÚTIL, Belén Funes
SCRATCH, David Valero
MARTA, Lucía Forner Segarra
TIGHTEN BUT RARELY HEART, David Pérez Sañudo
EUSEBIO 80, Jesús Martínez and Iván Molina
DO NOT FORGET ME, Ferrán Navarro-Beltrán
CERDITA, Carlota Pereda
KYOKO, Marcos Cabota and Joan Bover
AN INSTANT, Adrià Guxens
EL ATRACO, Alfonso Díaz
MBOOK, Carlos A. Quirós and Cristina Esteiro
A DAY IN THE PARK, Diego Porral
DESAILMENT, Pinky Alonso
JAURÍA, Gemma Blasco
ONE NIGHT WITH JUAN DIEGO BOTTO, Teresa Bellón and César F. Calvillo – FIRST ESTRAT, Ventura Durall
POETRY JUST DIES WHEN IT ENDS, Adelaide Lamas
MATRIA, Álvaro Gago
AREKA, Collective Atxur Animazio Taldea
LAS VEGAS, Juan Beiro
THE JARDÍN DE VERO, Miguel Parra
THE LAST VIRGIN, Bárbara Farré
LAS JARAS, Adriana Adeva
FIRST DAYS, Luis Eduardo Pérez Cuevas
THE SUN OF IPANEMA, Victor Vicente Villavicencio Potella

Official Section National Feature PNR

DEMONS YOUR EYES, Pedro Aguilera
EL PAÍS ROTO, Melissa Silva Franco
BLIND HALCÓN, Marino Darés
WINTER IN EUROPE, Polo Menárguez
THE LIQUID SERPENT, Alfonso Domingo
PIECES OF NEW YORK, Violet Barca-Fontana

 

 

Official Selection National Short Film PNR

 

BABYLON, Jorge Hernández
BOUNCER, Carlos Robles
CARIÑOS, Pedro Moreno del Oso
LETTERS TO BLIND, Ángel Jaquem
THE SWIMMER, Pablo Barce
THE BOY WHO WANTED TO FLY, Jorge Muriel
THE COSTUME OF SUPERMAN, Juan Manuel Díaz
ERNESTO, Edgar Murillo
EVSTRONGER, Silvia Conesa
EXHALACIÓN, Alberto Díaz
STRAWBERRY OR LEMON, Paul Dean Vieille France
HAPPY ENDING, Fernando González Gómez
KINDER SURPRISE, Javi J Palo
THE BIBLIOTERACIA, Déborah Guerrero
THE GAP, Jose Maria Martinez and Patricia de Luna
LA PELU DE ROSI, Raquel Troyano and Montse Weddings
THE PROMISE, Arturo Dueñas
THE DOOR OF HELL, Enrique Novials
LAS ALTAS ACERAS, Javier Polo
THE THINGS OF THE OTHER SIDE, Javier Figuero and Elena Ferrándiz – MANUELA, Ángel Villaverde
MY GIFT, Gabriel Lugigo
PARAÍSO AZUL, Daniel de Vicente
PRIMAVERA ROSA IN SPAIN, Mario de la Torre
PROJECT 1941, Iván Cerdán
PURA ENERGÍA, Francisco García Mate0
THAT THE END OF THE WORLD OF PILLE BAILANDO, Jose María Martinez – RONDA DE PONIENTE, Sonia Palacios and Kepa Sojo
SATURNINO THROUGH THE TELESCOPE, Didac Gimeno – SPACE MOUNTAIN, Víctor Nores
HAVE OR NOT HAVE, Álvaro de Miguel de Castro
VALUES, Dany Campos
VIENTOS DEL PUEBLO SIRIO, Mario Hernández
WAN XIA, THE LAST LIGHT OF THE SUNSET, Silvia Rey

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Winners Sitges 2018: “Climax” Best Movie

Winners Sitges 2018: “Climax” Best Movie

The 51st edition of the Sitges Festival has succumbed to the satanic party of Gaspar Noé . After winning the Golden Meliés for the Best European Fantastic Film, “Climax “ also wins the Official Selection taking the highest award. An unbeatable news to celebrate its premiere in theaters this weekend thanks to the colleagues of Avalon. Great day also for ” Lazzaro Felice” : Special Mention of the Jury, Best Film for the Young Jury and also Critics Award. An issue dismissed by the controversy that yesterday caused the premiere of “Bocadillo” , which revolutionized Twitter and an audience that is still divided between anger and curiosity.

OFFICIAL SECTION FANTÀSTIC SITGES 51

Best Film Award: CLIMAX by Gaspar Noé

Special Jury Prize: LAZZARO FELICE by Alice Rohrwacher

Best Direction Award: Panos Cosmatos by MANDY

Best Actress Award: Andrea Riseborough for NANCY

Best Actor Award: Hasan Ma’jun for PIG

Best Screenplay Award: Quentin Dupiex for AU POSTE !

Best Special Effects Award: Atsushi Doi by INUYASHIKI

Best Photography Award: Pankaj Kumar for TUMBBAD

Best Music Award: Chu Ishikawa for KILLING

Grand Prize of the public (sponsored by La Vanguardia): UPGRADE (UNLIMITED)

Audience Award Panorama Fantàstic: MONSTRUM

Audience Award Sitges Documenta: GOODBYE RINGO

Best short film (sponsored by Fotogramas): POST MORTEM MARY, by Joshua Long

NOVES VISIONS AWARDS

Best Film Award: DESENTERRANDO SAD HILL by Guillermo de Oliveira

Best Director Award: Philip Groning, for MY BROTHER’S NAME IS ROBERT AND HE IS AND IDIOT

Best Short Film Award: DEER BOY by Katarzyna Gondek

Special Mention Award for Best Actress: Jessie Burckley for BEAST

Special mention: DOMESTIK by Adam Sedlák

Special Mention: CHERNOBYL, 1986 by Toni Comas

PRIZES OF THE CRITICISM

José Luis Guarner Award for Best Film : LAZZARO FELICE by Alice Rohrwacher

JUDADO CARNET JOVE PRIZES

Best Movie Official Section: LAZZARO FELICE by Alice Rohrwacher

Best Movie Midnight X-Treme: MAY THE DAVIL TAKE YOU by Timo Tjahjanto

MÉLIÈS D’ARGENT AWARDS

Best European Film Award: CLIMAX by Gaspar Noé.

BLOOD WIDOW AWARD

MUERE, MONSTRUO, MUERE by Alejandro Fadel

SGAE AWARD NEW AUTHORITY

Best Director Award: Gemma Blasco for JAURIA

Best Screenplay Award: Aleix Abulí for CIUTAT I SELVA

MÉLIÈS PRIZE

Méliès de Plata best film: FUGUE de   Agnieszka Smoczynska

Méliès de Plata for the best short film: THE DEATH OF DON QUIXOTE, by Miguel Faus

FOCUS ASIA

TUMBBAD, by Rahi Anil Barve, Anand Gandhi Lee An-kyu

Special mention: MAY THE DEVIL TAKE YOU, by Timo Tjahjanto

ANIMA’T

Best Film Award: MIRAI, by Mamoru Hosoda

Special mention of animation: TITO E OS PÁSSAROS, by Gustavo Steimberg, Gabriel Bitar, André Catoto

Best Short Film Award: THE WHEEL TURNS, by Sang Joon Kim

Short special animation award: UNTRAVEL, by Ana Nedljkovi, Nikola Majdak Jr.

ORBIT

Best Film Award: AMERICAN ANIMALS , by Bart Layton

Special mention: FLEUVE NOIR, d’Erick Zonca

FANTASTIC DISCOVERY AWARD

Best Film Award: MAQUIA: WHEN THE PROMISED FLOWER BLOOMS, by Mari Okada

MIDNIGHT X-TREME

Best Film Award: MAY THE DEVIL TAKE YOU , by Timo Tjahjanto

BRIGADOON PAUL NASCHY

BAGHEAD by Alberto Corredor

 

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