The Sitges International Fantastic Film Festival presents in its 54th edition a convulsive line up and in full swing of new proposals. A total of 126 titles that can be enjoyed from October 7 to 17. There is a month to go before the seats in the Auditorium, the Retiro, the Prado, the Tramuntana and the Escorxador will be filled again.
Among the latest additions to Sitges 2021 could not be missing ‘Titanium‘, the Palme d’Or at Cannes 2021 that will be previewed at the festival one day before its premiere in Spanish cinemas, on Friday, October 8. Its director, Julia Ducournau, visited Sitges in 2016 with ‘Crude’, film that was recognized with three awards of the contest. His new and explosive proposal tells of the reunion of a father with his son who disappeared ten years ago, after a series of unexplained crimes.
Norwegian Tommy Wirkola, author of such films as ‘Nazi zombies’, ‘Hansel and Gretel: Witch Hunters’ and ‘Seven Sisters’, return to Sitges with ‘In bad days‘. A dark comedy about Lars and Lisa (Noomi Rapace and Aksel Hennie), a married couple in crisis who decide to escape one weekend to a cabin in the woods and look for an opportunity to start from scratch. As soon as the other one is dead, of course.
In the field of series highlights’The frozen blood‘, a BBC production that can be seen on Movistar + at the end of October, will premiere its first episode in Sitges. Played by Colin Farrell, Jack O’Connell and Stephen Graham and written and directed by Andrew Haigh, it is the adaptation of a nineteenth century novel about a doctor in crisis who embarks on a whaler where he meets a psycho-killer.
The powerful and extensive central axis of the Festival presents different thematic bifurcations and focuses of expression of the genre. Thus, there will be new forms and mythologies derived from the popular and the folk root (‘In the Earth’, ‘The Medium’, ‘Lucifer’, ‘And all will burn’) or visions of the maternal as nightmare (‘Son’, ‘Lamb’, ‘The ferry’) while the invocation of the past or the everyday will cause the decomposition of the family or intimate circle (‘Violation’, ‘She Will’, ‘Inexorable’, ‘Coming Home in the Dark’, ‘Silent Night’, ‘Nitram’, ‘The grandmother’, ‘Three’, ‘Visitor’) until we abstract our own reality under the sign or meaning of the pandemic referred to directly or as an allegory (‘We Need to Do Something’, ‘The Feast’). On the other hand, in the tour of this Official Section you will find variations on classic themes (childish evil in ‘The Innocents’, the cursed house in ‘The Deep House’, the adolescent angst in ‘Seance’, cannibalism in ‘Barbeque’, the werewolf en ‘Eight for Silver’ O ‘Werewolves Within’, the mythical slasher in ‘Halloween Kills’, or the giallo in ‘Venicephrenia’).
Also the fantastic opting for the almost avant-garde representation – the dream worlds of ‘Mona Lisa and the Blood Moon’, ‘The Blazing World’, ‘Mad God’, ‘Prisoners of the Ghostland’ O ‘After Blue’-, even relying on the language of an animation that serves both the future (‘Belle’) as he interprets in a contemporary code the horrors of the past (‘Dnde is Ana Frank?’), or using contemporary representational languages as invocators of horror (‘Censor’, ‘Demonic’). And not to miss the reflection in the key of a fantastic militant and fascinating on a past revisited from the imaginary (‘Freaks Out’, ‘last night in Soho’), or the future from the creative dystopa (‘Tides’) the realist (‘Limbo’).
New Visions / Sitges Documentary
The New Visions programming is directed towards a reflection on the new narratives and languages of the genre from a militant minimalism (‘Beyond the Infinite Two Minutes’, ‘The Scary of Sixty-First’, ‘The attachment’) to a baroque style in the key of timeless dystopa (‘Land of the Sons’, ‘2551.01’, ‘Gaia’) without forgetting variations on classical myths (especially vampirism in ‘Rose. A Love Story’, ‘Dead & Beautiful’ O ‘Vampire’, and lycanthropa in ‘Bloodthirsty’). In all this, gender discourses marked by the social (‘Medusa’), the pandemic (‘The pink cloud’), religious fanaticism (‘Agnes’) or a certain invocation of the absurd (‘Mayday’, ‘Strawberry Mansion’), including suggested violence or horror (‘Sound of Violence’, ‘The Dawn’).
Sitges Documentary will once again question the very nature of non-fiction and relate it to the fantastic from the academic and evaluative review (‘The Found Footage Phenomenon’, ‘Pennywise: The Story of It’, ‘Django vs. Django’, ‘Woodlands Dark and Days Bewitched: A History of Folk Horror’), the phantasmatic invocation of cinema itself (‘The Taking’) or its implantation in the popular (‘Alien on Stage’), in addition to using science fiction keys to analyze reality (‘A Glitch in the Matrix’, ‘Users’).
Panorama Fantstico / Midnight X-treme
The two sections more properly fandom of the Festival will have a broad representation of the fantastic, not only consumer but also reflective with the present (‘Barbarians’, ‘The Boy Behind the Door’), invoking generic territories from decidedly new perspectives (‘Damn cry’, ‘Witch Hunt’, ‘Superhost’, ‘Caveat’, ‘Knocking’, Hellbender’) o ms clsicas (‘The calendar’, ‘The Power’, ‘Virtual reality’, ‘Let The Wrong In’, ‘The Exorcism of God’). The bet for an excess with intelligence (‘The Sadness’, Hunter Hunter’, ‘Wyrmwood: Apocalypse’) and also by science fiction (‘Broadcast Signal Intrusion’, ‘Warning’). Decidedly pulp and indies proposals from a young Spanish cinema (‘The passenger’, ‘Jacinto’) or an important presence of Asian cinema (‘The Great Yokai War. Guardians’, Last of the Wolves 2′, ‘Hand Rolled Cigarette’, ‘The Samejima Incident’).
A selection of feature films that invoke and innovate classics are added to the section. Will the spirit of heavy metal or Ralph Bakshi be present in ‘The Spine of the Night’, as well as geographic diversity (‘Esluna: The Crown of Babylon’, ‘Bob Spit: We Don’t Like People’, ‘Welcome to Siegheilkirchen’) or the hardest science fiction (‘Absolute Denial’), without forgetting the essential presence of anime (‘Pompo the Cinephile’, ‘Poupelle of Chimney Town’, ‘The Deer King’) or the recovery of a Japanese piece finally concluded, such as the delirious ‘Junk Head’.
Sitges Classics / Seven Chances
In Sitges Classics the retrospective “The inner beast”, which illustrates the Festival’s leitmotif, to have recoveries such as Argentina ‘Nazareno Cruz and the wolf’ O ‘The bte’, Borowzyck’s masterpiece, as well as classics of Spanish fantastic cinema as diverse as ‘The forest of the wolf’ by Pedro Olea or ‘The return of the werewolf’ scored by Jacinto Molina. Anglo-Saxon classics such as ‘Howls’ by Joe Dante or the decisive ‘An American werewolf in London’ by John Landis.
You will also be able to see the necessary rescue of one of the great masterpieces of Spanish cinema, ‘The strange journey‘, Sitges’s contribution to the centenary of Fernando Fernn Gmez, a man of total cinema whose imaginary vocation has yet to be discovered. And the tribute to the quarter century of ‘Day of the beast‘, on a restored 4K copy.
The films ‘Romasanta, the hunt for the beast’ (Paco Plaza, 2004) and ‘The beast and the magic sword’ (Jacinto Molina, 1983).
Seven Chances bring back classics like ‘On the Silver Globe’, Zulawski’s majestic science fiction epic, or ‘Multiple Maniacs’, by the ever-exhilarating John Waters, while rescuing nearly lost works such as ‘The howl of the devil’ by Paul Naschy, ‘The Amusement Park’ by George A. Romero, or ‘The plague’ scored by Mojica Marinos. All this without forgetting a tribute to the recently disappeared Japanese actor Sonny Chiba with the strange and disconcerting ‘Wolf Guy’.
The section celebrates its 35th anniversary and programs several premieres, such as the Catalan ‘Volpina’ by Pere Koniec, about a summer of heartbreak and witchcraft, or ‘The son of man chased by a UFO’ by Juan Carlos Olaria, sequel to the homonymous film and directed by himself in 1976. The horror film and satanic sects ‘Welcome to Hell’, by Argentine filmmaker Jimena Monteoliva, can also be seen at Brigadoon.
In the documentary section, ‘The sound of terror’, by Luis Esquinas Chanes, a studio focused on the work of sound in fantastic cinema; ‘Blood in the Streets: The Quinqui Film Phenomenon’, by Kier-La Janisse and Don Adams, an international vision of quinqui cinema; or ‘Confessions of a werewolf’, by Ivn Cardoso, world premiere of this documentary interview with Paul Naschy, recorded in Brazil in 2005.
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Under the sign of the beast – Sitges 2021 presents its program