SITGES FILM FESTIVAL
Descripció de l'activitat
Programa que ofereix una vista prèvia de les pròximes produccions en la indústria del cinema de gènere fantàstic global, i que promou la connexió d’aquests projectes amb representants de la producció i distribució internacional.
Descobreix el millor del gènere fantàstic que s’aproxima!
Diumenge 22 Maig
LLOC: PALAIS K
L’esdeveniment es celebrarà al mateix temps de forma física y online a través de la plataforma marchedufilm.online platform.
El Sitges – Festival Internacional de Cinema Fantàstic de Catalunya, amb la col·laboració del Marché du Film – Festival de Cannes i el director d’Afers Internacionals de l’INCAA, Bernardo Bergeret, presenten la quarta edició del Fantastic 7, un programa que ofereix una vista prèvia de les pròximes produccions en la indústria del cinema de gènere fantàstic global, i que promou la connexió d’aquests projectes amb representants de la producció i distribució internacional.
El Fantastic 7 està dissenyat per connectar projectes en diferents estadis de producció -o que hagin estat finalitzats- amb agents inversors internacionals, amb el propòsit de promoure la seva comercialització final.
Set festivals de primer nivell presenten un projecte cinematogràfic de gènere del seu respectiu territori en una sessió de pitch que se celebra de forma anual durant el Marché du Film – Festival de Cannes. El Fantastic 7 mostra els projectes de gènere més prometedors a nivell mundial, representant les noves tendències de cada continent.
Padrina Fantàstica 2022
Aquest any, la padrina de l’esdeveniment serà l’Ana Lily Amirpour, directora de cinema, guionista, productora i actriu.
Directora de cinema, guionista, productora i fins i tot actriu. Des de ben petita, l’Ana Lily Amirpour ha sabut assumir tots els rols de la producció cinematogràfica, deixant anar la seva imaginació per conduir-nos a través d’històries fantàstiques. Amb tres llargmetratges realitzats, la Lily és considerada un dels talents més sorprenents i captivadors del cinema fantàstic actual.
Prano va ser nomenada “Director to Watch” del 2021 per Variety i Screen International “Star of Tomorrow” el 2018. El llargmetratge debut de Prano, Censor, protagonitzat per Niamh Algar i recolzat per BFI, Film4 i Ffilm Cymru Wales, va obrir la secció Midnight del Festival de Sundance 2021, va passar a ser seleccionada a la secció Panorama del Festival de Cinema de Berlín i va ser seleccionada a Sitges – Festival Internacional de Cinema Fantàstic de Catalunya a la secció Competició Oficial Fantàstica.
Els set Festivals Fantàstics són:
Sitges International Fantastic Film Festival of Catalonia
Bucheon International Fantastic Film Festival
Cairo International Film Festival
Guadalajara International Film Festival
South by Southwest
Toronto International Film Festivalfourth
New Zealand International Film Festival
SITGES - FESTIVAL INTERNACIONAL DE CINEMA FANTÀSTIC DE CATALUNYA, presenta:
Títol original: Venus
Títol en anglès: Venus
Director: Jaume Balagueró
Cast: Ester Expósito, Ángela Cremonte, Federico Aguado, Fernando Valdivielso
Productors: Álex de la Iglesia, Carolina Bang
Sinopsi: “Venus” és una història de terror sobrenatural ambientada en un entorn de supervivència urbana amb elements de bruixeria moderna.
SEOUL HORROR STORY
BUCHEON INTERNATIONAL FANTASTIC FILM FESTIVAL, presenta:
Títol en anglès: Seoul Horror Story
Director: Kim Hyunjin
Productor: Lee Dongha
Sinopsi: Tres històries de color ocorregudes a Seül.
1. Color blau fluorescent: una estació fantasma a la zona nord de Seül. Una desenvolupadora de jocs mor per excés de treball, però espera el seu cap malvat en aquest joc.
2 . Color de neó colorit – Cirurgia plàstica de rostre perdut a Gangnam. Una infermera del camp se sotmet a una cirurgia plàstica a petició de la directora, sorprenentment el rostre de la infermera queda igual al de la directora. Doppelgänger.
3 . Gris cendra ombrívol: graduats universitaris de dos mons que busquen feina a Noryangjin. Els fantasmes continuen preparant-se per a la feina sense saber que són morts.
CAIRO INTERNATIONAL FILM FESTIVAL, presenta:
Títol original: The Portal
Títol en anglès: The Portal
Director: Chadi Abo
Cast: Hanaa Zahran, Razane Jamal, Jamal Souleyman (TBD), Ahmad Qontar (TBD)
Gènere: Ciència-ficció, Bèlic, Fantàstic
Nacionalitat: Síria, França
Idioma: Àrab, Francès, Anglès
Productors: Ruba El-Khesh Khair, Lilas Wahbe, May Odeh, Zorana Musikic, Chadi Abo
Sinopsi: La Sana és una nena miraculosa de 7 anys que viu dins d’un camp de refugiats oblidat, crida l’atenció de molts a la zona, inclòs el Remy, un periodista de guerra francès, The Emir, líder d’un grup terrorista que ocupa l’àrea , i l’Aida, una infermera europea voluntària que va dedicar la seva vida a ajudar els refugiats. Les coses s’acceleren quan els soldats d’Emir disparen la Sana, a la nit, i la Sana torna a la vida amb l’ajuda d’un llamp de llum d’una estrella propera. Ella comença a recol·lectar nens després de ressuscitar els seus cossos, els arrossega pel desert per portar-los a un lloc segur. Tothom està perseguint aquesta nena que pot parlar amb els objectes astrals. El Remy intenta trobar la nena per fer llum sobre la seva història, qui va perdre la seva filla anys enrere, espera en secret que ella pugui tornar-se-la. L’Emir té un pla per fer servir la nena per construir una milícia de soldats no morts, però com que la nena es va negar a fer-ho, vol aturar-la perquè torna l’esperança a les persones desesperades del campament. També la seva història fa que els seus soldats es preguntin sobre la seva fe.
LA MALA MADRE
GUADALAJARA INTERNATIONAL FILM FESTIVAL, presenta:
Títol original: La mala madre
Títol en anglès: The Bad Mother
Directora: Alicia Albares
Cast: Javier Rey
Productors: Alberto Díaz, Alexandre Bas, Cristina Urgel, Eva Moreno
Sinopsi: La Victòria, una periodista que ha escrit un llibre molt controvertit sobre la maternitat, es desperta sense memòria a una casa. L’Ángel, el metge que l’atén, li explica que ha tingut un accident de cotxe, en què ha mort la seva filla, a qui mai no va voler tenir. La presència d’una dona embarassada l’ajudarà a descobrir la veritat: l’Àngel és en realitat un fanàtic religiós que vol donar-li una lliçó. La Victòria està segrestada. Haurà d’acabar amb l’Àngel si vol sortir-ne viva.
SOUTH BY SOUTHWEST, presenta:
Títol en anglès: Moshari
Director: Nuhash Humayun
Gènere: Terror, Fantàstic, Drama
Idioma: Anglès, Bengalí, Hindi
Sinopsi: ‹Moshari› és un mosquiter tradicional del sud d’Àsia, fet per protegir-se contra les alimanyes a la nit. Quan el món està envaït per criatures assedegades de sang, els darrers supervivents de la humanitat perseveren a Bangla Desh, l’Índia, el Pakistan… passant les nits dins el moshari, l’únic refugi conegut de l’amenaça desconeguda. Dues germanes, l’Apu i l’Ayra, han de navegar per aquest nou i estrany món per sobreviure. Tot i això, la seva tensa relació s’està convertint en una amenaça tan gran com els perills de l’exterior.
TORONTO INTERNATIONAL FILM FESTIVAL, presenta:
Títol original: Dark Nature
Títol en anglès: Dark Nature
Director: Berkley Brady
Cast: Hannah Emily Anderson, Madison Walsh, Roseanne Supernault
Nacionalitat: Métis, Canadà
Productor: Michael Peterson
Sinopsi: La Joy, una supervivent de violència domèstica, s’uneix a la seva amiga Carmen i el seu grup de teràpia en un recés de cap de setmana aïllat a les Muntanyes Rocoses Canadenques. Dirigida per l’enigmàtic Dr. Dunnley, els mètodes del qual són experimentals i, de vegades, dubtosos des de la perspectiva externa de la Joy, l’experiència finalment trenca la frontera entre la realitat i la il·lusió. La Joy comença a sospitar que estan sent assetjats pel seu abusador, quan en realitat tot el grup es veurà obligat a enfrontar-se a una amenaça encara més esfereïdora que els monstres del seu passat.
WHĀNAU MĀRAMA NEW ZEALAND INTERNATIONAL FILM FESTIVAL, presenta:
Títol original: The Cage
Títol en anglès: The Cage
Director: Paul Campion
Cast: in progress
Nacionalitat: Nova Zelanda
Productor: Jared Connon
Sinopsi: És una nit de compres en una petita botiga d’articles electrònics per a la llar quan el Simon, un home fortament armat, entra i dispara i mata tres persones a sang freda. Pren captius la Michelle, l’últim client, i els quatre membres restants del personal, els obliga a entrar al magatzem i els tanca dins de la gàbia de seguretat, on es guarda el petit inventari d’alt valor. Un per un, el Simon comença a portar els captius de tornada al taller, on els implanta quirúrgicament cables als seus cossos per connectar-los a una paret de televisors, amb la intenció d’usar-los com a sacrificis humans per ajudar a convocar una antiga entitat malvada d’una altra dimensió, amagada a l’estàtica dels canals de televisió analògics inactius. A mesura que es prenen més captius, la Michelle i la resta del personal s’adonen que si volen sobreviure a la nit, hauran d’aturar al Simon i escapar de la gàbia…
L'Entrevista: ANA LILY AMIRPOUR
Film director, screenwriter, producer and even actress. From a very young age, Ana Lily Amirpour has known how to take on all the roles of film production, letting go of her imagination to lead us through fantastic stories. With three feature films made, Lily is considered one of the most surprising and captivating talents in current fantasy genre cinema.
The birth of a director
When we came to America I was very young… five, six years old. I saw the making of Thriller, a short documentary that shows John Landis and Michael Jackson making this music video. I became obsessed with it. I watched it over and over studying it… repeatedly… I loved watching the process of creating the latex mask for Michael for the werewolf transformation. It was like seeing a magic trick. And I remember how they were choreographing the long dolly-shot where the camera following Michael as he dances and walks along side of the girl… all these details felt like my first film education… and another important detail I remember was that John Landis was having so much fun in that video. He was in a joyous state in all parts of creation. And I feel that energy when I’m onset now. It is joyful to be creating on a movie set.
It’s interesting to contemplate how you start to make films. Watching movies is a big part of everyones life, but seeing this video really opened my eyes to the other side of how it’s made and it was a realization that I could make this type of magic also. I could put on an elaborate show. Around that age, I started making plays and I would do everything: I designed the costumes, the makeup FX and created the sets and then I would act in them and bring my family members to also act in them. And then when I was 12 and my dad bought a high eight camera. And I started making movies and commercials.
So it does feel like my first film schools experience was seeing the making of Thriller; because when you could see behind the trick you want to make your own trick.
Love for Fantasy
When I think about the movies that I love, I always think back to my childs mind, and the first movies I loved as a kid, which I also still love as an adult. One of these is The Neverending Story. It was usually based in fantasy, some kind of a fairy tale, adventure fantasy. Back To The Future was another big influence. And when I think about the soul of these movies today I realize both movies are about a character taking charge of his own destiny; they are really about freedome, which is such a central theme in all of my work today. These films were about creating your own future and having control of what’s possible by harnessing the power of your imagination.
The first shooting
I made my first films when I was 12 and I did everything… I was recreating commercials that were on television and I was also making very short horror movies. I don’t remember thinking anything about the result, or the audience or if it was ‘good’ or ‘bad’. It was a pure state of creation, in the moment. That’s the beautiful thing about when you’re 12 is you just decide you’re going to do something, you have the need and it’s pure and you just do it. With no doubts or fears. This is the optimal state to create. And what I always hope to feel like, like a childs openness and pure energy.
Later in life, after I finished art school, where I studied painting and sculpture, I started making short films again. And finally moved to LA to study screenwriting at a film school. And I do remember the first short film I made in the legitimate way, with a crew and everything… and it was a very small crew. But still, I remember the first moment onset for the first shot. I remember standing there and I saw so many people on the set, and I didn’t really know what everyones job was. Because you know, I was used to doing everything, like making the costumes, making the set doing everything… I even acted in the films! And I was stunned thinking, who are all these people? What’s their job? Because you know, in film school I studied writing, not directing. So I was never told all the parts of a crew, I just learned directing from doing it. So, I didn’t know what assistant camera was, what second assistant camera was… I was just amazed that it was such a technically organized dance of so many people thinking together. It was amazing. And when I was onset today, with so many people surrounding me. It still is amazing.
A girl walks alone…
My first film, A Girls Walks Home Alone at Night, came from a very specific focused idea, and character, it was something that had no confusion, because I wasn’t even slightly questioning any aspect of the film. I was 100% sure of every part of the story. I knew everything I wanted to do and how I wanted to do it; and it was very specific and extreme. It’s black and white film. It’s an Iranian story. The actors, the music, everything was clear for me. I think that’s why in some ways it was easy to make this film… even though it was quite unconventional in every detail, it was clearly it’s own thing. And the people who got it, got it. That is why the people who said yes to the project were very inspired and on board.
The Bad Patch
My second feature film had nothing previous one. It’s like if you had one boyfriend, your next boyfriend isn’t necessarily a rebellion of your first boyfriend: it’s just whoever you’re in love with. The Bad Patch is a very deep observation for me of the American dream. Looking at the modern American society as a metaphor, as an allegory of how to show the culture of people today, which is imploding in many ways. This was how I could explore the decay of the American dream.
The violence, the separation of democracy in modern day society and culture… was very clear to me. And also the opportunity to choose what you want to be. As a person who came to America, as an immigrant, I came here and learned how to be American. Rather than starting out here, I understood America very much as a place for outsiders. And realized a feeling that we are always searching for where we belong. That’s why I understand very much the fight and the competition to find your way forward, or in any direction. All that stuff is in the story of America, the beauty of it is that you can choose to be whatever you want… and I also see that becomes the problem and tension… when different choices collide in violent ways.
The question of the movie, for me was: if you are a product of this system, can you change your logic and can you change your desire to find something different in that system? Or does it just keep recreating itself? And producing the same product. And yes, this is a complicated question with no one answer. So for that reason, The Bad Patch is a complicated film.
And then came Mona Lisa
Yes, Mona Lisa… and I can see that in all my films, I am looking at the idea of freedom. I am looking at characters that live in a world that creates systems that often stop them from feeling free. And in order to find yourself and to move forward or to move in a different direction to change your reality, to change what your future can be, you must break from the past, rebel from the system, and find a way out.
The thing about freedom is a constant process, to deconstruct and reconstruct what you believe freedom is. To understand freedom you have to define freedom. And that definition constantly changes as each day passes. If I think about all my films, I can see characters who defy categorization. They reinvent themselves and are in control of their own identity in a way, and constantly reinventing their identity and changing their situation. To me this is ultimate freedom. To search and constantly be looking for freedom, is itself a form of freedom.
The characters in my films, physically, they are not what you expect. If you judge them based on the surface, you would be very, very wrong. And certainly in Mona Lisa, she changes constantly how she looks, and it allows her to move in different ways. This is especially important for a female, when we are so defined by the outter layer, the superficial layer. But for her… she constantly shifts form and it’s exciting to see her be whatever she wants to be.
The spark of creation
Usually, there’s one character and one image of a character. In my first movie, it was The Girl, the vampire. And it was the chador and the skateboard because I had one, and wore it and then I got on a skateboard, and I instantly thought –this is an iranian vampire.
In The Bad Batch, I had a very difficult heartbreak and time in my life and I had this image in my mind, of a girl missing an arm and a leg and bleeding in the middle of the desert… but she would survive. And the story grew around that. And then, with Mona Lisa I saw the opening of the film. I saw a girl trapped in a box, discarded from the world. And no one understood who she was. People fear her because she’s different. And in this film, I really wanted to believe that amongst all the chaos of modern-day reality, there can be beautiful connections and friendship between people. True friendship that makes you feel, seen. To me, friendship is like a unicorn. A rare and beautiful thing that should be treasured. So, I was really looking for the joy in the chaos of humanity in Mona Lisa. It really gave me a lot of joy making that movie. The Bad Batch took me into the darker aspects of humanity, had the opposite effects.
Choosing the soundtrack
Music starts to come right at the beginning. As I see first image I will start to listen to songs. And listen to hear like the general feeling of a mood or the story or one of the characters. I start gathering it in a playlist and there’s a lot of music in the process of writing. Much of it is just an exploration tool. And some of it ends up in the films.
It’s really one of my primary tools for thinking. Making a movie is like opening a door into this dimension where this world exists and the music is like putting money into the jukebox, and it keeps playing and making the world bigger and bigger. So, I gather all this music and when the script is more complete, I go back to the music and certain songs are clearly part of part of the story or part of a certain moment. And they are written into the script. My scripts are always sent with playlists, and I believe to fully ‘read’ the script you have to listen to all the music along the way.
Every movie wants a different sound. The music in a way is the soul of a film so it’s like in A Girl Walks Home Alone at Night, I had a lot of really cool, modern Iranian indie rock and a few classic old Iranian pop songs, and the beautiful music of Federale as the spine, and even some crunchy German techno; and then in The Bad Patch the soundscape was more psychedelic like it was a lot of music from Darkside which felt a kind of feeling of what this desert would feel. And Mona Lisa was about life and vivid and full of energy, so it’s got this driving electronic synth sound, like music from 80s and 90s fantasy films. With a lot of energy. Every movie allows me to discover all this new music and because I tend to go towards artists that aren’t that well known and maybe nobody’s heard of, that’s exciting, because I can share their music with a larger audience.
The first thing I did in TV was a show called Legion which is a very psychedelic and experimental superhero show. It’s extremely daring filmmaking, crazy technical shots, and wild stuff with the camera, the wide lenses and with the sets and everything. It was a joyful intro into filmmaking. And I feel lucky to have entered into the realm of TV with something like that. I look for shows that are daring and some aspect of it will excited me. As a filmmaker I really wants me to play with those tools and have fun and do something. And then it becomes creative. Of course, it’s a TV show that already exists, you’re not making all the primary decisions or setting the look like with the lenses and the lighting, and because of that it takes a lot of pressure off: you just go in and play with these tools in a creative Canvas. You really learn about things that are possible and what you can do and help them tell their story. I love TV. I like taking the pressure off you (it’s not your script). You just go in there as an ally to help them do a good episode and have fun learning like some new tricks.
Working on Guillermo del Toro’s Cabinet
It was one of the most joyful creative experiences I’ve had so far. Guillermo is such a supportive and encouraging producer. He really took the approach that I could treat this as a movie, and shape it however I want. So for me this does feel like my fourth movie in many ways. This anthology is completely separate, stand alone stories. Unrelated. They don’t look the same: different directors, different writers. So, it really does feel like a movie.
My episode is called The Outside and it stars wonderful cast, Kate Miccuci, Martin Starr and Dan Stevens. It’s a very surprising story and I look forward to seeing what you think. Should be out later this year.
L'Entrevista: PRANO BAILEY-BOND
Prano was named a 2021 “Director to Watch” by Variety and a Screen International “Star of Tomorrow” in 2018. Prano's debut feature film, Censor, starring Niamh Algar and supported by the BFI, Film4 and Ffilm Cymru Wales, opened the Midnight section of the 2021 Sundance Film Festival, went on to be selected for the Berlin Film Festival's Panorama section and was selected at Sitges - International Fantastic Film Festival of Catalonia in the Official Fantastic Competition section.
Several things collided to make me want to be a filmmaker. I used to love painting and drawing. And I also loved watching films, so I would paint and draw whilst absorbing movies. And I loved performance and actually thought I wanted to be an actress. But when I started to study performance, I realized I was much more interested in being on the outside, shaping things. And that by directing and making films, I was able to bring together my love of all these things; story, visual arts and performance. It felt like everything married together in film, in directing.
Blue Velvet, the revelation
There were many films that I was inspired by, and loved, and influenced me. But I think one that I could cite as a big influence, or that showed me the potential of what cinema could be was Blue Velvet by David Lynch. When I saw that, I understood how cinema could take the internal and manifest the internal life of a character in the external world. For me that was quite revolutionary. And in terms of me understanding what you could do with a story in cinema; how you could use cinema in an expressionistic way to explore ideas. So that is always one that I go back to again and again, and I keep finding things forever in that film. It’s so clever.
Love for genre
I do feel that I inherently lean towards genre. I’d say most of my work is genre adjacent in some way. I tend to lean towards exploring stories of dark psychology, or even sometimes dark comedy. But I didn’t realize I was making genre work at first. I was just telling the stories I was interested in and there was something about the way I wanted to explore the dark sides of characters that leaned into genre. So I realized I was making genre. And I just accepted that. I love genre. I think it’s part of my identity.
Inspiration comes from…
It can be different things all the time, which is amazing. Sometimes you’re inspired by the front of a building or something strange like that. But more frequently, it’s characters that I’m inspired by; the idea of a character in a specific world, which I get obsessed with and want to understand. Sometimes it might be a bigger, more philosophical idea that connects to that something in that character’s life. So, it can be a fusion of those things. Then when it comes down to writing, I always start with character. I’ll have a visual world that I can picture or an atmosphere I’m holding onto for this film, but it’s always character at the centre of that, you know… what’s their journey, what they want. Images are helpful along the way too, because they can help you to hold onto the feeling or the world that you’re trying to create. Sometimes those images will stay all the way to the end, and still be there in the final film. And that’s something magical. Sometimes the images must fall away, like cutting an umbilical cord. You know… it’s a way into the project, but it doesn’t belong in the film.
The genesis of Censor
I was on a plane reading this article about Hammer Horror in 2012. In the article, it said, that during the Hammer Horror era, censors didn’t have many rules, but one of the rules was that they would cut the sight of blood on the breast of a woman, because they believed it would make men likely to commit rape. And I thought, well, what protected the censor from losing control? If those images are supposed to have that effect? What if a censor started to question their moral compass based on these ideas? And that was the seed; I wanted to explore this character who was having a very complicated conversation with themselves, their morals, in relation to what they’re seeing on screen. Then, I landed in the ‘video nasty’ era, because in Britain everybody was having that conversation with horror films; we were being told these horror films were going to poison our minds and turn us all into evil monsters.
Monsters like Fulci…
Going back to a period like this and a subject matter like this, you’ve got this wealth of influences in the ‘video nasties’. I always knew that I wanted part of the texture of this film and the visual language of this film to chime with this era of VHS horror. So, I was going back and looking at work by Dario Argento, Lucio Fulci… a lot of the video nasties. Videodrome was an influence as well. These styles and filmmakers really align with my own tastes. I also wanted to create a 1980s Britain, the reality world of the film, that’s like the world we see when we look out the window, rather than the world we see in an 80’s magazine – avoiding, you know, fashion focused big shoulder pads, big earrings, that kind of thing. So, I went back and started looking at photography projects from the period and there was a photography project called Beyond Caring by Paul Graham. The images are of people going and collecting their dole cheques, you know, and they were just drab, really kind of quite miserable… I’m talking about this oppressive, grey, Thatcher’s Britain. I wanted to take the journey of the film visually from that world into the world of ‘video nasties’, of Fulci and Argento.
A suggestion for the newcomers
Remember that you’re not expected to know everything at this point. So be open; arm yourself by talking to other filmmakers about their experiences. Prepare yourself for the journey of your debut by talking candidly to directors, or producers who have already trodden the path. Be honest with yourself about the things that you don’t know, then dig into those areas through research and preparation. It’s all about preparation. But remember to enjoy the experience as well, and look after yourself. Eat well. Sleep well. Yeah, be kind to yourself along the way.
And for the pitch…
I think practice pitching is the best advice. I was so nervous when I started pitching Censor to, you know, a crowd or to a potential financier, for example. But the more you tell the story, whether that’s to your friend, your parent, a stranger you meet in a party – whoever… just practice telling the story and see when people’s eyes light up, or when they glaze over; and then you’ll work out the best way to tell your story. Once you’ve got that down it will just be a natural reflex you’ll never forget, like riding a bike.