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Festivals: Sitges

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Sitges 2017 Review: BLADE OF THE IMMORTAL, Miike Takashi's 100th Feature Film

There are very few directors who are as much loved as Miike Takashi for audiences in Sitges, that’s a fact. His movies have earned a very well-deserved place in genre fans’ hearts all over the world, so every new film by...

Sitges 2017 Review: CANIBA Challenges You To Take A Long Look At A Murderer

And now for something truly different. Unconventional in almost every way, Caniba is the latest anthropological and psychological inquest from Véréna Paravel and Lucien Castaing-Taylor. Their previous film, Leviathan, made for the Harvard Sensory Ethnography Lab wordlessly looked at the...

Sitges 2017 Review: MARLINA THE MURDERER IN FOUR ACTS, a Traditional Western Story Told in a Fresh Way

In making a film, any film, it is nearly essential to have an image or scene that the audience takes away with them. Think about a film you love, and get it in your minds eye, and that is what...

Sitges 2017 Review: TEHRAN TABOO, a Savage Look at the Paradox that is Modern Iran

Blunt, angry and eye-opening, Tehran Taboo offers a scathing portrait of Iran’s largest city. Think of it as Short Cuts meets Persepolis, although that facile shorthand does not begin to get at just how much is going on, plot and...

Sitges 2017 Review: A SPECIAL LADY, the Wrong Kind of Remarkable

Two years after Coin Locker Girl, Kim Hye-soo returns as a woman gang boss with a bold wig in Lee An-gyu's debut A Special Lady. Unfortunately, the freshness of her earlier gang saga makes way for an abundance of hollow...

Sitges 2017 Review: WIND RIVER, a Tale of Vengeance in the Snow

Maybe to some of you the name of Taylor Sheridan won't ring a bell. But if I tell you that he's the man behind the scripts for Denis Villeneuve's Sicario and David Mackenzie's Hell or High Water, then it's more...

Interview: 78/52 Director Alexandre O. Philippe Talks Voyeurism and Mirrors

With the release of the superb documentary 78/52, focusing on the construction, and deconstruction, of the shower scene from Alfred Hitchcock's 1960 masterpiece, Psycho, I had a chance to sit down and chat briefly with Alexandre O. Phillipe regarding that...

Sitges 2017 Review: OUTRAGE CODA, Kitano Closes His Yakuza Trilogy with a Bang (Yes, Pun Intended)

It's been seven years already since Kitano Takeshi decided that he still had some things left to say about the Yakuza and their world. After taking a break from the genres and themes that turned him into an admired cult...

Sitges 2017 Interview: HAGAZUSSA DP Mariel Baqueiro on Snow, Swamps and Magical Moments

A singluar work of visual story telling, almost dialouge free, Hagazussa: A Heathen's Curse is one of those movies that you are not entirely sure of what you just witnessed in terms of narrative structure and detail, but you know...

Sitges 2017 Review: MUSE, a Mildly Entertaining Thriller

Jaume Balagueró is without a doubt one of Sitges' classic directors. Every new project of his is welcomed with a special interest by the festival's audiences, which probably still remember with excitement the screenings of the first chapter of his...

Sitges 2017 Review: DHOGS Plays Cinematic Games With Its Audience

First time director Andrés Goteira wants his audience to play a game. He is open and up front about this early on by inserting his own audience into the opening shots of the film, and will come back to them periodically...

Sitges 2017 Review: CREEP 2, a Lark on Sequels, Oversharing and Midlife Crises

"It's like a job now," confesses cinema's goofiest serial killer, Josef. Mark Duplass returns to both the wolf-mask and uncomfortable sharing shenanigans that define his character's comedy. He is trying to articulate the feeling that happens when the initial thrill...

Sitges 2017 Review: THE SHAPE OF WATER, The Workers and the Dreamers

Guillermo del Toro is back with a vengeance, returning to his fairy-tale roots after too long an absence, with what is arguably his best film to date. Beautiful, sensuous, fully wearing its heart on its sleeve, with top-notch performances and...

DHOGS: Exclusive Trailer Premiere For Sitges Selected Horror

Spanish director Andres Goteira will soon premiere his feature film Dhogs in competition at the prestigious Sitges International Fantastic Film Festival and we are happy to offer up your first look at the trailer here at Screen Anarchy. The intimacy...

ANNA AND THE APOCALYPSE: Watch The Trailer For Scottish Zom-Com Musical

Scottish zom-com-musical Anna and the Apocalypse will have its world premiere at Fantastic Fest on Friday before moving on to Sitges. Deadline just premiered the trailer so here we are, sharing it with you now. The zom-com musical is based...

RABBIT: Trailer Premiere For The Aussie Psychological Thriller

Luke Shanahan's feature debut, Rabbit is beginning to reach out into the international film festival circuit. In the coming weeks Rabbit will play at Fantastic Fest and it was just picked up by Sitges in Spain.    Almost a year after...

Sitges 2017: WHAT THE WATERS LEFT BEHIND, Poster Revealed Ahead of World Premiere at Fest

Luciano and Nicolás Onetti's new film What the Waters Left Behind will have its world premiere at the Sitges Film Festival in Spain in October. To celebrate the announcement the brothers have released the official poster for the film. We...

Susan Sarandon to Receive Grand Honorary Award at Sitges 2017

Sitges International Film Festival of Catalonia, the premiere genre festival of Europe, has announced two of its awards winners for the 50th anniversary edition: director William Friedkin and actor Susan Sarandon. As well, legendary Spanish actor Santiago Segura will receive...

RAW, SWISS ARMY MAN, TRAIN TO BUSAN Win Big at Sitges 2016

As the seemingly relentless rain finally abated and the sun came out, Sitges 2016 wrapped up and gave out its plethora of awards. While there was lots of love to go around, Raw, Swiss Army Man, and Train to Busan...

Sitges 2016 Review: LAKE BODOM Twists A Few Too Many Times

Horror films often retread old tropes and themes; sometimes this is paired with a new perspective or aesthetic changes that can make these tropes seem fresh. Other times, some of these films can just seem tired. Taneli Mustonen's Lake Bodom...