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Festivals: Sitges

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Sitges 2018: Méliès D'Or Awards Go to CLIMAX and CLANKER MAN

With the year’s end already in sight, another cycle of European fantastic film festivals has also reached its conclusion. Last week during the Sitges International Fantastic Film Festival, Gaspar Noé’s Climax was the lucky recipient of this year’s Méliès D’Or....

Sitges 2018 Review: 70 BIG ONES, Crime Thriller That Keeps You Guessing

While Spain is slowly emerging from the economic crisis of the early 2000s, it still hasn't recovered completely, and even the most skilled worker can face themselves with extreme circumstances for which they need money. A lot of it. Now....

Sitges 2018 Review: KNIFE + HEART, Delightfully Queer, Sensuous and Cruel

An editor looks through reels of a gay porn film, making decisions about what to cut, with the image of a beautiful young man flashing before her. At the same time, this young man is at a club, surrounded by...

Sitges 2018 Review: KEEP AN EYE OUT, Another Funny, Crazy And Worthy Film By Quentin Dupieux

The first scene of Keep an Eye Out, another crazy film by France’s Quentin Dupieux, evokes that memorable speech from Rubber about how all the great films have stuff with "no reason" to be. That’s because in said sequence, we...

Sitges 2018 Review: Jordan Downey's THE HEAD, a Flawed, Low-budget Epic

Part of the fun in attending festivals like Sitges is the experience of watching a movie without much knowledge about it and what to expect. So, before stepping inside the theatre to watch The Head, pretty much the only thing...

ABRAKADABRA: Official Trailer For The Onetti Brothers' Final Giallo Film

We were wondering when we were going to be able to see Abrakadabra, the final Giallo film from the Brothers Onetti, Nicolas and Luciano, and we got our answer today. Abrakadabra will have its World Premiere at Sitges in October....

Sitges 2018: Exclusive First Look At THE LEGEND OF THE STARDUST BROTHERS, A Bonkers Musical Cult Classic In The Making

One of the joys of following international film scenes is that the world is full of exciting surprises and once in a while something amazing pops up that you never even knew existed. WIth this year's Sitges Festival of Fantastic...

SUSPIRIA To Open Sitges Festival, Tilda Swinton to Receive Award

The long-awaited remake of the classic horror film, Luca Guadagnino's Suspiria will open the Sitges Festival this coming October. In addition, star Tilda Swinton will receive the Grand Honorary Award. I think only a filmmaker such as Guadagnino could be...

Sitges Festival 2018 To Celebrate 2001, Frankenstein, Pam Grier, Peter Weir, and More!

The countdown has begun for our favourite European genre film festival (and my personal favourite film festival in the world), the Sitges International Fantastic Film Festival of Catalonia. A mere four months less a day away, the first announcement of...

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...