Steeping this year’s Cannes in late-night carnage and eerie fantasy, Blood Window, Ventana Sur’s genre film market, will team with the world’s top six fantastic film fests for five Blood Window Midnight Galas of Latin American genre movies.
Four event partners collaborate to select one film each at the Blood Window Galas: Austin’s Fantastic Fest, Spain’s Sitges-Catalonia Festival, the Puchon Fantastic Fest, and the Frontieres Co-production Market, a joint venture of Montreal’s Fantasia Fest, Vision-in-Motion and Brussels Festival.
As at Blood Window, Mexico’s Morbido Fest will prize the best film at the Screenings with a mix of post-production services and Mexican distribution.
Instancing the growing diversification of Latin American genre production, the first Blood Window Midnight Galas line-up includes two sci-fi movies – The Incident and Fallen Cape – plus a rabies outbreak movie with Sapphic undertones: Darkness by Day (pictured).
Put forward by South Korea’s Puchon-PiFan Fest, Darkness by Day, a village-set mood genre auteur piece helmed by Argentine’s Martin Desalvo.
Helmed by Mexico’s Isaac Ezban, and chosen by Austin’s Fantastic Fest, where it won a Special Mention for Best Presentation at the Fantastic Market last September, The Incident combines two stories of people trapped in illogical endless spaces for 35 years: Two brothers and a detective locked on an infinite stairwell, and a family on an endless road to the beach.
Directed by Spain’s Santiago Alvarado, and put forward by Sitges, Fallen Cape turns on a wrongly disgraced superhero, forced to work in a store.
Unspooling May 16-20 at the Rue d’Antibes’ Star Cinema, the Blood Window showcase kicks off with Gabriel Grieco’s Still Life, from Argentina.
A serial killer slasher/procedural set in Argentina’s big ranch country where the suspects all belong to a group of vegan activists and the victims to the cattle industry, Still Life snagged four plaudits at Blood Window’s Bloody Work In Progress last December, including selection for Morbido’s 2014 edition.
The Cannes showcase closes with The House at the End of Time, from Venezuela’s Alejandro Hidalgo, a symptomatic mix of horror – a mother of two experiences ghoulish apparitions in an old house – with reflections on the psychology of family dynamics: 30 years later, now elderly, she returns to try to discover what really happened.
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