short films in competition
- En tu Mente (Chile, Ricardo Quinteros)
- Radiación (Uruguay, Adrián Barrera)
- El Circo de las Luces (Chile, Francisco Inostroza)
- Dos Almas, Un Destino (Venezuela, Alexmir Dordelly)
- Elder Sign (Canada, Joseph Nanni)
- La Flecha del Cupido (Spain, Leonardo Pérez)
- Nadja o El Olvido (Colombia, Daniel Preciado Muñoz)
- La Unión (Spain, Carlos A. Sambricio)
- D-Construir (Chile, Eduardo Bunster Ch.)
- La-Menta (Chile, Víctor Vidangossy)
- Espaciones (Chile, Álvaro Ortega)
- Devourment (Mexico, Lex Ortega)
- Plutón (Uruguay, Guzmán Vila)
- Inevitabile (Italy, Luca Sabbioni)
- El Rayo y la Sirena (Spain, Diego Sanchidrián)
- La Ley del Hielo (Chile, Ignacio Rodríguez y Sebastián Pose)
- Spaghetti Clown (Cuba, Marcos Machado)
- Score (Mexico, Sergio Tello)
- No Hables (Chile, Mijael Milies G.)
- Manual Práctico del Amigo Imaginario (Abreviado) (Spain, Ciro Altabás)
- Opstandelsen (La Resurrección) (Denmark, Casper Haugegaard)
- M.A.N.H. (Chile, Christopher Vera L.)
- Las Piedras No Aburren (Spain, Marta Parreño)
- Praxis (Chile, Nicolás Fuentes)
- La Bata del Futuro (Uruguay, Diego Melo y Ernesto Rodríguez)
- H. P. Lovecraft En la Cripta (Argentine, Amoedo Diego)
- Big Tits Massacre (New Zealand, Ygnacio Cervio)
- Fascinum (Chile, Lucio Rojas)
- Nocturno (Colombia, Nicolás Restrepo Vega)
- HUMANOIDEnoROBOT (Chile, Ignacio Ruiz)
- The Necronomicon (Canad, Joseph Nanni)
- …Stay (Spain, Álvaro López & H. R. Paternain)
- Clara (Chile, Álvaro Pruneda)
- Deus Irae (Argentine, Guillermo Gatti)
- El Forjador de Historias (Spain, José Gómez Gallego)
movies in competition
“The most disgusting, dirty, sadistic cruel movie I’ve ever seen. It should be forbidden”. Jay Slater, Fangoria Magazine.
A young woman, in her pajamas, bloody, runs exhausted along the road in the middle of nowhere. It’s the middle of the afternoon. A truck catches up with her and because of the girl’s screams, we know what it’s about: there’s no escape, the escape is useless. The one in the truck is a dangerous, psychopathic, obsessive guy. Back to the ramshackle campsite, he will commit every possible and imaginable perversion…
Shot in a single continuous 90-minute shot, PIG is a great summary of all the topics and commonalities of American horror cinema… but without cuts, editions, or MTV-generation visual effects. It’s crude, realistic, uncompromising, and literally straight into the vein.
When the director shouts “Cut!”, you better start running.
Jill Burton is a journalist obsessed with unmasking the hit question-and-answer show “The Uh-oh Show!”: answer correctly and make a lot of money, but if you lose, you will be mutilated some part of your body live on TV and for the whole of North America. But viewers are thirsty for more blood, which feeds the greed of the producer who launches another even more violent and bloodthirsty show, The Grim Fairy Tales. But Jill’s intuition tells her that something is wrong, and it won’t be long before she finds out the truth about what’s going on with the participants.
Herschell Gordon Lewis is known as the Godfather of gore cinema. He has won this label for directing classic films such as “Blood Feast” (1963) or “2,000 Maniacs! (1964), avant-garde films that by themselves created a whole multitude of copies exploited to satiety and that even until now can be seen their influences. In The Uh-oh Show!, not only is it a feast of blood in abundance, but in a comedic tone it raises the extent to which the fight for the rating and the limits of reality shows is valid.
The clumsy Tortoise is always the victim of the intelligent Fox. When Gata appears, both fall at her feet and compete to conquer her. Although she will only seduce those who manage to incorporate human habits, Zorro learns faster and Tortuga is rejected. Finally he will realize that he may have an advantage, if he feeds a mysterious creature with animal flesh. A contemporary fable without dialogue, whose actors are dressed in animal costumes, but instead of being a childish comedy, the story is a harsh drama, bordering on surrealism and terror.
Francesc Morales is a director who goes beyond audiovisual conventions, introducing himself more into the experimental, the dreamlike and the fantastic. In this, his first film, he presents us with a universe that is beyond our time and space, where the echoes of our reality are shown intermittently, in tiny flashbacks, creating an extravagant and wild parallelism.
Marko, a young director frustrated by not being able to make his first film, between coincidentally and inevitably has to venture into home porn, with the excuse that this may also be the opportunity to do something more personal and show his rage against society. However, things don’t go as he expects and with the theatre/cabaret company he organises, he goes on tour all over Serbia with a show that mixes eroticism and socio-political criticism… conflicts with the villagers are not long in coming and, without money and resources, he is again forced to make other kinds of films…
Narrated as a video diary by Marko and set in 2001 during the fall of Milosevic, the film has been surrounded by a strong controversy due to the crudity of the scenes, not stopping at considerations. A film belonging to the New Wave of Serbian Cinema, it is an important reflection on the consequences of war, moral destruction, poverty and the desperation to survive.
Three dangerous vixens, fleeing the police, end up in a small Australian coastal town. There, taking advantage of the warm climate, drugs and rock & roll, they turn a deaf ear to the warnings of a local resident veteran, who advises them not to get into the water. However, this man’s innocent granddaughter gets closer to them, knows a little more about their lives… and they end up fighting a brutal battle against Kraken, the mythical giant squid.
Stuart Simpson had already surprised us a few years ago with “Demons Among Us”, a film focused more on classic terror and in which some licenses were given, such as having an axe that spoke to the protagonist. In “The Monster of the Sea!” the film is more in the tradition of the B movies of the fifties, to the vixens of Russ Meyer, to the effects of physical makeup, to give up the CGI, but updating everything and catching up, creating a film that is pure fun from beginning to end.
Delivered by the public:
Best Chilean Short Film: Clara (by Álvaro Pruneda, Chile)
Best Latin American Short Film: Deus Irae (by Pedro Cristiani, Argentine)
Best International Short Film: Manual Práctico del Amigo Imaginario (Abreviado) (by Ciro Altabás, Spain)
Best Feature Film: Humanimal (by Francesc Morales, Chile)
New Blood Award (best debutant directors)
Delivered by both the jury and the attending public: Best feature film director: Stuart Simpson by El Monstro del Mar!
Best Short Film Director: Pedro Cristiani by Deus Irae
Delivered by the Jury formed by Fernando Caro (President), Victor Ortegas and Inti Carrizo.
Short Films Section:
Best Chilean Short Film: La Ley del Hielo (by Ignacio Rodríguez y Sebastián Pose, Chile): “For his proposal, for his simplicity, for his humour, together with an excellent photograph and for portraying children’s fears from innocence”.
Best Latin American Short Film: Deus Irae (by Pedro Cristiani, Argentine): “For the performances, photography, script and for the deployment of make-up effects”.
Best International Short Film: Manual Práctico del Amigo Imaginario (Abreviado) (by Ciro Altabás, Spain): “For being an original story that raises in an excellent way the imaginary friend we all once had, as well as the transition to adulthood, achieved with mastery and devotion by the characters”.
Feature Films Section:
PIG for special effects of makeup and cinematography. “For its effects of realistic make-ups and cinematography that break the scheme to be a tape filmed in just one shot, with the difficulties of assembly that this challenge means”.
El Monstro del Mar! by soundtrack. “For his soundtrack brilliant, original and that, beyond accompanying the images, is a character more of the tape”.
Best Actor: Ramón Llao.
Best Actress: Jenny Cavallo.
“By Humanimal. For masterfully carrying the leading roles of a film that breaks all the conventions of acting for cinema, not being able to express itself through words but only through grunts and body language”.
Best Feature Film: The Life And Death Of A Porno Gang.
Best Director and Script: Mladen Djordjevic by The Life And Death Of A Porno Gang
“For its ability to reconcile the aesthetic codes of brutality, crudity and unrestricted violence with deep, real, political and social reflection, as well as a bold and creative use of audiovisual language”.