The Winners 2019!

3 min

Winners of the 5th FIXION Fest 2019.

Audience Awards.

Provided by vote of the public attending the festival.

Best Chilean short film: I Dream by Juan Pablo Arriagada (Chillán).
Best Latin American short: Cuento Rarámuri by Crystian Aguilar (Mexico).
Best International Short Film: El Árbol De Las Almas Perdidas by Laura Zamora (Spain).
Best Feature Film: After The Lethargy by Marc Carreté (Spain).

Jury Awards.

Awards for video clips, short films and medium-length films section.

Delivered by the jury, composed of Andreea Dinca (Vice-president), Juan Francisco Olea and César Farah.

Best video clips:
Oblique + Carlos Bayona with Like A Neon Lights (A Song For Christine) by Carlos Alonso Ojeda (Spain) and La Increíble Historia del Hombre que Podía Volar y no Sabía Cómo by Manuel Rubio (Spain). Double award, as both are the best example of the synchrony between the music and the narrated images. To Like Neon Lights for being a careful and wonderful tribute to all the filmography of the director John Carpenter as it is full of details, references and Easter eggs from the films of the famous director. To The Incredible Story… for being a stop motion animation clip that, accompanied by an excellent song, moves us and takes us to travel to the space where David Bowie is an eternal star.

Best Chilean short film:
Bajo la Soga de Camilo León (Quilpué).
For creating an atmosphere of true restlessness by portraying in a very successful way the transition from light to darkness of the characters.

Best Latin American Short Film:
Devórame (Eat Me) by Helena Aguilera (Mexico).
In short, it is faithful to the genre, it highlights a social problem based on terror, it is well achieved from a crude aesthetic and, above all, they take charge of their own culture.

Best International Short Film:
Post Mortem Mary by Joshua Long (Australia).
It is a short that, from the gaze of a girl, generates images, develops an aesthetic proposal and staging that work in narrative terms from a charged and dark environment.

In view of the large number of animation works, as well as those from Spain, the jury decided to award them a special prize for these categories.

Best Animated Short Film:
Anacronte by Raúl Koler and Emiliano Sette (Argentina).
For mixing very well the most abstract and symbolic animation with the most realistic aspect and for closing on itself by exposing several stories in parallel without the characters losing the narrative course.

Best Spanish Short Film:
RIP by Albert Pintó and Caye Casas (Spain).
For having a very black humour that, in balance with the most radical splatter gore, lies a tragicomic story that portrays very well the personal and social conflicts of a worn and routine marriage.

Special mentions in short films:
Special mention for originality: Caducea by Christophe Mavroudis (Belgium).
Special mention for visual effects and photography: Flotando by Frankie De Leonardis (Spain).
Special mention for art direction: L’Auxiliare by Frédéric Plasman (Belgium).
Special mention for acting: Kacey Rohl star of Giltrude’s Dwelling (Canada).

Best Medium-length Film:
Swap by André Gaumond (Canada).
An interesting story that crosses borders, minds and cultures, to focus on the scope and challenges that new technologies can have and the dangers of their misuse.


Awards for full-length films section.

Delivered by the jury, composed by Jesús Diamantino (President), Ximena del Solar and Rodrigo Meza.

Best Makeup FX:
After The Lethargy by Marc Carreté (Spain).
Very realistic and excellently achieved makeup, with tones and colors of avant-garde composition.

Best Art Direction:
El Nido del Trauma by Simón Poblete (Chile).
Along with a beautiful location in the heart of Valparaiso and a beautiful interior decoration there is a beautiful work of creation of bibliographic and investigative study material used by one of its protagonists

Best Music:
Flesh City by Thorsten Fleisch (Germany).
For being the very essence of the film and accompanying at all times the development of the physical and emotional action of its characters.

Best Photography:
La Jaula de José Salaverría (Venezuela).
For his careful way of showing interiors and exteriors of a Venezuela immersed in the bewilderment of an extraterrestrial invasion. Beautiful landscapes shown in detail and breadth. A light that accompanies and colors the intimacy of its characters.

Best Actress:
Karina Velásquez (La Jaula)
For its naturalistic and positive representation of femininity in an apocalyptic context. In addition, it stands out for its large on-screen deflection.

Best Actor:
Corin Nemec (Rottentail).
For its versatility to represent different emotional states even loaded with makeup fx.

Best Supporting Actress:
María Luisa Tejeda (Sorgalim).
For the naturalistic approach, with which she sustains the reactions of her character in a context that recreates the supernatural, providing a margin of realism that makes the story more credible. Along with that, the way in which fear is represented and its progressive degradation is laudable.

Best Supporting Actor:
Adam Langley (Phoenix: A Story of Revenge).
For the extraordinary magnetism and intensity of his villain, who captures the interest of the spectator making us want to see the spin off of his character.

Best Screenplay:
Emiliano Sued (Sorgalim).
For his recreation of the rural world, with his becoming something bucolic and simple, although I am ready to give credit to a certain margin of fantasy. He builds a circular piece that opens and closes history with mastery, providing dialogues full of intelligence and good taste.

Best Director:
José Romano and Guillermo Taboada (Sorgalim).
Because, despite falling into the vice of trying to reproduce some classic clichés of horror somewhat worn, they manage to sustain a story that rescues the rurality of small towns and know how to guide the majority of their characters with a realistic approach, giving a round end to the story.

Best Feature Film:
Sorgalim by José Romano and Guillermo Taboada (Argentina).
Because it contains a macro story that generates permanent interest in the spectator, reminding us of the best of the Argentinean tale and story of fantasy and horror. Along with that, the naturalistic character that permeates the screen, added to the simplicity of the represented world, make the fantastic more solidly concrete.

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