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La sala Palais K de Cannes plena de gom a gom

Fantastic 7 Conquers The Marché Du Film

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Knowing that a 5th anniversary should shine in all its glory, our Industry department had been working for months on the event that should serve to celebrate the five years of life of Fantastic 7, and of course, the event ended with resounding success. On May 21rst, from 12:00 p.m. to 3:00 p.m., the Marché du Film at the Cannes Film Festival was conquered by fantastic cinema, in a double program that first packed the Sala Palais K, and then did the same in the Fantastic Pavilion.

The Fantastic 7 initiative, an alliance of seven leading festivals united by their commitment to genre cinema, celebrated 5 years of life at the Marché du Film, within the framework of the Cannes Film Festival.The event had this Álex de la Iglesia as its own "Godfather", and brought together representatives of Sitges, Bucheon, Cairo, Guadalajara, New Zealand, SXSW and Tallinn.











Our particular coven, led by Mònica Garcia Massagué and presented by Guillaume Esmiol, Executive Director of the Marché du Film and Bernardo Bergeret, Executive Director of Ventana Sur/INCAA, also served to present 7 projects destined to set trends this season. Our selection was none other than 'The Chapel', the long-awaited new film by Carlota Pereda, director of 'Piggy'. The project, produced by Filmax, has been defined by its own author as "a film that reproduces the aura of those titles that made me fall in love with cinema".

The act has also served for the rest of the festivals to promote the presentation-pitch of another 6 projects. From Bucheon came 'The Fin', by Syeyoung Park, a survival drama with overtones of social criticism, which aims to make visible the Korean government's mistreatment of minorities in their country. From Cairo came 'The Shelter', by Talal Selhami, a psychological horror piece about the somatization of the traumas of the Syrian war. From Guadalajara came 'Corups', by Pablo Delgado, a horror story about the figure of Lilith, the first demonized woman in history. For its part, SXSW brought 'Dead Enders', by Fidel Ruiz-Healy and Tyler Walker, based on the successful short of the same title, a hilarious mix of 'Ghost World' with 'Clerks' and 'The Thing', clearly influenced by the Holy Trinity of the "C", that is, by the masterful legacy of Carpenter, Cronenberg and Craven. Later, from Tallinn came the spectacular 'Restore Point', by Robert Hloz, Czech science fiction with an overwhelming technical invoice. Finally, from New Zealand was presented 'The Televangelist', by Tom Levesque, an acid critic of our times; an era in which social media followers have replaced and destroyed any notion of family we may have had.

You can find more information of each project in this link.













But there was time for more. The great family of the Fantastic returned to the base camp of the Fantastic Pavilion. There, Álex de la Iglesia and Carolina Bang received the key of the pavilion from the hands of Pablo Guisa, an honor that will be given each year to key personalities in the promotion and consolidation of genre cinema. Right after, and without leaving the premises, we received political authorities (such as the Minister of Culture of la Generalitat de Catalunya, Natàlia Garriga) and representatives of institutions such as the ICEC, the ICAA and the Acadèmia del Cinema Català, to kick off the Fantastic 7 Cocktail, a networking session between some of the most important actors in genre cinema, worldwide.