Sitges - 39ed. Festival Internacional de Catalunya (6/10 - 15/10)
List of winners
Monte Hellman, Leticia Dolera, Carlos Losilla, Pilar Pedraza, Tom Schiller
Best Short Film
A FOR(R)EST IN THE DES(S)ERT, de Luiso Berdejo
HANDYMAN, by Simon Rumley
Best Production Design
Are Sjaastad, for THE BOTHERSOME MAN
Best Make Up FX
Jang Jin, for TIME
Best Special Effects - Premio Infinia
Jang Heui-cheol, for THE HOST
Best Original Soundtrack
East, for TZAMETI (13)
Jonathan Sela, for GRIMM LOVE
Sam Hamm, for HOMECOMING (Masters of Horror)
Sandra Hüller, for REQUIEM
Martin Weisz, for GRIMM LOVE
Special Jury Award
HOMECOMING (Masters of Horror), by Joe Dante
Best Motion Picture
REQUIEM, by Hans-Christian Schmid.
Carnet Jove Jury
WHAT IS IT?, by Crispin Glover
Special Mention to BEHIND THE MASK: THE RISE OF LESLIE VERNON, Scott Glosserman’s feature film for his skills in showing how to create a “slasher” movie milestone.
John Fallon, Carlos Martin Ferrera, Frédéric Temps
EDMOND, by Stuart Gordon
Special Mention to THE LIVING AND THE DEAD, by Simon Rumley.
NOVA AUTORIA ADWARD (Sponsored by l’SGAE)
Jorge Tur Moltó (UAB), for DE FUNCIÓN
David Jiménez, Rubén Molina, Albert Solà and Joseph Lluïs Marín (EMAV), for BOWMAN
Best original music
Roger Padilla (ESCAC), for NO QUIERO LA NOCHE
Orient Express - Casa Àsia
Jean-Pierre Dionnet, Enrique Garcelán, Amaia Torrecilla
THE HOST by Bong Joon-ho
Animat - Premi Gertie
Juan Giménez, Ken Niimura, Sandra Salvador
Best Animated Film
THE GIRL WHO LEAPT THROUGH TIME, by Mamoru Hosoda
Best Animated Short film
DREAMS AND DESIRES-FAMILY TIES, by Joanna Quinn
Special Mention to THE BOOK OF THE DEAD, of Kihachiro Kawamoto, for his excellent technique and his real skill in the difficult art of puppet animation.
Jose Espinosa, Paul Naschy, Carles Muñoz Miralles
Best Short Film
TIGHT, by Sergio Vizcaíno
Adrián Guerra, Antonio José Navarro, Mireia Ros
Silver Méliès for Best European Motion Picture
PRINCESS, by Anders Morgenthaler
Silver Méliès Award for Best Europea Short Film
DOODLE, by Sam Rogers
Audience Award for Best Motion Picture (Sponsored by El Periódico)
LA CIENCIA DEL SUEÑO, by Michel Gondry
Jose Luis Guarner Critic Award
Marta Monedero, Desirée de Fez, Pedro Adrián Zuloaga
REQUIEM, by Hans-Christian Schmid
Citizen Kane Award to an up-and-coming director
Rian Johnson, for BRICK
Oficial Fantàstic Jury
Tom Schiller - Film director
Carlos Losilla - Critical
Monte Hellman - Film director
Pilar Pedraza - Writer
Oficial Noves Visions
John Fallon - Journalist
Carlos Martín Ferrera - Film director
Oficial Orient Express - Casa Asia Jury
Enrique Garcelán - Critical
Amaia Torrecilla - BAFF Codirector
Méliès d'Argent Jury
Antonio José Navarro - Journalist
Mireia Ros - Film director
Carnet Jove Jury
Blanca Esteva Ballús
Zouhair El Hairan
Beatriz Martínez Gómez
Gerard Casau Vaz
Gertie Anima't Jury
Sandra Salvador - Director and Producer
J. M. Kem Niimura - Sketcher of Comics
José Luis Guarner Jury
Desirée de Fez
Pedro Adrián Zuloaga
Paul Naschy - Director and Actor
Carles Muñoz Miralles - Comic Publisher
KIYOSHI KUROSAWA - Retrospective Màquina del Temps Award
Less is more is a coined phrase that in the case of this filmmaker, born in Kobe 51 years ago, becomes a splendid reality. An American genre film lover, at least of a few fetish filmmakers like Siegel, Peckimpah and the Hooper of The Texas Chainsaw Massacre, and creator of one of the most suggestive filmographies in contemporary Japanese film, Kiyoshi stopped being confused with the nonexistent relative of maestro Akira a long time ago now to claim his own space on the international scene and, without setting out to do so, move into the front line in the vanguard of this fantasy cinema that pays no attention to predetermined frontiers or conventionalisms. Starting as a short film maker, winning awards even at the PIA Film Festival, and hardened as an assistant director to Kazuhiko Hasegawa and Shinji Somai, Kurosawa’s alternative as a professional director was given to him by Takahashi Banmei when he handed him the direction of Kandagawa Wars (1983). His virginal foray into the boggy but liberalizing spheres of pinku-eiga (not foreign to many of the main local sharpshooters), had its continuation with another film, The Excitement of the Do-Re-Mi-Fa Girl (1985) to later go on to immerse himself in the horror genre with titles like Sweet Home (1989) or the yakuza-eiga with the Suit Yourself or Shoot Yourself (1996-97) and Revenge (1997) series, video and/or television productions where Kurosawa already began to show his skill and that in Cure (1997), the dark supernatural thriller that opened the doors for him to the West, he displayed completely with no intention of looking back. From then on, Kurosawa became a genre in himself and his style became remained marked by a distended tempo, a generous composition in sequence shots and restless framings and an elliptic narration that showed noticeable philosophical concerns steered toward that existential pessimism he slapped us in the face with in the icy and quasi-apocalyptic Pulse (2001), possibly his masterpiece. After becoming a regular at international festivals with pieces like Charisma (1999), Séance (2000) or the aforementioned award-winning Pulse, and bringing us closer to horror in its purest state, without gratuitous theatricality and defining styles, Kurosawa has had time to divide critics with the underrated Bright Future (2002), the inoffensive Doppelganger (2002) and very personal projects like the short film Soul Dancing (2004), a frugal attempt to return to the roots of the electric shadow before redirecting his steps towards “horror his way” with three new projects: Loft, House of Bugs (both 2005) and the splendid Retribution (2006). It is still early to assess the scope that these new projects will have in his career as a whole but what seems certain is that this skilful manipulator of genres has already left an indelible and disquieting memory in our retinas.
TRIBUTE TO ALEJANDRO JODOROWSKY - Retrospective Màquina del Temps Award
To speak about Alejandro Jodorowsky is to speak about a temperamental and symbolic fragment of contemporary film history. We can’t approach Jodorowsky –the person- or Jodorowsky –the filmmaker-, leaving to one side the rest of his artistic career and, of course, his continuous countercultural contribution in the middle of a social scene that is blocked by false perceptive stylistics, where contemporary man self-mutilates one of his most valuable gifts: the ability to communicate.
Breaking away from everything established and abolishing any rational thinking is an important part of the so-called panic movement that he himself created in 1962 along with Fernando Arrabal, and that they both tried out through the “Panic Acts”, which is what they called actions aimed at freeing the mind and the spirit.
Born in Chile, Jodorowsky spent a good part of his life in Mexico where he lived with others in villages where they practiced Santeria and healing through medicine men. From there he extracted a large part of the philosophy and knowledge that he explains in his work entitled Psychomagic, a therapy combining psychology and mysticism to treat concrete problems of each individual’s psyche. A Tarot lover, Jodorowsky boasts that he always carries a deck of these cards with him that he interprets openly for all those who ask him to do so. His famous weekly soirées at the popularized “Cabaret Místico” in Paris are deduced, partly, to be gatherings carrying the seed of panic, meetings through which Alejandro Jodorowsky offers invaluable psychomagic advice and some very valuable interpretations of mysteries before an unconditional audience.
But without a doubt, it is the moviemaker, the driving force behind midnight movies, the scriptwriter behind the comic books with the amazing (and hallucinatory) strokes by Moebius, the Alejandro Jodorowsky philosopher and deeply transgressor that interests us the most, that leaves us with our mouths gaping and our pupils lit up, that most marks our incurable cinephilia. Sitges 2006 pays tribute to the figure of movie director Alejandro Jodorowsky with a retrospective that not only reviews his filmography (The Gopher, Holy Blood, Fando and Lis and The Holy Mountain), but also presents the Spanish premiere of the short film La Cravate, his first work as a film director, missing for decades and that was believed to be lost forever, to be found this year in a forgotten attic in Germany.
His peculiar extroversion and incisive analytical character make Jodorowsky a unique celebrity who is a part, now even more so if that’s possible, of the International Film Festival of Catalonia’s fantasy universe. Welcome to Sitges, maestro.
ALEJANDRO AMENÁBAR Màquina del Temps Award
Reconstructing the stages that fantasy film production has gone through in our country, it is obvious that there is a name that shines with a light of its own, playing an important part in the renovation and reformulation of this genre in Spain. Alejandro Amenábar is one of the national directors who has achieved international acknowledgement with film works that display a passion and voracity for telling stories, where the narrative flows influenced directly by sources of the great masters of thrillers and horror. From Thesis (Tesis, 1996) his first work, to The Others (Los Otros, 2001), Amenábar gauges the impact of the fears of our times, using personality crises and lack of communication as central themes over which he pendulates the magic that all of his stories exude. Sitges 2006 will present the La Màquina del Temps (Time Machine) Award to director and composer Alejandro Amenábar, one of the most talented persons in this country’s movie industry.
HOWARD BERGER Màquina del Temps Award
Born and raised in Los Angeles, Howard Berger developed an intense passion for film and special effects right from early childhood. After graduating and starting to work with two of his idols, Stan Winston and Rick Baker, Berger took a chance and founded his own studio with his colleagues Robert Kurtzman and Greg Nicotero. During the past eighteen years K.N.B. EFX Group has worked on innumerable Hollywood productions creating all kinds of special effects and prosthetic make-up until becoming one of the most important companies in the world. Berger recently won an Academy Award for his work on The Chronicles of Narnia, a just acknowlegement of the career of this surprising special effects artist to whom Sitges’06 will be presenting the Màquina del Temps Award this year.
LLUÍS DE VAL I LÓPEZ Maria Honorífica Award
Born in Barcelona in 1953 and with a degree in economics from Barcelona University, Lluis de Val’s career has been linked to the audiovisual sector since his participation in diverse industry companies starting in 1982. In 1993, he became president of Manga Films, S.L., a Catalan management, distribution and production company that revolutionized the Japanese animation market in Spain and that now has one of the most complete and diversified catalogues in the audiovisual sector. Lluis de Val is also chairman of the DICA (Associated Independent Film Distributors), a founding member of Barcelona Audiovisual and a member of the Asociación Videográfica Española (Spanish Video Association) and the CAC (Catalonian Audiovisual Council).
TRIBUTE TO DAVID LYNCH - Retrospective
Probably no other filmmaker has expressed through his or her movies the pain and confusion involved in waking up to the reality of existence, and the violent process that the loss of innocence represents in itself, like David Lynch has. A mystery lover above all, Lynch has shrouded each and every one of his works in an atmospheric halo of indescribable beauty, represented by a blue velvet curtain, by the luxuriant forest of a town called Twin Peaks or by a deserted, one-way, nighttime highway to our deepest subconscious. The limits of form and content are vague in all of David Lynch’s movies, and that is precisely one of the most obvious qualities that can be drawn from reviewing his filmography.
Underlining the strange things in everyday life is one of the pillars his movies are built on, and one of the keys through which the special magnetism of the lyrical, magical science that is attributed to the narration of his stories flows. Educated in Fine Arts and with an extremely interesting background as a painter, sculptor and photographer, Lynch should be considered one of the most important and influential filmmakers in recent years. His use of film language is but a new sphere to refine and experiment with his attractive, disturbing and contradictory expressiveness. David Lynch is to film what Francis Bacon or Edward Hopper are to painting in an aesthetic and narrative sense. An intimist recreation of the loneliness of post-modern man and of the tragic feeling of his existence represented through nightclubs, roadside bars or motel rooms, in a chain of paradigms that work like true revelations and that, like in painter Francis Bacon’s work, are resolved in the reality itself of the artistic act.
Coinciding with the 20th anniversary of the screening of his film Blue Velvet at Sitges, this year’s festival would like to pay tribute to the genius from Montana by screening some of his most emblematic works, for having shared the mysteries enclosed in his particular work with us and for bringing us closer to an organic universe full of the most suggestive textures that any lover of the fantasy genre now recognizes as characteristic.
RICHARD STANLEY - Retrospective
“Richard Stanley is the future of horror”. Legend has it that this is what Dario Argento said about the director of Hardware. As exaggerated as this assertion might sound, it appears the master of giallo was right when he enthroned the author of this tiny revolution that shook up the depressed British fantasy scene in the nineties. South African by birth, Stanley has become a living genre legend, a visionary that has achieved cult status with a short, atypical and problematic filmography made up of a handful of short films, three documentaries and two feature films where he combines mystical, arcane, poetic and mythological passions with a brilliant aesthetic sense bordering on music video and comic. Sitges Classics pays tribute to his presence at the Festival as co-screenwriter of The Abandoned (Nacho Cerdá, 2006) with the screening of his two feature films and, as a true exclusive, a surprise short film.
RICHARD FLEISCHER - Retrospective (1916-2006)
Equally revered and misunderstood, the son of Max Fleischer (animation pioneer and creator of the Betty Boop and Popeye characters) always felt a certain touch of dissatisfaction with the heavy machinery of Hollywood, the factory of dreams and nightmares with which he had to share the customary successes and failures in a career that included 47 movies in 45 years. A filmography that was as eclectic as it was extensive, realistic and visceral, that began with B-movies and reached all imaginable genres, from action to thriller, from comedy to musical, from sciences fiction to horror. Titles like 20.000 Leagues Under the Sea (1954), The Vikings (1958), Fantastic Voyage (1966), The Boston Strangler (1968), Soylent Green (1973) or Conan the Destroyer (1988), earned him a much-deserved, outstanding position in the universal entertainment industry and Sitges Classics pays tribute to his career in the fantasy genre with two unforgettable films: Fantastic Voyage and Soylent green.
TONI GALINDO - FOR YOUR EYES ONLY
FOR YOUR EYES ONLY chronicles the career of graphic designer and artist Toni Galindo through an in-depth display of the more than sixty feature films which bear his prodigious signature. The exhibit also features the posters and campaigns he designed for prestigious film festivals and television platforms. FOR YOUR EYES ONLY brings together nearly fifty panels displaying the film-related work of graphic designer and cartoonist Toni Galindo. Such well-known films as The Others (2001), The Devil’s Backbone (2001), Mortadelo & Filemón: The Big Adventure (2003), The Sea Inside (2004), Airbag (1997) and The Biggest Robbery Never Told (2002) bear his signature, and filmmakers including Juanma Bajo Ulloa, Montxo Armendáriz, Javier Fesser, Alejandro Amenábar, Daniel Calparsoro and Fernando León de Aranoa have called on his services. The display also includes an interactive audiovisual section with projections of the young creative designer’s work and that of his company Art&Maña, and is set off with sound recordings. The exhibition will also feature a wide variety of publications, pressbooks and promotional materials designed by Galindo. Galindo left his mark on some of our most important film festivals, designing the official posters for the San Sebastian Film Festival in 1996 and 1999, both of which earned him a Key Art Award in Los Angeles (considered the Oscars of the film marketing community).
CALLE 13 Present GUILLERMO DEL TORO AL SITGES 2006
SITGES-International Film Festival of Catalonia will be holding an exhibition on director Guillermo del Toro sponsored by Calle 13. The show includes unreleased material from his filmography, from Mimic to Pan’s Labyrinth. The storyboards from Hellboy, the spectacular masks used in his latest production presented at this year’s Festival and, all in all, a collection of the props used in his movies, created by the prestigious DDT Special Effects crew, regular Del Toro collaborators in all his films since The Devil’s Backbone. The exhibition will also include a screening room where you can see unreleased material from Guillermo del Toro’s private collection on his shoots plus his movie making-ofs.
Universo Lynch (Lynch Universe)
Antonio José Navarro
Iván Pintor Iranzo
Published by the Sitges International Film Festival and Calamar Ediciones
Paperback, 13x19 cm. 176 Pages. Illustrated.
PVP: 12 Euros.
Week after week, millions of people in countries all over the world devoutly followed Twin Peaks, a television series whose rhythm and aesthetics radically broke away from the established norms, and that was capable of capturing the attention of a devoted and, above all, perplexed audience.
But David Lynch is much more than Twin Peaks, although it, his encounter with the general public, already discloses many ideas on what his personal world is like and his original way of creating stories.
In Lynch’s work –as if it were an opera, a paradigm of “total art”– you can find a camera treatment that combines photography, music, painting... we could even see a sculpture form in Laura Palmer’s laminated body. This volume analyzes the “Lynch universe”, precisely from that polyhedral perspective that makes his movie making much more than cinema.
A work as original as the director it analyzes himself, that attempts, from an open, multidiscipline perspective, to contribute a new dimension to the particular universe of an exceptional filmmaker, and that assumes its nature as a Lynchian object, as a hard-to-classify UFO, that maybe should be consumed, like Laura Palmer’s body, wrapped in plastic.
Plastic wrapping (by way of introduction) - Ángel Sala
Sinister Loci. El sexo, el horror y el mal en el cine de David Lynch (Sinister Loci. Sex, horror and evil in David Lynch’s cinema) – Antonio José Navarro
Diccionario musical lynchiano (Lynchian musical dictionary)- Quim Casas
David Lynch y Haruki Murakami, la llama en el umbral (David Lynch and Haruki Murakami, the flame at the threshold) - Iván Pintor Iranzo
Y el principio fue «The grandmother» (And the beginning was «The grandmother») - Juan Zapater
El invisible hilo azul de David Lynch (David Lynch’s invisible blue thread)- Nuria Vidal
David Lynch’s filmography
Director: Jordi Sánchez-Navarro
Deputy: Pepa Cordero
BRIGADOON AND PARALLEL ACTIVITIES
Director: Sònia Abella
Deputy: Raquel Aranda
Director: Pepa Cordero
Deputy: Lidia Gilabert
PRESS AND PUBLICITY
Director: Eva Herrero
Deputies: Maria Castells, Marina Queraltó
Assistants: Pau Teixidor, Marta Pujol
Interns: Anna Masides, Juan Pablo Oviedo
Translator coordinator: Mila Rodríguez
Translators: Enara Hurtado, Bruno Sempere, Esperanza Costa, Gorka Ortiz de Zarate
LOGISTICS AND PUBLIC RELATIONS
Director: Sergi Orobitg
Logistics and Industry Deputy: Imma Serra
Logistics Deputy: Mireia Madroñero
P.R. Deputy: Laura Santiago
Guest Coordination: Alicia Reginato
Guest Deputy: Alex Fernández
Jury Secretary: Natalia Amat
Institutional Protocol: Esther Oriola
Guest Attention Services: Jane Mason, Marta Pérez, Marta Rodríguez, Montse Bartuí, Maria de Fátima López, Salvador Colom
Guest Reception: M. Lluïsa Olea, Judith Hernández, Ana Hernández, Yen Chang, James Begg
Guest Transportation Coordinator: Xavi Roig
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Volunteer Coordinator: Paula Carrillo
Invitations Manager: Arantza Begueria
Deputy: Eugenia Mumenthaler
Ceremonies Manager: Ricardo Gil
Audiovisual Montage: IMAGO
Director: Esther Torremorell
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PRODUCTIONS AND INFRASTRUCTURES
Director: Josep “Gari” Gracia
Deputy: Pere Milán
Director of Maintenance: Joan Carles Alegre
Deputy: Axel Neuman
Warehouse Manager: Fric López
Warehouse Assistant & Driver: Alfonso Redondo
Drivers: Xavi Muntaner, Sergi Riba, Joan Marc Matas, Federico Peñalver, Ivór Grima, Manuel Navío, Nicolas Ribalta, Gonzalo Castan, Oscar de Llopart, Daniel Guerrero, Marc Barqué.
Auditori: Ciscu Santgenis
El Prado: Arnau Orobitg
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El Retiro: Quique Romeu
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Viewing Room: Susana Domenech
Brigadoon: Marta Rubio
Porters: I. Caro, Genís Hernández, Jasmina Miñana, Sofía Arnott.
Director: Ricardo Reparaz
Deputy: Miguel de la Fuente
Catalogue and Cover Graphic Design: Art&Maña
Special Graphic Design and Festival Newspaper : Estudio Fénix
Editors: Ricardo Reparaz, Miguel de la Fuente, Carlos G. Vela, Violeta Kovacsics, Jesús Palacios, Gonzalo de Lucas
Illustrators: Sandra Uve, Manuel Bartual
Photographers: Miguel Angel Chazo, Jesús Paris
Director: Natalia Rey-Joly
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Box-Office Clerks: Vicky Clusellas, Cèlia Rebull, Laura Galán, Marta Rubio, Laura Costa, Eva Noguer, Cristina Molina, Silvia Teixidor, Aitana Medinez