Fantaspoa 2021 Roundup – Great Programming, Difficult Logistics
Ever since “the thing” started in early 2020, the film industry has been in scramble mode. We’ve all been doing our best to cope, and provide a semblance of normalcy. Film festivals were among the first to be hit by COVID, and they got hit hard. There was no manual for how to migrate. How to do it differently. But most persevered. Some even shone. In our Fantaspoa 2021 roundup, we’ll revisit the amazing programming, and some of the difficult logistics still plaguing the industry.
The Programming – Among the Best
Fantaspoa is known around the world because of two things: how well they treat attendees, and its characteristic programming. With a heavy focus on pushing the boundaries of budgetary constraints, the programming at Fantaspoa is a place to see filmmakers’ creativity flourish well beyond their wallets. This year was no different. Though we watched most features in the program, we reviewed three, and they were all belters.
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Fantaspoa has always been at the forefront of supporting Iberoamerican filmmakers, and to be honest, this year’s crop of movies is right up there in terms of quality. The aforementioned History of the Occult aside, I really enjoyed two other films.
Los Que Vuelven is an Argentinian period film somewhat akin to The Returned. A premise of the dead coming back to life with a decidedly South American flavor. It also happens to feature Lali González, one of the most talented Paraguayan actresses of the decade.
Nocturna – La Noche del Hombre Grande is yet another Argentinian production. This one focuses on senility, the ghosts of our past and the people in our lives we thought we knew. Totally different from Los Que Vuelven, it’s a hidden gem well worth seeking out. The cinematography alone is worth the price of admission.
The shorts programs are extensive, and diverse. Time limitations sometimes dampens our party, but from the ones I was able to watch, I have a few standouts. Echthaar is an Austrian period piece set in the 50s with a decidedly Impressionist look. Switzerland’s Fratelli Come Prima goes from tender to terrifying in an effective 11 minutes of runtime. Out of the Brazilian Shorts program, Fantasma Magnético was my favorite. The practical effects were fantastic for a short film. An 8-minutes-long loveletter to horror.
Fantaspoa 2021 Logistics Are Complicated
With smaller festivals, moving from a well-established workflow to a digital enviroment is a nightmare. They simply don’t have the resources. Sure, festivals like the Horrible Imaginings Film Festival made the transition so smoothly, many regulars commented on the virtual features they’d like to keep for future in-person events.
But Fantaspoa doesn’t take place in Canada, the US or affluent parts of Europe. It takes place in Brazil. And while the programming is still king, it is difficult for South American festivals to provide the same virtual experience to attendees. Decentralized viewing experiences (having 2 platforms to watch the films) and limited screener access for press (not all films, links sent mid-festival) are sticking points for me. But I know how expensive everything is, particularly if you want to have everything in a single place. So, while I know that virtual Fantaspoa doesn’t quite hold up to the in-person treatment of attendees, I also acknowledge that it is unfair to expect it considering the resources at the organizer’s disposal.
See You Next Year
Honestly, I cannot wait for in-person Fantaspoa to return. I’d love to go. Everyone who attends ifalls in love. And Now that I live in Paraguay, I’m even closer to it. I know that they don’t have the money to get big stuff behind the scenes. But the films are great. They have always been. Digital problems aside, they can do it. I’m sure of it. And I hope to be there when they get back to it. In-person. The way Fantaspoa is meant to be experienced.
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