Top Film Festivals Collaborate for Cannes Horror Showcase; First Look at Darkness by Day
Variety
http://variety.com/
/apr14/darkness-by-day-s.jpg
Set to kick off on May 14th, this year’s Cannes Film Festival will see the premieres of many hotly anticipated genre flicks, and today we’ve gotten word of an exciting collaboration between Cannes and other top festivals that brings even more exciting genre fare to the event.
Per Variety, Ventana Sur’s genre film market Blood Window will team with the world’s top six fantastic film fests for five Blood Window Midnight Galas of Latin American genre movies.
Four event partners collaborate to select one film each at the Blood Window Galas: Austin’s Fantastic Fest, Spain’s Sitges-Catalonia Festival, the Puchon Fantastic Fest, and the Frontieres Co-production Market, a joint venture of Montreal’s Fantasia Fest, Vision-in-Motion, and Brussels Festival.
The first Blood Window Midnight Galas line-up includes two sci-fi movies – The Incident and Fallen Cape – plus a rabies outbreak movie with Sapphic undertones: Darkness by Day.
The Incident combines two stories of people trapped in illogical endless spaces for 35 years: wo brothers and a detective locked on an infinite stairwell and a family on an endless road to the beach.
Directed by Spain’s Santiago Alvarado and put forward by Sitges, Fallen Cape turns on a wrongly disgraced superhero, forced to work in a store.
Put forward by South Korea’s Puchon-PiFan Fest, Darkness by Day (stills and artwork below), a village-set mood genre auteur piece helmed by Argentine’s Martin Desalvo, is sold by Germany’s M-Appeal.
Unspooling May 16-20 at the Rue d’Antibes’ Star Cinema, the Blood Window showcase kicks off with Gabriel Grieco’s Still Life, also from Argentina.
A serial killer slasher/procedural set in Argentina’s big ranch country where the suspects all belong to a group of vegan activists and the victims to the cattle industry, Still Life snagged four plaudits at Blood Window’s Bloody Work In Progress last December, including selection for Morbido’s 2014 edition.
The Cannes showcase closes with The House at the End of Time, from Venezuela’s Alejandro Hidalgo, a symptomatic mix of horror. A mother of two experiences ghoulish apparitions in an old house – with reflections on the psychology of family dynamics; 30 years later, now elderly, she returns to try to discover what really happened.
Latin American VOD platform Clarovideo will make available the Blood Window Screenings title for 24 hours the same day as it screens physically in Cannes.
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