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FANTASIA 2022

Il prossimo Fantasia International Film Festival offre al suo pubblico una miriade di anteprime mondiali

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- I titoli europei Viejos, Megalomaniac e Orchestrator of Storms avranno le loro prime mondiali al festival di genere canadese

Il prossimo Fantasia International Film Festival offre al suo pubblico una miriade di anteprime mondiali
Viejos di Raúl Cerezo e Fernando González Gómez

Questo articolo è disponibile in inglese.

Having now unveiled its third – and final – wave of titles, Montreal’s Fantasia International Film Festival, set to unspool from 14 July-3 August, will also welcome a slew of European titles.

Among the world premieres, Spain’s The Elderly [+leggi anche:
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is already shaping up to be the title to watch, directed by Raúl Cerezo and Fernando González Gómez. The film, described by the organisers as a “next-level Spanish horror nightmare”, will focus on an octogenarian (Zorion Eguileor) who falls into a state of dementia after his wife’s suicide. It’s not the first collaboration between Cerezo and Gómez, who also previously delivered The Passenger [+leggi anche:
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Megalomaniac [+leggi anche:
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(Belgium), helmed by Karim Ouelhaj, will present “a radical take on the evils of the patriarchy and its undying legacy” while also taking on the true story of the country’s infamous serial killer The Butcher of Mons. In the UK’s Orchestrator of Storm: The Fantastique World of Jean Rollin, Dima Ballin and Kat Ellinger will explore the life of one of “Eurocult” cinema’s most singular voices. Rollin, who received Fantasia’s Lifetime Achievement Award back in 2007, was “deeply misunderstood and widely misrepresented”, it was stated. With the help of his collaborators, family and various experts, they will come back to his work that was as divisive as it was interesting. A bit like Álex de la Iglesia’s 1993 debut, Mutant Action, then, which will be shown as well.

Furthermore, the audience will be treated to the international premiere of Nico Van den Brink’s Moloch (Netherlands), as well as the first North American showings of already familiar titles, from Michel Hazanavicius’ Cannes opener Final Cut [+leggi anche:
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to Quentin Dupieux’s delightful oddity Incredible but True [+leggi anche:
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Nuno Beato will bring along My Grandfather’s Demons [+leggi anche:
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, Portugal’s first stop-motion feature about the complexity of family bonds, while Kristina Buožyte and Bruno Samper will focus on Vesper [+leggi anche:
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: an ecological sci-fi thriller that has already prompted heated discussions among the audience at the recently wrapped Karlovy Vary. The film – which reunites the duo after Vanishing Waves [+leggi anche:
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– shows an “immersive fungal world” where a teenage girl is trying to survive with her father. The film features Eddie Marsan, Rosy McEwen and Melanie Gaydos.

Patrice Leconte’s Maigret [+leggi anche:
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and the Japanese-French co-production My Small Land will be joined by Dario Argento’s Dark Glasses [+leggi anche:
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and Employee of the Month [+leggi anche:
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by Veronique Jadin (Belgium). In another Portuguese offering, Fragile [+leggi anche:
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, Pedro Henrique shows Lisbon’s underground scene, promising a “uniquely adolescent and ecstatic experience”. Freaks Out [+leggi anche:
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by Gabriele Mainetti, Alan Bidard’s Opal, and Princesse Dragon by Jean-Jacques Denix and Anthony Roux have also found their way into the varied selection, as has Christian Tafdrup’s Danish nightmare of manners, Speak No Evil [+leggi anche:
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– dark and hilarious in equal measure.

Apart from A Life on the Farm [+leggi anche:
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(USA/UK), in which Oscar Harding introduces the world to a quirky farmer who used to document his everyday life, sometimes in an odd fashion (“Between cat funerals, skeleton tractor races and lessons in cow birthing, Carson’s film was oddly endearing,” states the festival), Eduardo Casanova’s Piety [+leggi anche:
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, Whether the Weather Is Fine [+leggi anche:
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by Carlo Francisco Manatad (Philippines/France), Yaya e Lennie – The Walking Liberty [+leggi anche:
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by Alessandro Rak and Carlota Martínez Pereda’s brilliant Piggy [+leggi anche:
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will also get an airing.

Finally, in We Might as Well Be Dead [+leggi anche:
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, Natalia Sinelnikova plays with the weighty topics of modern-day xenophobia and antisemitism, showing a security officer in an exclusive apartment block in the German countryside, whose daughter grows increasingly convinced that she is harbouring an ancient evil. And that’s just the beginning.

You can find the full line-up here.

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(Tradotto dall'inglese)

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