CANNES — “Clementina,” “Necronomicon” and “Our Evil” have made the cut for the Cannes Festival’s 2017 Blood Window showcase of the best and most promising in Latino – Latin American, Spanish, Italian – fantastic cinema. Departing from its prior format, the 4th Blood Window Cannes spread will offer 10-minute sneak previews of seven pix-in-post, plus the screening of three complete films endorsed by international fantastic film festivals.
Of completed movies, “Clementina,” the solo feature debut of Argentina’s Jimena Monteoliva,turns on a woman who’s in shock at the loss of her baby after being ferociously beaten by her husband. Clementina’s trauma causes her to see ghosts. Monteoliva served as a production manager on Pablo Trapero’s “Lion’s Den” and a producer on Nicanor Loreti’s cult Argentine superhero movie “Kryptonite” and co-directed with Tamae Garateguy “All Night Long,” a Mar del Plata’s Midnight Screamings standout in 2015. She also produced Garateguy’s “She Love.”
Previewed, “Necronomicon (The Book from Hell)” is directed by director- producer Marcelo Schapces (“Velocity Begets Oblivion,” ”Juan and Eva”). A horror film inspired by the universe of H.P. Lovecraft, it follows Luis who investigates the mysterious death of Dieter, a librarian at the National Library of Buenos Aires, where a copy of the Necronomicon is hidden. Starring Federico Luppi, Luis Luque and Jorge Marrale, Necronomicon” is produced by Schapces’ Barakacine in Buenos Aires, which backed Carlos Saura’s “Zonda, Folclore Argentino.”
“Our Evil” is a horror thriller crime directed by first-timer Samuel Galli and produced by Galli for Brazil’s Kauzare Filmes. Set in the sordid underbelly of Sao Paulo, it turns on a spiritualist who employs a serial killer to protect his daughter from demonic possession. U.K.-based Jinga Films handles international sales.
Argentina’s MyS Producciones and Benteveo back “Hypersomnia.” directed by Gabriel Grieco (“Still Life”), about a young actress who wants to land a role in a play, whatever it takes. Chile’s Lucio A. Rojas (“Path”) directs “Trauma,” a horror feature about four women brutally assaulted in the countryside by a man and his son. Rojas Rodrigo Fernández and Sebastián Ballek produce.
The fourth entry from Argentina, ”What the Waters Left Behind,” is directed by brothers Luciano (“Francesca”) and Nicolas Onetti. It tracks a group of youngsters touring Epecuén –a settlement destroyed by a flood in 1985– in order to shoot a documentary. Zombie action-thriller, “Infection,” by first-timer Flavio Pedota, offers an engrossingly immersive allegorical variation on the zombi outbreak narrative, picturing Venezuela’s middle classes, here a doctor, at the mercy of zombi-state Venezuelan, battling to save his son, and find a cure for the social madness around him.
Blood Window also showcases three features: Mexican border horror thriller “Belzebuth,” by Emilio Portes, a big winner at last December’s Blood Window in Buenos Aires, Italy’s “The End in a Day,” directed by Daniele Misischia and about a cynical businessman trapped in an elevator, and Santiago Alvarado’s “Menéndez,” from Spain, an exorcism tale.
BLOOD WINDOW AT CANNES, MAY 19-22.:
WORKS IN PROGRESS:
“Clementina,” (Jimena Monteoliva, Argentina)
“Hypersomnia,” (Gabriel Grieco, Argentina)
“Infection,” (Flavio Pedota, Venezuela, Mexico)
“Necronomicon –The Book from Hell,” (Marcelo Schapces, Argentina)
“Our Evil,” (Samuel Galli, Brazil)
“Trauma,” (Lucio A. Rojas, Chile)
“What the Waters Left Behind,” (Luciano Onetti, Nicolás Onetti, Argentina)
“Belzebuth,” (Emilio Portes, Mexico)
“The End of a Day,” (Daniele Misischia, Italy)
“Menéndez,” (Santiago Alvarado, Spain)