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Tag: San Diego Latino Film Festival

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Horrible Imaginings Podcast #172: Victor Dryere Talks About his Haunting 8mm Horror Film 1974!

Hi, everyone! As promised, here is my second episode from the 24th Annual San Diego Latino Film Festival! Once again, it also marks the third year of Horrible Imaginings Film Festival partnering with them to bring the "Un Mundo Extraño" block of horror and fantastic cinema. If you missed my last interviews with the directors of Histeria and The Darkness, check those out here! This year promises to be our strongest showcase of dark films yet, and I am so excited to blast off with this tomorrow night! Just check out the trailer we put together:

https://www.youtube.com/watch?v=TiLtjGSRdiQ

In this episode, Cinema Junkie Beth Accomando joins me to discuss the terrifying shot-on-8mm film called 1974 with its director Victor Dryere.

Victor gives us a real look at where the idea came from for his first feature film, the potency of the fear of possession, the unique haunting quality of the 8mm format, the role religion plays in horror storytelling, the challenges of shooting on 8mm and the particular (sometimes hilarious) learning experiences he went through, and the particular qualities Latinos bring to horror cinema. I am very happy with this spoiler-free episode, so I hope you will listen, share, and seek out the scares in 1974!

If you are near San Diego and able to find this podcast before March 19, 2017, you still have time to see it at the San Diego Latino Film Festival at AMC Fashion Valley! Click here for showtimes and tickets! In the far more likely chance that you are from out of town or found this podcast too late, then I hope you can get your hands on this film or see it at a theater near you soon!

And remember... If you are a filmmaker, we want to see your latest scares! Horrible Imaginings Film Festival is now accepting submissions! Submit today to the film festival Shant Hamassian, director of Night of the Slasher, says is "five stars across the board!" Horrible Imaginings Film Festival proudly accepts entries via FilmFreeway.com, the world's best online submission platform. FilmFreeway offers free HD online screeners, unlimited video storage, digital press kits, and more. Click below to submit with FilmFreeway.

Subscribe to the Horrible Imaginings Podcast right here. You can also listen here on Dread Central or on the Horrible Imaginings website. You can help keep the podcast, the film festival, and our horror community going for only $1 per month! Become a patron at our Patreon for exclusive content and perks! Find out about San Diego horror events on our FacebookTwitterInstagram, and YouTube pages, and always stay scared!

LISTEN TO THE EPISODE HERE:

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Horrible Imaginings Podcast #171: Horror from South of the Border! A conversation with two Mexican filmmakers.

Hi everyone! Tomorrow is the opening night of the 24th Annual San Diego Latino Film Festival! It will also mark the third year of Horrible Imaginings Film Festival partnering with them to bring the "Un Mundo Extraño" block of horror and fantastic cinema! This year promises to be our strongest showcase of dark films yet, and I am so excited to blast off with this tomorrow night! Just check out the trailer we put together:

Dark comedic madness with Argentine nudism fable Los Decentes, 8mm found footage possession terror with 1974depraved explorations of the absolute limits of human behavior with the not-for-the-faint-of-heart We Are the Flesh! This podcast episode includes interviews with the directors of Histeria, an exploration of the limits of human endurance, and Las Tinieblas (The Darkness), an atmospheric post-apocalyptic horror about the demons both within and without us! You can see the showtimes and dates for each film here!

First up in this podcast, Histeria director Carlos Meléndez talks about the different types of horror, the current rise of the genre from Mexico, the very real social unrest that gave birth to his film about good people taken over by rage, and more. Then, Las Tinieblas (The Darkness) director Daniel Castro Zimbrón joins the podcast to talk about how paintings and images have influenced his filmmaking, the fascination of horror, the importance of using monsters and fantastic films as metaphor, and his own take on the contributions of Latino cinema to the horror landscape.

Even if you don't live near San Diego, or can't make it to the festival, there are some very strong ideas from these awesome filmmakers in this podcast! Be sure to keep your eyes open for their films, and the other films on the program. If you are in San Diego, though, join us over the next 10 days for some incredible cinema! Conveniently, there is a $45 five-pack available! That gets you into all of the "Un Mundo Extraño" films for less than 10 bucks per movie! Don't fuck this up--get your five-pack today!

And remember! If you are a filmmaker, we want to see your latest scares! Horrible Imaginings Film Festival is now accepting submissions! Submit today to the film festival Shant Hamassian, director of Night of the Slasher, says is "five stars across the board!" Horrible Imaginings Film Festival proudly accepts entries via FilmFreeway.com, the world's best online submission platform. FilmFreeway offers free HD online screeners, unlimited video storage, digital press kits, and more. Click below to submit with FilmFreeway.

Subscribe to the Horrible Imaginings Podcast right here. You can also listen here on Dread Central or on the Horrible Imaginings website. You can help keep the podcast, the film festival, and our horror community going for only $1 per month! Become a patron at our Patreon for exclusive content and perks! Find out about San Diego horror events on our FacebookTwitterInstagram, and YouTube pages, and always stay scared!

LISTEN TO THE EPISODE HERE:

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Horrible Imaginings Podcast #168: Getting In Bed with Film Festivals! A Panel at San Diego Film Week.


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Have you ever wanted to take a peek behind the curtain of film festivals? If you are a filmmaker, have you thought about some of the things you should do to increase your chances of acceptance into festivals? Those questions and more are what this episode is all about. This was recorded live on Saturday, February 11th during our panel at the first San Diego Film Week, an event designed to spotlight San Diego-based filmmaking and film festivals. Horrible Imaginings was invited to showcase some of our program during the event, and we were also invited to join a panel. I was joined on stage by Beth Accomando of Cinema Junkie Podcast and my partner in crime in Film Geeks SD, as well as Brian Hu from Pacific Arts Movement's San Diego Asian Film Festival and Moises Esparza from Media Arts Center San Diego's San Diego Latino Film Festival.

I am excited about two things about this panel. One, this is information we can provide not just to panel attendees, but to any aspiring filmmakers or even film lovers in general who are curious about festivals. Making this a podcast was a no brainer. Two, our audience was comprised mostly of film students, many in high school, who genuinely want to learn more about this side of the film industry. I have to thank Jodi Cilley and San Diego Film Week for encouraging young people to attend events like this. They were engaged and, as you will hear in the podcast, asked some excellent questions! As an educator myself, this was pretty damn exciting.

The outline of tips (LOTS of details in the conversation!):

  • 1. Research festivals

  • 2. Make sure your film fits

  • 3. Prepare a press kit

  • 4. Take the time to step away from your film and come back to it with fresh eyes so you can make it the BEST it can be. Show it to a test audience!

  • 5. Rejection is an unfortunate part of the process--how to handle this difficult aspect

I hope you find this podcast informative and helpful! As always with live panels, we probably missed a lot so feel free to add your thoughts in the comments! Also, Horrible Imaginings Film Festival is now accepting submissions! We have been on Film Freeway's Top 100 Best Reviewed Film Festivals list for six months running now--don't miss joining the family!

Subscribe to the Horrible Imaginings Podcast right here. You can also listen here on Dread Central or on the Horrible Imaginings website. You can help keep the podcast, the film festival, and our horror community going for only $1 per month! Become a patron at our Patreon for exclusive content and perks! Find out about San Diego horror events on our FacebookTwitterInstagram, and YouTube, and always stay scared!

LISTEN TO THE EPISODE HERE:

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Monster Island Resort talks with "Las Mariposas de Sadourní" Director Darío Nardi


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I recently took a picture of a film playing on a theater screen at Ultra Star Cinemas in Hazard Center during the San Diego Latino Film Festival. It was part of the horror sidebar I programmed, known in the festival as "Un Mundo Extraño," or "The Strange World." When I posted the picture on Facebook, I gave it the following caption: "There are some films that make me proud to say I programmed them. Las Mariposas De Sadourní is one of them."

And it is true--the Argentinian-Italian co-production from first-time feature director Darío Nardi is a film I am genuinely excited about. Employing a visual style of ethereal hyper reality, Las Mariposas De Sadourní (Sadourní's Butterflies), tells the story of a circus dwarf named Sadourní who tries to re-build his life after serving a prison term for a crime of passion. After falling for a co-worker in the same studio that dubs the audio for pornos, Sadourní attempts to change his most defining physical trait--his size.

The world in Las Mariposas De Sadourní is filled with a cast of intriguing and eccentric characters who are just as colorful as the luscious images that make up the visual landscape of the film. The film's director Darío Nardi is very busy on his next project, but he took the time to talk to me about what I think is a genuinely ambitious piece of art. This interview was conducted in Spanish, which I translated to the best of my ability (my Spanish is not so good), but I will post the Spanish version at the end of this piece. Let me know if I messed up any of the translation! (Note: There is ONE more San Diego screening of this film on Wednesday, March 19th at 9:45 pm at Ultra Star Cinemas in Hazard Center! Do NOT miss it!)

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Monster Island Resort: I read that you spent years trying to tell the story of Sadourní. Where did the story come from, and why is it so important to you?

Darío Nardi: Many years ago, I started having recurrent dreams with the figure of a dwarf in conflict with his identity, a crisis of his constitution (physical and intellectual), someone a prisoner in his own body without the ability to grow. My brother was born with his left leg shorter than the right leg. Over the years his body was developing except for his left leg. It was a "Peter Pan Leg," not growing. During a holiday, as a child, I took a lizard by the tail, which came off the animal's body, which quickly escaped. Its tail was moving in my hand. My father told me then that some snakes have the ability to regenerate, and the fact that my brother did not have that ability mortified me. Many years after writing the script for Las Mariposas de Sadourní, I knew the dwarf’s story was mine and my brother’s. I was not interested just doing any film; I wanted to make "our" film. With such a personal story, which includes many mysteries even to those who wrote it is difficult to finance.

 

MIR: How difficult was finding a cast and crew who understood your unique vision for Las Mariposas de Sadourní?

DN: I was polishing the project during the entire time it took me to find the money, carefully selecting the locations and the actors. Most of them are not professional actors, but I have a good eye. For example, Volframio’s character is played by Osvaldo Delgado, whom I approached on the street and who had worked with Pedro Almodóvar!

MIR: The look of Las Mariposas de Sadourní is so exceptional, but it brings to mind the work of Fritz Lang, Jodorowsky, Buñuel and others. What filmmakers have inspired you artistically?

DN: My strongest influences are the directors of animated shorts: Piotr Dumala, Jan Svankmajer, the Quay Brothers, etc.

MIR: How does that unique look support the personal story you are trying to tell?

DN: The idea that every technical aspect was so carefully done has to do with the effect I longed to achieve: I wanted to make the viewer feel the same as the characters, that each of their movements has been provided, predetermined, and that everything has an oppressive order that the protagonist should reveal. This order is internal and reflected in the environment.

MIR: Las Mariposas de Sadourní is an extremely ambitious first film. What kind of previous experience have you had with filmmaking?

DN: I have done animated shorts, one of which had images that were filmed based on a musical piece by Verdi. That short worked as a precedent to the musical sequences found in Sadourní.

MIR: What were the hardest parts of filming and what effects were the most difficult to master?

DN: In the Prelude, Sadourní leaves the field through a manhole. The method of removal was to have a sturdy rugby player on whose shoulders stood Sadourní. The Rugby player was literally buried in a sewer. All the special effects were resolved on camera. There is not a single digital effect.

MIR: How did you get your actors to give such brilliant and eccentric performances?

DN: The actors came with very different backgrounds: Andrea Fiorino is actress, Medrano is a magician, Osvaldo Delgado is bodybuilder, Nicola Costantino is an artist. With each there was a personalized, specific job.

MIR: What movies did you see as a child?

DN: All Miyazaki (including his TV series), Hitchcock, Coppolla, Scorsese, Fellini (all Italian), Kubrick, then Landis, Cohen, etc.

MIR: What movies do you enjoy now?

DN: Hiroshi Teshigahara (The Face of Another), Franju (Eyes Without a Face), old movies.

MIR: Are there any movies that you feel are pushing the boundaries of filmmaking like Las Mariposas de Sadourní is?

DN: I love the spirit and the risk assumed by Jonathan Glazer with Under the Skin.

MIR: How are people responding to Las Mariposas de Sadourní, and how does it differ by country or by generation?

DN: The difference has been more generational than geographical. Most people have connected with the characters and the aesthetic treatment of the film. At the end of screenings, people ask me about details of the story, namely, the need to "clarify" every plot detail. The youngest audience members connected with "the world reflected in the film," the strangeness, the peculiarities of the film are welcome and celebrated. Some smiling questions ask for specific details, just to confirm that they were not random, but thoughtful. Of course in Las Mariposas de Sadourní nothing is arbitrary (not the black cat that happens, nor the letters reflecting light on the face of Volframio, nor design of the doors).

MIR: Would you make another movie this ambitious? Can you say what it is you are working on now?

DN: I'm working on The Clan of the Clone of the Clown, the strangest project, written in verse, which I hope to share with the San Diego Latino Film Festival just when it’s finished.

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Spanish Version:

He leído que usted pasó años tratando de contar la historia de Sadourni . ¿De dónde provienen de la historia y por qué es tan importante para ti ?

Hace muchísimos años empecé a soñar recurrentemente con la figura de un enano en conflicto con su identidad, en crisis con su constitución (física e intelectual), alguien preso en su propio cuerpo. Sin la posibilidad de crecer. Mi hermano nació con su pierna izquierda más corta que la derecha. Con el correr de los años su cuerpo se desarrollaba pero su pierna izquierda no. Era una “pierna Peter Pan”, no crecía. Durante unas vacaciones, siendo niño, tomé una lagartija por la cola, la cual se desprendió del cuerpo del animal que escapó velozmente. Su cola quedó moviéndose en mi mano. Mi padre me explicó entonces que algunos ofidios tienen la capacidad de regenerarse y el hecho de que mi hermano no tuviera esa capacidad me mortificaba. Muchos años después de escribir el guión de Sadourní supe que la historia del enano era la mía y la de mi hermano. No me interesaba hacer simplemente una película: quería hacer “la nuestra”. Y una historia tan personal, que reserva tantos misterios incluso para quien la ha escrito, es difícil de financiar.

 ¿Qué tan difícil fue encontrar un reparto y el equipo que entendió su visión única para Sadourni ?

Durante el tiempo que tardé en encontrar el dinero fui puliendo el proyecto: eligiendo cuidadosamente las locaciones y los actores. La mayoría son actores no profesionales, pero tengo buen ojo y, por ejemplo, el personaje de Volframio es interpretado por Osvaldo Delgado, a quien lo abordé en la calle y quien ya había trabajado con Almodóvar.

 El aspecto de Mariposas de Sadourni es tan excepcional , pero trae a la mente la obra de Fritz Lang, Jodorowski , Buñuel . Hizo su trabajo influyen directamente en usted ?

Mis influencias más poderosas son de directores de cortos de animación: Piotr Dumala, Jan Svankmajer, los hermanos Quay, etc.

 ¿Cómo afecta la apariencia de su ayuda la película cuenta la historia ?

La idea de que cada aspecto técnico estuviera tan cuidado tiene que ver con un efecto que quería lograr: hacer sentir al espectador lo mismo que el personaje: que cada uno de sus movimientos ha sido previsto, predeterminado, todo presenta un orden opresivo al que el protagonista debería revelarse. Tal orden es interno y reflejado en el entorno.

 Las Mariposas de Sadourni es extremadamente ambiciosa primera película. ¿Qué tipo de experiencia ha tenido con el cine antes de éste ?

Fueron cortos de animación y uno en las que las imágenes fueron filmadas en función de una pieza musical de Verdi: ese corto funcionó como un precedente de las secuencias musicales de Sadourní.

 ¿Cuáles fueron las partes más difíciles de rodaje y los efectos fueron los más difíciles ?

En el Preludio, Sadourní sale expulsado a través de una boca de alcantarilla. El método de expulsión fue un robusto jugador de rugby sobre cuyos hombros estaba parado Sadourní. El jugador de rugby estaba, literalmente, hundido en una cloaca. Todos los efectos especiales fueron resueltos en cámara. No hay una solo efecto digital.

 ¿Cómo llegó a sus actores para dar este tipo de actuaciones brillantes y excéntricos ?

Los actores venían con muy distintos backgrounds: Andrea Fiorino es actriz de teatro, Medrano es mago, Osvaldo Delgado es fisicoculturista, Nicola Costantino es artista plástica. Con cada uno hubo un trabajo personalizado, específico.

 ¿Qué películas ¿viste como un niño ?

Todo Miyazaki (incluso sus series de TV), Hitchcock, Coppolla, Scorsese, Fellini (todos los italianos), Kubrik, luego Landis, los Cohen, etc.

¿Qué películas ve usted ahora?

Hiroshi Teshigahara (The face of another), Franju (Eyes without a face), old movies.

¿Hay alguna película que usted crea que estén empujando las fronteras como si estuviera tratando de empujar con Sadourni ?

Me encanta el espíritu y el riesgo asumido por Jonathan Glazer con Under the Skin.

¿Cómo son las personas responden a Las Mariposas de Sadourni , y en qué se diferencia según el país o por la generación ?

La diferencia es más generacional que geográfica: los mayores conectan con los personajes y el tratamiento estético: al final de las proyecciones me preguntan sobre detalles de la historia, es decir, necesitan “aclarar” cada detalle argumental; los más jóvenes conectan con “el mundo que refleja la película”, la extrañeza, las particularidades del film son bienvenidos y festejados. Preguntan sonriendo por algunos detalles específicos, solo para confirmar que no fueron casuales sino pensados. Por supuesto que en Sadourní nada es casual (ni el gato negro que pasa, ni la luz que la carta refleja sobre el rostro de Volframio, ni el diseño de las puertas).

 ¿Quieres hacer otra película este ambicioso? ¿Me puede decir lo que está trabajando ahora?

Estoy trabajando en The clan of the clon of the clown, un proyecto rarísimo, escrito en verso, que espero compartir con el SDLFF apenas lo termine.