51 SITGES FILM FESTIVAL (2018)
“The year of Climax”
The level of the previous edition, the fifty ( golden anniversary), was very high, but high, because even with all this the Sitges Festival team has done it again. Captained in its visible part by its director, Angel Sala, and its deputy director Mike Hostench, the Catalan event once again had a program full of high quality and guests of authentic luxury. Although it seemed almost impossible to overcome the conglomerate of stars of the previous year, the names of Nicolas Cage, Ed Harris, M. Night Shyamalan, Peter Weir, John Carpenter, Tilda Swinton or Pam Grier speak for themselves.
In this fiftieth edition the last films of great filmmakers of this of the seventh art could be seen; Lars Von Trier and his magnificent “Jack’s house”, very close to being considered a masterpiece, Luca Guadagnino, daring and brilliant his “remake” (although we should rather consider it “reboot”) of “Suspiria” of the Italian master Dario Argento, that absolute genius that is Gaspar Noé with his “Climax”, in the end the great winner of the Official Section of this 51 edition, in addition to other names as powerful as; Pascal Laugier, Armando Bo II, Shinsuke Sato, Shinya Tsukamoto, Alice Rohrwacher, Panos Cosmatos, Jaime Osorio Marquez, David Robert Mitchell, Leigh Whannell, Claire Denis, Peter Strickland, Javier Ruiz Caldera or Takashi Miike, among some others and that only if We strictly talk about the nearly fifty films that formed the official section and those that were screened as out of competition. If we also count the rest of the sections, the list of names would be simply endless …
This is the magic of the Sitges Festival, numerous projections of authentic “jewels” of many carats that, unfortunately, many of them will go unpublished on the big screen of the cinemas, so it is an added value to be able to enjoy them as it really proceeds. During the month of October, this Catalan coastal town becomes the meeting point, and communion, of all its faithful followers (among whom we find ourselves unconditionally) that every year use this appointment to be able to enjoy the most during some wonderful , although tiring, days in which Sitges becomes the most important festival in the world of the fantastic genre to the delight of all attendees.
Another of the great virtues of this “fantastic” festival is knowing how to recognize every year the artistic career, as a tribute, of great figures of cinema and we do not refer exclusively to those that are directly linked to the genre of terror or fantasy, but to other important names of cinema in general, without entering labels or stereotypes of any kind. The honorees and winners of this year 2018 were: Peter Weir, Ed Harris, Nicolas Cage, Tilda Swinton, M.Night Shyamalan, Pam Grier, Josie Ho, Ron Perlman, Traci Lords and Helga Liné, nothing more to add, simply transmit our more unanimous applause and admiration.
After having seen 17 films, from different sections, for 6 days in all the venues of the festival, this is our summary of all the screenings, press conferences, meetings and experiences in general that we could enjoy, one more year, in Mecca of the fantastic world cinema that is the Sitges Film Festival.
Once we have collected our accreditations, including the bag and the official catalog of the contest, we begin our journey of marathon projections:
DILILI IN PARIS (2018) by Michel Ocelot
Almost impossible to begin our journey in Sitges better having been able to enjoy a little jewel like this, the French director Michel Ocelot mixes with masterfully successful animation with real scenes and also the plot of the film is set in the Paris of the “Belle Époque”, almost nothing . The protagonist, Dilili, is a young girl who has recently arrived in the French capital from New Caledonia who will be immersed in a series of mysterious kidnappings of young girls, during her investigation she will gradually find herself with mythical, and already immortal, historical figures of Late 19th and early 20th centuries. We speak of very important names such as: Toulouse-Lautrec, Picasso, Renoir, Modigliani, Debussy, Degas, Monet, Rodin, Alexandre Gustave Eiffel, Marie Curie, Matisse, Sarah Bernhardt, Pasteur or Santos Dumont, among others.
I understand that after this description, everyone can get a good idea of the wonderful animated film that is this “Dilili in Paris”, not only for its impeccable technical invoice, its endearing protagonist, the unreal and fantastic plot (by the way quite current) or its setting on the screen, but also because it is a tribute to a golden age of history and culture that can also serve in a very didactic way for new generations. Of forced viewing, not in vain he won the César Award for Best Animated Film of the Year. Especially recommended.
GASPAR NOÉ’S PRESS CONFERENCE
The “terrible boy” of French and world cinema, although proudly Argentine, came to present Sitges his latest, and lysergic, madness called “Climax”. I have to admit that Gaspar Noé is one of my favorite directors, films like; “Meat” (1991), “Irreversible” (2002), “Enter the Void” (2009) or “Love 3D” (which could be “enjoyed” in a special section of the early morning, with three-dimensional glasses included, in the edition of Sitges of 2015), they serve as a presentation. Many consider him a provocative madman and many more what he really is in my opinion, a genius.
In the press conference he gave us a good sample of his art, his ingenuity and his overwhelming logic; Although “Climax” prays in his slogan as “a purely French film” according to him, it could have been shot anywhere in the world, curious at least. He also commented that it was a film that was shot very fast and, again, with non-professional actors, most of them dancers by profession, except for the case of Sofia Boutella that we could discover with Tom Cruise in “La Mummy” (2017 ).
Also noteworthy, although it was not in this press conference, that when he received the Méliès de Oro Award for Best European Fantastic Film during the festival, he said that perhaps that award should have been more deservedly won by Lars Von Trier for His magnificent film, calling this Argentine genius based in France humble, is perhaps falling too short. He also showed his admiration for Spanish cinema and specifically for the figures of Luis Buñuel and Narciso Ibáñez Serrador.
ASHER (2018) by Michael Caton-Jones
In this film the New York actor Ron Perlman acts not only as the main actor but also as a producer. This “Asher” a priori didn’t seem like it was going to be a big deal, maybe the plot might seem a bit trite; A former member of MOSSAD has become a hired killer and lives discreetly in Brooklyn, suddenly a job that goes wrong, breaks his unwavering professional code and from there he has to try to end the man he was and now He doesn’t want to be anymore.
This synopsis can sound to us, right? Yes, above all, to “The professional (Leon)” (1994) by Luc Besson, but it turns out that what at first seems to be a film that will sound like many others, becomes a film full of humor black with anthological dialogues, such as when the protagonist has an intimate conversation with Famke Janssen. With good times and an open end to interpretations and, at least, striking, this intelligent thriller directed by Michael Caton-Jones was one of the pleasant unexpected surprises within the Orbit section. Not surprisingly, this feature film was signed by the distributor A Contracorriente to be distributed in our country.
CLARA (2018) by Akash Sherman
North American film of a very strong indie character that has a premise that is less curious; a young astronomer becomes obsessed with seeking life beyond our planet in the cosmos, suddenly, he meets a young girl who will mysteriously enter his life, little by little, the protagonist will begin to find clue of what may be the greatest discovery in the history of mankind, will this mysterious young newcomer have something to do?
The plot is quite good, striking and the truth is that the actors Patrick J. Adams and Troian Avery Bellisario do it frankly well, especially, in relation to their sentimental relationship, there is true chemistry between them, but then we face a I want and I can not, mainly, due to lack of budget. It is not that it can be said that it is not a good film but perhaps its almost two-hour footage makes the rhythm of history decline to scandalous limits. Maybe a resolution of the film in a shorter and more concise way could have got us to face one of those many treasures that are discovered every year at the Sitges Festival. A shame.
ZOO (2018) by Antonio Tublen
Curious Danish film that tells the story of a marriage that is in crisis, also for greater complication it turns out that in the streets, they are half voluntarily locked in their home, the zombie apocalypse has exploded, who gives more? As it turns out that another couple who has also found themselves in the midst of this zombie pandemic, including the unforgettable Belgian actor Jan Bijvoet in his role of “Borgman” winning film of the Official Section of the 2013 festival, will ask them to stay in their home with them, to say something, from this point everything will start to twist …
The idea is not bad, and innovating a bit on a theme as and as manida as this of the walking dead is the least appreciated but, of course, then you have to know how to take the story further and although the film has good times, little little by little it is diluted reaching the final part in a very deflated way, a shame. The best of the movie, the fun minutes that interprets what will always be our particular “Borgman”.
PIERCING (2018) by Nicolas Pesce
Based on a Murakami novel, this film becomes in turn a tribute to the giallo, takes up in its score major themes of mythical soundtracks such as “Deep Red” (1975) or “The Red Lady Kills Seven Times” (1972 ) among some others, and to the surrealist cinema itself. The film tells us how the protagonist Reed (Christopher Abbott) has a plan: he wants to go to a hotel, call a prostitute and then kill her but so that she does not know what is happening. Before carrying out the plan, he rehearses it again and again in his mind and in the future crime scene in a very methodical way. Everything seems to go as planned until he meets Jackie (Mia Wasikowska), the prostitute who goes to his hotel room and then, unexpectedly, will occur as a strange mortal communion between the two that will reach dreamlike extremes near the madness.
Personally for me this was one of the great jewels of the contest and I would have loved it to be one of the possible covers at the time of the final winners, unfortunately, it was not so but, without a doubt, we are facing a great film full of moments surreal, direct tributes to the films of the genre giallo through its soundtrack and very powerful interpretations. A real joy.
BLACK TIDE (FLEUVE NOIR) (2018) by Érick Zonca
Undoubtedly, the French know how to make good action movies and thrillers of excellent invoice, this is a good example of this, it is also true that having a casting like this; Vincent Cassel, Romain Duris or Sandrine Kiberlain makes things easier. An alcoholic police inspector, brilliantly played by Cassel, is responsible for the sudden disappearance of a boy, in addition his own family is totally unstructured, his son is immersed in the world of drugs and does not know how to recover so much from that underworld as on a personal level.
The tormented protagonist of the film will meet the strange father of the lost boy, a bizarre professor of literature that hides more than it seems, Duris’s great interpretation, from there the thing will begin to degenerate, in the broad sense of the word , more and more and more … Great police thriller, the interpretation of the Cassel-Duris duo is praiseworthy, even the way of the protagonist of “Irrreversible” is twisted as his own character. Breakthrough end and, not surprising, but very well directed by Erick Zonca. A very good film that, unfortunately, has not found (for now) distribution in Spain.
NICOLAS CAGE’S PRESS CONFERENCE
We could say that he is the nephew of director Francis Ford Coppola and actress Talia Shire, grandson of composer Carmine Coppola, cousin of Roman Coppola, Sofia Coppola and Jason Schwartzman or ex-husband of Patricia Arquette and Lisa Marie Presley, but only with Quote his name, Nicolas Cage, no more presentation is needed. It really impresses listening and being able to be so close to this atrocious blue-eyed look so penetrating. Just winner of the Academy Oscar as best lead actor for “Leaving Las Vegas” (1995) who came to Sitges, as a real star, to present his latest film “Mandy” by Panos Cosmatos, the son of the late George Pan Cosmatos, Also present at the press conference.
His personality and charisma impressed everyone present in the room, in addition to having enough black humor to comment that he enjoys seeing many of those memes that are created every day with the different faces of his face. He also commented with great momentum as he improvised in a sequence of “Mandy” giving the spotlight to his spotted shirt, simply great. Great admirer of James Dean, he knew that he wanted to devote himself to cinema after watching his films, and inveterate cinephile who left a great impression on all those who could attend this press conference.
Nicolas Cage, a Hollywood star from which they still shine, distant but polite and with much charisma. Hollywood Movie Star made by Coppola in Sitges.
RON PERLMAN’S PRESS CONFERENCE
Following the press conference of Nicolas Cage, and already in “petit committee”, the actor born in New York and linked in his beginnings to the filmographies of Jean-Jacques Annaud and Guillermo del Toro came to present his last film in the who has served as producer and protagonist, the thriller “Asher”.
In addition, this New Yorker of such pronounced and recognizable factions, without forgetting that he is a great and versatile actor, was also present in Sitges because he was awarded the “Time Machine” award. In his thank-you speech, he did not hesitate to recognize the Sitges Festival and his faithful audience as an inspiration for his work.
Before the question of a journalist who commented in the press conference that he had read that he had dedicated himself to the world of cinema due to the Quasimodo character of Notre Dame, as it appears in the video above, Ron Perlman commented jokingly, that Nicolas Cage was inspired by James Dean and he in a character closer to his physique. Appearance but fun character. Great actor and awesome in person.
LIFE AFTER FLASH (2017) by Lisa Downs
We started the afternoon with this long-awaited documentary about the figure of Sam J. Jones, the Flash Gordon of the 1980 film directed by Mike Hodges based on the comic by Alex Raymond. A real wonder essential not only for the followers of “Flash Gordon”, but also for those of Dino de Laurentiis, the mythical British rock band Queen, Richard O’Brien (creator of “The Rocky Horror Picture Show”) and, Of course, from Sam J Jones.
Since 1980, the name of Sam J. Jones has been associated with that of Flash Gordon. This impeccable documentary explores the consequences of becoming an icon of popular culture. After the confrontation with Dino de Laurentiis, a bad enemy with whom to fight, he fell into the ostracism of Hollywood and the consequences not only affected this actor born in Chicago of almost 2 meters high, but also his own family. The director also, with great success, does not focus exclusively on the figure of the protagonist of this documentary but also investigates the previously named, Queen, Dino de Laurentiis or the different members of the original cast of the cult film of the early eighty. Excellent documentary that hopefully will be released in theaters someday.
ELIZABETH HARVEST (2018) by Sebastian Gutierrez
The truth is that I did not have high expectations a priori to see this review of the classic myth of “Bluebeard”, but the truth is that once the film started you find something different, it is true that the story of the husband who collects and kills his women is there but the director, Sebastian Gutierrez, gives an intelligent twist that takes us into the world of genetics and clones.
Elizabeth Harvest, the protagonist of this science fiction story, brilliantly interpreted by Abbey Lee that we could discover in Nicolas Winding Refn’s “The Neon Demon” (2016), is not an ordinary woman and will not remain meekly waiting at home for her Enigmatic husband played by Ciaran Hinds, prolific and veteran British actor.
Sincerely, the plot twist of the story is very well taken and it is appreciated that the Venezuelan filmmaker does not fall into a remake of a story that has already been told many times, the pity is that in the final part of the film tends to Repeat a bit and, in addition, the pace becomes a bit slow, nor does the fact that the film exceeds the 90-minute footage that might have been more than enough to give this story more dynamism help me too much. Interesting but not complete.
CLIMAX (2018) by Gaspar Noé
This new “madness” of Gaspar Noé is set, in theory, in the 90s, a clue to this may be the videotapes that appear at the beginning of the film of mythical films like “An Andalusian dog” (1929) by Luis Buñuel , “The Possession” (1981) by Andrzej Zulawski, “Suspiria” (1977) by Dario Argento or “Querelle” (1982) by Rainer Werner Fassbinder. But the truth is that this lysergic story could be perfectly set in a more current era. The beginning of the film is a masterful 7-minute flat sequence perfectly choreographed with Cerrone’s “Supernature” seventies music, then little by little the Argentine filmmaker begins to show us all the characters, again he repeats except with an exception with actors non-professionals, to take us to a dreary, wild, full of violence outcome (as is usual in most of his films) that the truth is that it ends up leaving us in a very bad body.
The truth is that he does not hesitate to incorporate even the plot the character of a small child, who in the world of cinema is usually thought to be “untouchable” but, of course, Gaspar Noé is Gaspar Noé. Even so, with all this, in my humble opinion it gives me the sensation that at the end of the film it has been a bit restrained for what is usually habitual in its cinema, that does not imply that we are before a great film but years ago it remains that end, as an example, so crude and direct of “Irreversible” or that rape so wild by “Tenia” in the same movie.
This film, in a more than justified way, has devastated with different awards in many other festivals, among others, such as in the Directors’ Fortnight of Cannes, the Méliès de Oro Award for Best European Fantastic Film or, in the end, the prize to the best film of the Official Section of this 51 edition of the Sitges Film Festival. Amazing and lysergic that shows the undeniable talent and class that this visionary filmmaker has. The truth that this film has everything, or you love or hate it as with all the filmography of this Argentine genius based in France. Hallucinogenic story full of violence, sequence shots, disco music, dance and choreography with great talent, “l’enfant terrible” has attacked again. Essential.
UNDER THE SILVER LAKER (2018) by David Robert Mitchell
The protagonist of this film, Sam (Andrew Garfild), lives in an apartment in an urbanization on the outskirts of Los Angeles, is an actor who does not find work and does not seem to have anything better to do than walk and discover every corner of the Los Angeles city. Suddenly, in her life she will cross a mysterious very sexy neighbor played by Riley Keough (young actress, granddaughter of Elvis Prestley) that mysteriously will disappear overnight, from there her life will never be the same. A whole world and underworld, never better, underground and hidden will be shown with surprising outcome…
Magisterial and attractive at times although full of different nuances and interpretations. A surreal journey deep into the hells of the city of Los Angeles, Hollywood is dead and nothing is as it seems. Feature film bright, although somewhat irregular bill, which also reminds of other titles of great directors of the past. In summary: David Lynch “Mulholland Drive” + Paul Thomas Anderson “Pure Vice” + BSO “Grim Fandango” + LA = “Under the Silver Lake” by David Robert Mitchell, the director of “It Follows”. Movie that will not leave anyone indifferent, or you like it, or you don’t understand it, or it bores you, or you hate it, it’s that simple.
THE NIGHT COMES FOR US (2018) by Timo Tjahjanto
Most of the important awards in the world of cinema are usually for more or less well-known films, of a certain commercial route, mainly of dramatic themes, sometimes a comedy or a thriller sneaks in and rarely a film of fantastic genre. I comment on all this because this feature film by Indonesian director Timo Tjahjanto should be awarded as the best film, I mean it seriously, in a newly created custom category (it will be called as it will be called) due to its incredible and absolutely spectacular fight choreographies . Not surprisingly, that’s why the Netflix platform has distributed it worldwide, and that is not exactly a Disney movie, there is blood, action and dead to give and give.
The story tells us the life of Ito, a thug (in addition to an excellent fighter) who worked for the mafia, unexpectedly he will have to protect a young woman who will make him face his former criminal gang in a violent and anthological battle to the death in the streets from Jakarta.
As a sample of what we are talking about, the final battle between the protagonist and his antagonist is simply anthological, the final sequence of the cutter is something that will be stored in the retina for anyone who sees this adrenaline and magnificent film. Highly recommended and unexpectedly for those who write, the best we have seen throughout the festival.
GALVESTON (2018) by Mélanie Laurent
Based on a novel by the creator of “True Detective,” this film directed by French actress Mélanie Laurent, which many of us remember in her role as “Damn Bastards” (2009) by Quentin Tarantino, is a regular bill thriller that although It has very good intentions and a fairly powerful principle, perhaps it sins in recreating itself excessively, the slow-motion ending is pretentious and practically unreal. You can not say that it is a bad movie but certainly not a round movie.
Roy Cady, a hired killer from New Orleans (interpreted remarkably by Ben Foster), has been diagnosed with terminal cancer at the age of 40. In one of his works he will find a lost young woman, in every way, (Elle Fanning) who will give a new meaning to his existence, all this in the middle of a desperate escape to try to escape from his past. It should be noted that the two protagonists perform their characters very well, it shows that talent they have and a lot, now, as I said before, a film can not only be based on good actors, not even in a flashy script a priori, it has to there is much more and everything has to work, or so it should be, like a good gear. Unfortunately, this is not the case.
BLACK FLOWERS (2018) by Martin Gooch
In the near future, there is no longer any kind of energy, the existing society has become primitive, in this extreme reality a series of characters survive in the middle of this post-apocalyptic world.
And this is all that can be told of this authentic bodio with capital letters, this film, without a doubt, is unworthy not only of being in the Fantastic Panorama section but in any section of the contest. I really do not understand what he does in a festival as prestigious and important worldwide as Sitges. Best of all, Martin Scorsese’s daughter has been linked in the production of the film, see to believe. The worst we have seen in many years at Sitges Festival.
ARCTIC (2018) by Joe Penna
Survival in the Arctic can be almost impossible, if we add to this a plane crash in which there are two survivors and one of them quite battered, because the thing is that it looks pretty bad. In the midst of a white and snowy immensity is the survivor Mads Mikkelsen who has learned to survive fighting the cold, storms, predators and also manages to find food for his survival and that of his rugged companion.
We are facing a brilliant bill thriller in which all the plot weight of the film falls on one of the best actors in the world, and I say it very loudly, the records that this Danish actor gets in each of his performances, whatever be the theme of their films, they are frankly admirable and commendable. Any other actor would not give the type nor would have been as up to it as Mikkelsen does in this Icelandic production. The continuous presence on the screen of the Danish actor throughout the footage does nothing but show us how much talent a true actor can treasure without even having the need to articulate any words. A true “tour de force” of one of the best living actors on the planet, Mads Mikkelsen. Of the best of the Orbit section of this year. Highly recommended.
THE HOUSE THAT JACK BUILT (2018) by Lars von Trier
The action takes place in the USA in the 1970s. We follow Jack for a period of 12 years, discovering the murders that will mark his evolution as a serial killer. The story is lived from the point of view of Jack, who believes that each of his murders is a work of art in itself. Spend at 10: 45h in the morning on a Monday and full to the flag, not even a pin has been fitted, no creditor of the contest worth his salt has lost this visual show of two and a half hours. I have never liked Lars Von Trier’s cinema except for his opera cousin “Europe”, I have always felt very bad, pretentious, pedantic, egotistical and somewhat crazy but I must admit that from “Nymphomaniac” I admire his cinema. Very FASCINATED with this house of Jack that I must recognize that it is very close, at least in my personal opinion, to be considered a masterpiece. Without a doubt, the BEST of the whole festival, a shocking film in all aspects, too bad it was out of competition.
POSSUM (2018) by Matthew Holness
After returning to his childhood home, a disgraced child puppeteer is forced to face his stepfather and the secrets that have plagued him throughout his life. This can only happen in Sitges and it is the magic of this wonderful festival; marathon at dawn and come to present the second film (3am) “The Ranger”, the director, protagonist and producer, and the third (5am) “Dementia Part II”, the directors, the actor and the producer. The best of all that the three films are ONLY PROJECTED IN THE SESSIONS OF MADRUGADA, that is, Sitges is so important and has so much international prestige that the film teams do not care to cross the ocean to present a film that is projected at 3 in the morning and another at 5 in the morning. This does not happen at any other festival in the world, without a doubt.
THE NIGHTSHIFTER (2018) by Dennison Ramalho
Stênio works on the morgue night shift of a large and violent city. During his difficult hours, he is never alone, since he is endowed with the paranormal ability to speak with the dead. However, when the confidences he hears from the other side reveal the secrets of his own life, Stênio unleashes a curse that attracts danger and death too close to him and his family. A simply groundbreaking script and a brilliant realization for a tight budget. Imagination to the power.
GREG NICOTERO’S PRESS CONFERENCE
Interesting press conference of Greg Nicotero, the producer, director and creator of the makeup and special effects of my favorite series “The Walking Dead”, for which he has come to Sigtes to present his ninth season. In addition to a 35-year career in the world of film and television with such important titles as: “Zombie” (1985), “Predator” (1987), “Terrorically Dead” (1987), “Diabolical Attraction” (1988) , “Misery” (1990), “Pulp Fiction” (1994), “Open until dawn” (1996), “Boogie Nights” (1997), “The Green Mile” (1999), “Mulholland Drive” (2001) , “Kill Bill 1-2″ (2004), “Casino Royale” (2006), “Breaking Bad” (2011) or “The Hateful Eight” (2015), among many others. A great television and cinema who is also a very close and nice guy.
51 PRIZE WINNERS
Secció Oficial Fantàstic Sitges 51
Best feature lengthfilm: CLIMAX, de Gaspar Noé
Special Jury Award: LAZZARO FELICE, d’Alice Rohrwacher
Special mention: L’HEURE DE LA SORTIE, de Sébastien Marnier
Best director: Panos Cosmatos, per MANDY
Best actress (sponsored by Mistinguett): Andrea Riseborough, per NANCY
Best actor: Hasan Ma’jun, per PIG
Best screeplay (sponsored by CaixaBank / Obra Social ‘la Caixa’): Quentin Dupieux, per AU POSTE!
Best special effects (sponsored by Slate): Atsushi Doi, per INUYASHIKI
Best cinematography: Panjar Kumar, per TUMBBAD
Best original music: Chu Ishikawa, per KILLING
Grand Audience Award (sponsored by La Vanguardia): UPGRADE (ILIMITADO)
Audience Award Panorama Fantàstic: MONSTRUM
Audience Award Sitges Documenta: GOODBYE RINGO
Best shortfilm (sponsored by Fotogramas): POST MORTEM MARY, de Joshua Long
Best feature lenth film Noves Visions: DESENTERRANDO SAD HILL, de Guillermo de Oliveira
Best director: Philip Groning, per MY BROTHER’S NAME IS ROBERT AND HE IS AND IDIOT
Best shortfilm Noves Visions: DEER BOY, de Katarzyna Gondek
Special mention: DOMESTIK, d’Adam Sedlák
Special mention for best actress: Jessie Buckley, per BEAST
Special mention: CHERNOBYL, 1986, de Toni Comas
Best feature length film: MUERE, MONSTRUO, MUERE, d’Alejandro Fadel
Silver Méliès Award for Best feature length film: FUGUE, d’Agnieszka Smoczynska
Silver Méliès Award for best shortfilm: THE DEATH OF DON QUIXOTE, de Miguel Faus
TUMBBAD, de Rahi Anil Barve, Anand Gandhi Lee An-kyu
Special mention: MAY THE DEVIL TAKE YOU, de Timo Tjahjanto
Best feature length film: MIRAI, de Mamoru Hosoda
Special mention feature length film: TITO E OS PÁSSAROS, de Gustavo Steimberg, Gabriel Bitar, André Catoto
Best shortfilm: THE WHEEL TURNS, de Sang Joon Kim
Special mention shortfilm: UNTRAVEL, d’Ana Nedljkovi, Nikola Majdak Jr.
Best feature length film: AMERICAN ANIMALS, de Bart Layton
Special mention: FLEUVE NOIR, d’Erick Zonca
Best feature length film: MAQUIA: WHEN THE PROMISED FLOWER BLOOMS, de Mari Okada
Best feature length film: MAY THE DEVIL TAKE YOU, de Timo Tjahjanto
Premi Brigadoon Paul Naschy
BAGHEAD, d’Alberto Corredor
Jurat de la crítica
Jose Luis Guarner Critics’ Jury Award: LAZZARO FELICE, d’Alice Rohrwacher
Citizen Kane Award for best new director: DOMESTIK, d’Adam Sedlák
Special mention: UNDER THE SILVER LAKE, de David Robert Mitchel
Slatix Sitges Cocoon
Best virtual realty film (sponsored by Slatix): DEERBROOK, de Grayson Moore, Aidan Shipley, John Riera, Connor Illsley
Premis SGAE Nova Autoria
Best director: JAURÍA, de Gemma Blasco
Best screenplay: Aleix Abulí, per CIUTAT I SELVA
Best original music: Natasha Arizu, per DOT
Jurat Carnet Jove
Best feature length film Jove Jury: LAZZARO FELICE, d’Alice Rohrwacher