The Festival Book · tastic Film Festival of Catalonia was held from 9 to 18 October 2015 and was a...

48th INTERNATIONAL FANTASTIC FILM FESTIVAL OF CATALONIA SITGES 20151

The Festival Book


Index

IntroducingThe Festival ........................................................................................... 72015 Award Winners .................................................9

PersonalitiesTalentHonorary Awards .............................................................................15Facts & Figures .......................................................................................18Venues ......................................................................................................................................................21AuditoriEl Retiro CinemaCasino PradoTramuntana RoomBrigadoon ZoneFNAC Zone L’Hort de Can FalçMovistar+ ZoneHotel Avenida SofiaMaricel PalaceMiramar BuildingSant Sebastià BeachSitges Marina

Parallel Events ............................................................................. 25Sitges Zombie WalkSitges CampusSitges PitchboxSitges Blood Red CarpetSitges Coming SoonMaster Classes and ConferencesSide Events

Exhibits ............................................................................................................................. 26Off-Festival Activities ................................. 27PremieresPresentationsShort film screenings

Communication ................................................................... 29Media Outlet Impact Press Releases

Festival TargetsOur Audience ............................................................................................................. 33

Sponsors &Collaborators ....................................................................................... 35Festival Opportunities ........................... 37

SITGES 2015 48th INTERNATIONAL FANTASTIC FILM FESTIVAL OF CATALONIA4

NumbersFilms And Spectators


The 48th Sitges International Fan-tastic Film Festival of Catalonia was held from 9 to 18 October 2015 and was a big hit among audiences and critics, achieving a new record of box office earnings and mass traffic in its areas and venues.

The advertising leit motiv was the 20th anniversary of the film “Seven” by David Fincher, the turning point for the psycho-thriller

genre. This was the concept that inspired the Festival’s image this year for the event’s advertising and communication, as well as the official book of the 2015 Sitges IFFFC, “Seven. Los pecados de David Fincher” (Seven. David Fincher’s Sins). In addition, the Festival’s audiovisual pieces and commercial spots as well as the Sitges Zombie Walk also revolved around this leit motiv.

In numbers, we can say that 250 screenings slots were programmed during the 10 days of the Festi-val, at four different paying movies theaters and 5 free access venues. All together there were 250 feature length films and 100 short films in 25 languages. In the in-competition categories, the number of films was reduced to a dozen, helping to ra-tionalize the schedule in comparison to last year.

IntroducingThe FestivalSITGES 2015-INTERNATIONAL FANTASTIC FILM FESTIVAL OF CATALONIA

48th EDITION


2015 Award Winners

OFFICIAL FANTàSTIC SITGES 48 SELECTION

Best Film Award: THE INVITATION, by Karyn Kusama.

Best Actress Award: Pili Groyne, for LE TOUT NOUVEAU TESTAMENT

Special Jury Award: THE FINAL GIRLS, by Todd Strauss-Schulson

Best Actor Award: Joel Edgerton, for THE GIFT

Best Director Award: S. Craig Zahler, for BONE TOMAHAWK

Best Screenplay Award: M. A. Fortin, Joshua John Miller for THE FINAL GIRLS, by Todd Strauss-Schulson


Best Short Film Award: THEY WILL ALL DIE IN SPACE, by Javier Chillon.

BONE TOMAHAWK, by S. Craig Zahler

Stephen Fingleton, for THE SURVIVALIST

TURBO KID, by Anouk Whissell, François Simard, Yoann-Karl Whissell

Audience Award: I AM A HERO, by Shinsuke Sato

JOSé LUIS GUARNER AWARD

CITIzEN KANE AWARD FOR BEST NEWCOMER DIRECTOR

CARNET JOVE YOUNG JURY AWARD FOR BEST FEATURE FILM

Best Special Effects Award: Makoto Kamiya for I AM A HERO, by Shinsu-ke Sato

Best Cinematography Award: Pawel Flis for DEMON, by Marcin Wrona

Best Music Award: Jean-Philippe Bernier, Jean-Nicolas Leupi, Le Matos for TURBO KID, by Anouk Whissell, François Simard, Yoann-Karl Whissell


Best Long Feature Films Award: SPL2: A TIME FOR CONSEQUENCES, by Soi Cheang

Best Panorama Documenta Film Award: LOST SOUL - THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR.MOREU, by David Gregory

Best Director Award: John Maclean, for SLOW WEST

Special Jury Award: THE TAKING OF TIGER MOUNTAIN, by Tsui Hark

OFFICIAL FANTàSTIC ÒRBITA SELECTION

PANORAMA FANTàSTIC

Best Long Feature Films Award: VETERAN, by Ryoo Seung-wan

FOCUS àSIA


Best Director Award: John Maclean,

Best Long Feature Films Award:



Best Feature Film Award: MISS HOKUSAI, by Keiichi Hara

Best Short Film Award: VOLTAIRE, by Jan Snoekx

Short Film special mention: THE ORCHESTRA, by Mikey Hill

ANIMA’T

Best Noves Visions One Feature Film Award: ANOMALISA, by Charlie Kaufman, Duke Johnson

Best Noves Visions Plus Feature Film Award: ANABEL, by Antonio Trashorras

Ex-aequo:FORMAS DE JUGAR, by Gemma Blasco

Special mention: LOVEMILLA, by Teemu Nikki

Noves Visions One Special mention: MEN & CHICKEN, by Anders Thomas Jensen

Best Noves Visions Short Film Award: DISCO INFERNO, by Alice Waddington

NOVES VISIONS


Best Blood Window Feature Film Award: LOS PARECIDOS, by Isaac Ezban

Sitges Cine365 Film Award: CARADECABALLO, by Marc Martínez Jordan

Ex-aequo: zERO, by David Victori

Best Long Feature Films Award: BOUND TO VENGEANCE, by José Manuel Cravioto

Best European Feature Film S.O.F. Sitges 48 Award:LE TOUT NOUVEAU TESTAMENT, by Jaco Van Dormael

Best European Short Film S.O.F. Sitges 48 Award: GRAFFITI, by Lluís Quílez

Best Brigadoon - Paul Naschy Short Film Award: CARADECABALLO, by Marc Martínez Jordan

Best Short Film Award: BLACKOUT, by Sylvain Certain

MIDNIGHT X-TREME MéLIèS D’ARGENT

BLOOD WINDOW BRIGADOON PHONETASTIC

SITGES CINE365 FILM


PersonalitiesTalentHonorary Awards

Born in Copenhagen in 1970 and raised in New York. His first feature length film was Pusher (96), which would lead to a trilogy completed by Pusher II (04) and Pusher III (05). Movies like Bleeder (99), Fear X (03), Bronson (08) and Valhalla Rising (09) made him a cult filmmaker with a re-fined and, at the same time, abstract approach to the most extreme genre cinema. His participation in the of-ficial selection at Cannes with Drive (11) catapulted him to the front line of contemporary filmmakers, win-ning the award for best director at the French festival. After releasing Only God Forgives in 2013, he’s now preparing The Neon Demon for next year.

Born in Toyokawa in 1960. He began his poetic activity as a teen, and dur-ing his college years he shot his first 8mm movies. In 1985 he released the experimental medium-length film I Am Sion Sono!, and in 1990 he shot his debut feature length film in 16mm, Bicycle Sighs, premiering at the Ber-linale. He made a name for himself on the international scene with Suicide Club (01), displaying a macabre, ec-centric sensitivity, the hallmark of an unclassifiable filmography that has offered us crowning moments like the astonishing four-hour-long Love Ex-posure (08), the disturbing Cold Fish (10), the flesh and blood portrayal of post-Fukushima Japan in Himizu (11) and the outrageously funny Why Don’t You Play in Hell? (13).

Master of special makeup effects, when he began his career his men-tor was trailblazer Dick Smith. He worked on films like The Exorcist (73) and Live and Let Die (73), as well as the prestigious TV movie The Auto-biography of Miss Jane Pittman, for which he won an Emmy. His recog-nition would come with An Ameri-can Werewolf in London (81), which won him the first of his seven Oscars for best makeup, the year this cat-egory was created. His filmography includes films like Gremlins (84), Gremlins 2: The New Batch (90), Men in Black (97), How the Grinch Stole Christmas (00) or The Wolfman (10). His star on the Hollywood Walk of Fame was inaugurated in 2012.

NICOLAS WINDING REFN SION SONO RICK BAKER


Born in Buenos Aires, she began to model when she was eighteen. Sometime later, she left Argentina headed for Italy, where she contin-ued her work on the catwalks. While vacationing in Spain, she ran into Hugo Ferrer, who helped her debut in film in Sol de Verano (63), directed by Julio Buch, where she shared the screen with Arturo Fernández. It was the start of a meteoric career during which she worked with important directors like Jesús Franco, Jacin-to Molina, Sergio Corbucci, Terence Young, Fernando Fernán Gómez or Luis García Berlanga. Her filmog-raphy includes films like Franken-stein’s Bloody Terror (68), Kiss Me Monster (69), Count Dracula’s Great Love (73) and La Escopeta Nacional (78).

New York, 1946. Holder of an ex-tensive track record including some of the most iconic and controver-sial works in recent decades. He achieved recognition after writing Midnight Express (78), directed by Alan Parker, for which he won the Oscar for best adapted screenplay. Years later, he also won Academy Awards for best director for Platoon (86) and Born on the Fourth of July (89); movies that reflected the great significance the experience of serv-ing in the Vietnam War had on his biography. His filmography also in-cludes titles like Wall Street (87), JFK (91) or Natural Born Killers (94). His most recent work is the monumen-tal documentary series The Untold History of the United States, which questions the official, jingoistic in-terpretation that the United States always makes of its own history.

ROSANNA YANNIOLIVER STONE

Born in Bristol in 1935, the British actor is known for his interpretation of Darth Vader in the original Star Wars saga, filmed between 1977 and 1983. The actor visited the Festival to speak about the original docu-mentary he stars in, I am your father (Panorama Documenta), a Catalan co-production, directed by Toni Bes-tard and Marcos Cabotà, which tells the story of Prowse’s personal ad-venture in the original trilogy of the legendary galactic saga. It was pre-cisely thanks to his special contribu-tion to a phenomenon in the history of the fantastic genre like Star Wars that today, David Prowse received the Honorary Maria Award from the Festival

DAVE PROWSE


Born in Poland in 1940, he grew up between Warsaw and Paris, following in the footsteps of his father, a diplo-mat and poet. He studied film in the French capital and took his first steps as Andrzej Wajda’s assistant director. His debut film, The Third Part of the Night (71), was extremely well-re-ceived and was the first step in a fil-mography full of destructive passions and fierce poetic meaning, bringing him closer to the fantastic genre in films like Possession (81), On the Sil-ver Globe (88) or Szamanka (96). Also among his most important works are The Most Important Thing: Love (75) and My Nights Are More Beautiful Than Your Days (89).

Born in Colwyn Bay, Wales, in 1942. While studying medieval history at Oxford he met Michael Palin, who would wind up being one of his part-ners in crime in Monty Python. They would go on to revolutionize the TV scene through the absurd humor of Monty Python’s Flying Circus, con-sidered a media highpoint. When the Python crew made the big leap to cin-ema, Jones took charge of directing all of their films: Monty Python and the Holy Grail (75), Life of Brian (79) and The Meaning of Life (83). After the group broke up, he made the films Personal Services (87), Eric the Viking (89), The Wind in the Willows (96) and recently, Absolutely Anything (15). He has also written different screenplays and books, both novels as well as studies on the medieval era.

One of the most famous and charis-matic names in Hong Kong cinema, he began his career as a model, but in the seventies he ventured into the world of television. In 1987, he made the big leap to cinema, participating in the film Osmanthus Alley, to lat-er be discovered internationally with Full Contact (92). He has starred in some of Johnnie To’s best movies, like PTU: Police Tactic Unit (03), Election (05), Election 2 (06) or Exiled (06), and in 2003 he debuted in Hol-lywood with Lara Croft Tomb Raider: The Cradle of Life. In 2013 he direct-ed an episode of the group film Tales from the Dark - 1 and he is currently preparing his first feature length as a director.

ANDRzEJ zULAWSKI TERRY JONESSIMON YAM


Facts & Figures

An almost unanimous evaluation of the high level of quality of the projects from the Official Fantàstic Selection, Official Òrbita Selection, Noves Visions, Panorama, Anima’t and Midnight X-treme sections.

A clear increase in attendance in the in-competition categories and press screenings made possible by the new Tramuntana Room, located in the Hotel Meliá and converted into a movie theater.

Massive attendance at the new ven-ues with parallel lineups like the Movistar+ Zone (horror movies and TV series); the Hotel Avinguda Sofia

(TV series), L’Hort de Can Falç (lineup for the whole family), as well as the Maricel Palace, that focused its line-up on the series Game of Thrones.

Highlight the Festival’s commit-ment to genre films produced in Catalonia. Although this year’s opening didn’t feature a Catalan film, a Catalan co-production did kick off the Noves Visions Section (La Novia) and other films produced or co-pro-duced by Catalan companies enjoyed the prominence they deserved. Some of the most outstanding among them were Second Origin, by Carles Por-ta,The Corpse of Anna Fritz (directed by Hèctor Hernández Vicens), and

Summer Camp by Beto Marini. The German film Victoria” (starring ac-tress Laia Costa), despite not being a Catalan production, was another example of the excellent moment of the impact of Catalan talent beyond our borders.

Sitges continues to have a strong presence of films directed by women, highlighting top quality gen-re films like the closing itself, Into the Forest by Patricia Ronzema, or the Festival’s winner, The Invitation, by American director Karyn Kusama.

The return to Sitges, with new and stimulating works, of directors dis-


covered by national audiences like Sean Byrne (The Devil’s Candy), Eli Roth (Knock, Knock), Jaco van Dor-mael (Brand New Testament) and Lee Sang-ho (Speed).

The incorporation of excellent hor-ror genre films from countries that are starting to transcend in this field like Israel, Malaysia, India, Peru and Turkey.

Consolidation of the cross section Blood Window, dedicated to the emergence of genre cinema in Latin American filmmaking.

The impact among the Festival’s most active fans of the Panorama section’s lineup, clearly aimed at independent horror cinema. For the second year in a row, its award was decided on by popular vote.

The confirmation, yet another year, of the importance of the Noves Vi-sions section as a platform for the most transgressive and artistically valuable productions, which includ-ed some of the films most highly regarded by audiences and critics, separated for the first time into One and Plus, respectively either films by acclaimed directors (Lucile Hadzi-halilovic, Sabu, Andrej Zulawski, Mi-chael Almereyda, Shinya Tsukamoto, Takeshi Kitano, Sion Sono), or works by new filmmakers like Akiz, Han Jun-hee or Antonio Trashorras.

The consolidation of Serial Sitges, as an extraordinary window into gen-re TV, reinforced for the second year with the support of Canal+, and with its lineup divided up between the Tramuntana Room, the Hotel Aveni-da Sofia and the Maricel Palace.

The increasingly more important reception of the Sitges Family brand with genre film projects aimed at ed-ucating our younger audience’s eye with films like the preview of Sec-ond Origin, or Mune, le gardien de la Lune.

The excellent reception of the Festi-val’s side activities (master classes, book presentations, etc ...), some of them with epic guests like directors Nicolas Winding Refn, Oliver Stone and Takashi Miike.

Precisely this year, a very careful management of guest expenses was conducted, combining big names with local Catalan and Spanish tal-ent, with Laia Costa and Santiago Segura as two of the most famous faces, backed by a healthy procession of actors and actresses the first year of our new Blood Red Carpet event.

The important window to the cre-ation of trends that is Brigadoon, a section that is increasingly more in-dispensable to fulfill the Festival’s strategic objectives, and which even includes its very own European and worldwide premieres.

The Festival in numbersAbove all, it is important to high-light the excellent acceptance of the two new venues, the Tra-muntana Room and the Movis-tar+ zone. These wagers have far exceeded any attendance fore-cast becoming, as of now, essen-tial to the Festival’s development in future years.

The results of ticket sales at the recent Festival are also a new record, with a turnover exceeding last year’s by over 100,000€ and more than 65,000 tickets sold.

The commitment to Sitges Pitchbox and the Sitges Campus was right on the money. Both events where highly successful in terms of attendance and will be expanded as of this year’s Fes-tival. The same can be said for Sitges Coming Soon. All of these events have made and will con-tinue make the Sitges Festival even more of a benchmark for the international industry.

The Festival’s technical image (image and sound), continue to boost our prestige. Even so, some improvements to the Retiro and Prado cinema facilities will be necessary.


AUDITORI

With a seating capacity for 1,384 spectators, it is one of the largest in South Europe. It is fitted out with modern film screening technologies, including a new generation screen.

Venues

EL RETIRO CINEMA

This emblematic Festival venue was its headquarters for many years and is located in the center of town. It was completely renovated just re-cently. With a seating capacity for 600 spectators, it holds from three to five daily screenings during the

Festival from sections like Panora-ma, Midnight Xtreme and tributes. It is equipped with a new 35 mm pro-jector for 1,33-1,66-1,85-Scope for-mats and with Dolby Stereo sound. The town center’s box offices are lo-cated in the El Retiro gardens.

The opening and closing ceremo-nies are held here and from five to seven daily Official Selection screen-ings and special gala ceremonies during the Festival. It is equipped

with 35 and 70 mm projectors for 1,33-1,66-1,85-Scope formats. In addition, as well as with Dolby Ste-reo, Dolby SRD, DTS and Dolby SDDS sound.

CASINO PRADO

Another emblematic venue that houses different Festival sections, like Noves Visions, Anima’t, Seven Chanc-es and special marathons. It has a seating capacity of 450 and a 35 mm projector for 1,33-1,66-1,85-Scope formats and is equipped with Dolby Stereo sound.


TRAMUNTANA ROOM

A new cinema venue within the Ho-tel Melia facilities, equipped with film material, a 640 x 343 screen and a capacity for 400 people. It houses press screenings as well as Official Selection screenings, master class-es and events like Sitges Coming Soon.

BRIGADOON zONE

The Noucentista building that was once the old Sitges abattoir, built in 1920 by Josep Maria Martino, is a multipurpose cultural space since it was renovated in 1991. It houses and exhibits some of the elements from Sitges’ traditional festival her-itage and, during the Festival, it be-comes the Brigadoon movie theater, presenting an intense ten day line-up with this section’s characteristic hallmark. During the Festival it also offers bar service.

FNAC zONE

Located in front of the Auditori, the FNAC tent is an area intended for book presentations. With a seating capacity for 50 people.

L’HORT DE CAN FALç

A hidden and cozy corner in the heart of Sitges where you can enjoy a pleasant enclosed garden. It hosts several al fresco cinema screenings during the Festival, focusing on ani-mation and family audiences.

MOVISTAR+ zONE

Located at La Fragata beach, with a capacity for 200 people and 600 square meters. It held, among other things, the great zombie marathon on the first Saturday of the Festival, series, events and unreleased film screenings.

HOTEL AVENIDA SOFIA

A new venue just a few meters from the town’s seafront boulevard. It held screenings from the Serial Sitges section, dedicated to TV series.

MARICEL PALACE

The Maricel Palace is one of Sitges’ historic buildings. It is integrated into the Maricel artistic and mon-umental ensemble. It holds exhibi-tions and complementary activities. The Gold Room, the Blue Room, the Chapel Room, the Ship’s Room, Ter-races or the Cloister – from where there is a splendid view over the Mediterranean - are the main areas that make up the Palace. This year it was used as the headquarters for a special event for the TV Series Game of Thrones.

MIRAMAR BUILDING

The Miramar building is a neoclas-sical style building located between the historic center and the area of San Sebastián that holds other types of cultural activities. This year, like the last 6 years, it was the starting line for the zombie Walk.

SANT SEBASTIà BEACH

This emblematic beach, that con-nects the town center to Balmins and Aiguadolç, is the stage for all the merchandise stands and stands belonging to companies selling movie material and gadgets during the Festival. On Friday 12, starting at noon, it also houses the makeup rooms for the Zombie Walk, which parades through the streets of the town center in the evening to finish later on Primer de Maig Street.

El Retiro Cinema

Maricel Palace

Brigadoon zone

Sant Sebastià

Beach

L’Hort de Can Falç

Movistar+zone

Hotel AvenidaSofia

Auditori

FNAC zone

Tramuntana RoomCasino Prado

Miramar Building


SITGES BLOOD RED CARPET

An initiative to promote acting tal-ent where a group of actors and ac-tresses have been selected, all char-acterized by a strong track record and who are ideal candidates for projects of international importance.

SITGES zOMBIE WALK

Now with eight years behind it, the expedition of the undead continues making progress towards success, with a multitudinous presence of thousands of people last year and an exclusive guest: Rick Baker, winner of 7 Academy Awards for his work in the field of special effects and make-up.

SITGES CAMPUS

Since 2015, the Sitges Festival offers students a thematic course on fan-tastic cinema with classes taught by directors of worldwide prestige, ac-companied by university professors and critics specializing in this area.

SITGES PITCHBOX

A networking tool for accredit-ed professionals offering feature length genre projects an opportunity to make a pitch to producers.

Parallel EventsOrganized at different Festival venues, these events are based on feature length and short film screenings, exhibitions, book and publishing company presentations, panel discussions or talks with guests, giving the Festival more energy.

SITGES COMING SOON

Trailers, teasers and featurettes of Catalan, Spanish and Latin Ameri-can films produced and premiering in 2016, presented by their creators. The format is a 120 minute event in the Tramuntana Room.

MASTER CLASSES AND CONFERENCES

Encounters with the audience, both front rank personalities invited by the Festival and professionals from the film and audiovisual sector.

SITGES 2015 48 FESTIVAL INTERNACIONAL DE CINEMA FANTÀSTIC DE CATALUNYA26

Exhibits

Jacques Monory, born in Paris in 1924, is one of the great fi gures of contemporary art. His artistic career is inextricably linked to Narrative Fig-uration as well as to the group of art-ists who, in 1964, became known to the public in Paris at the Mythologies quotidiennes exhibition. This group

constitutes the heart of the Stämpfl i Foundation’s collection and Jacques Monory is one of its essential fi gures.

His pictorial career, which began back in the 1950’s in the 20th cen-tury, is inseparably associated with photography and cinema. All of his

EXHIBIT

DOSSIER SINCLAIR: THE ART OF VICENTE BALLESTAR

EXHIBIT

JACQUES MONORY, MON CINéMA

Blue Room at the Maricel Palace

Stämpfl i Foundation– Contemporary Art Museum

This year, the Festival presents the work of illustrator Vicente B. Ball-estar (1929-2014), one of the cre-ators of the dark pulp and realistic supernatural genres which rocketed him to fame with the covers of Ghost-hunter John Sinclair, the western G. F. Unger and the world of Professor Zamorra, pulp magazines from the

decades of the 70’s, 80’s and 90’s.

The exhibition consists of 45 original gouache illustrations that the artist had stored in the attic of his home for over 30 years. The artist’s images combine the everyday reality of the times with the supernatural world of human beings, monsters and ma-

chines with a style that’s charac-terized by dynamic movement, chi-aroscuros, facial expressions and ambiences in dangerous, mysteri-ous settings.

Ballestar depicts this dark, evil uni-verse in his covers, and his draw-ings are dramatic and theatrical il-lustrations of heroes that transport viewers directly to the world of the imaginary. With his interpretation of light, Ballestar creates loud pop aes-thetics with a sinister darkness that had only been found previously in the legendary movies by Roger Corman, based on Edgar Allan Poe stories and starring Vincent Price, where horror met up with Technicolor.

work is strongly rooted in emotional life lessons, experiences and his per-sonal history, making use of images from previous work with camera in hand, so that each painting amounts to a still from some very long, greatly autobiographical footage.

The blue atmosphere that his images are immersed in makes up his first and most distinguishing hallmark. Monory’s blue, a color made and patented by the artist himself, takes us back to the cinematic method known as “American night”, a blue filter that movies were shot with to simulate a night scene. On the other hand, in many of his paintings Monory sets and combines the im-age of one or several scenes, leaving their narrative fiction in the air, at the disposal of the spectator’s gaze and imagination. And so they become large postcards of a sort, sent from dreams or from some remote corner of the artist’s memory.

On different occasions, Monory has referred to blue as the color of his dreams and, at the same time, as a protective barrier constructed be-fore his fear of violence that, par-adoxically, is constantly present in his paintings. It is a violence that is closely related to American mystery B movies and treated with a marked oneiric tone; dreams where person-al experiences and obsessions are combined and where Monory himself is featured in some of the scenes, highlighting the autobiographical character of all his work even more. The color blue imbues it with an en-igmatic, nocturnal atmosphere that combines coldness and distance from a technical point of view with a vital and existential thematic im-plication.

Jean-François Lyotard, the post-modern philosopher, and a friend of Monory with whom he has collabo-rated on various occasions, speaks of death and the machine as the two important underlying themes in the artist’s work. The revolver and weap-ons, American cars from the 50’s to the 70’s, bullet holes and, inevitably, the female figure, are constant dra-matic elements in his paintings.

This exhibition is installed in Room 2 with an interesting peculiarity. A small format, four hand piece from 1989 made by Jacques Monory and Peter Stämpfli on the occasion of a joint exhibition at the Abbaye des Cordeliers in Châteauroux and that is on loan especially for this exhibi-tion. It is a piece that is highly repre-sentative of the close, uninterrupted friendship between these two artists since the 1960’s and that is the back-drop for this great exhibition.

On display in the Foundation’s Rooms 2 and 3 are a group of works made between 1968 and 2012. They belong to different series like Voiture de rêve, Baiser, Noir et bleu or Ro-man-Photo, among others.

It is important to point out a very spe-cial piece: Ex-, his first short film. Shot in 1968 with his close friend, publisher Robert Delpire, the film is an essential reference among his work. Visitors can see it screened in Room 3. Ex- anticipates much of his subsequent career, starting with the blue filter that Jacques Monory uses to color the world all of his work in-habits since the 1960’s and until to-day.

Exhibition curated by Ferran Martín-ez Sancho.

PREMIERES

Premieres of new fantastic cin-ema films backed by the Sitges Festival and presented by their art directors.

PRESENTATIONS

Presentations for the general public and press of fantastic books and films in a panel discussion or conference format.

SHORT FILM SCREENINGS

Summer screenings of select short films from different Festival sections and presented by their artistic directors.

Off-Festival Activities


Communication

Media Outlet Impact

Press releases and callsFor Sitges 2015, a total of 47 press releases were sent out (4 more than in 2014), 34 before the Festival start-ed, 12 during the Festival and 1 after the Festival. As for press calls, we sent out 6 (one more than the pre-vious year):

• Sitges 2015 poster presentation and Sitges preview press confer-ence (18/03/2015)

• Sitges 2015 lineup premiere press conference (02/07/2015)

• Breakfast with the Madrid Press (08/07/2015)

• Àngel Sala conversation with fans about Sitges 2015 (16/07/2015)

• Sitges 2015 presentation press conference in Madrid (15/09/2015)

• Sitges 2015 lineup press confer-ence (01/10/2015)

DISTRIBUTION: Currently, press re-leases reach a total of 6,001 journal-ists (443 more than in 2014).

2,055 receive it in Catalan, while 3,439 get it in Spanish and 507 in English.

This year there were 56. Last year there were 43 and the Communica-tion Plan was to do 45.

The data analysis was done by the Kantar Media agency and includes the number of Festival spectators and news items until 1 December. Not all of the media outlets appear and the international arena includes some media outlets from the United States, Great Britain and France dur-ing the months of October.

InTErnET

82%InTErnET

69%TV

49%

PrESS

49%PrESS

13%PrESS

25% InTErnET30%TV4%TV

4%rAdIO

2%

rAdIO

2%

rAdIO

7%

references12.840

Audience1,244,005,700

news items12,829

Overall total references 12,840

Audience 1,244,005,700news items 12,829


Press Conferences

Photo Calls

• The Witch • Gas Natural Fenosa • La Novia• Summer Camp • Knock Knock • Vulcania • Baskin • Sion Sono • Rick Baker • The Corpse of Anna Fritz• Minotauro Award• Victoria • Yakuza Apocalypse: The Great

War of the Underworld• The Devil’s Candy • Into the Forest • Awards

• Martyrs – Jardí Meliá• Segon Origen – Jardí Meliá• The Maidroid – Jardí Meliá• The Witch – Mirador• Opening party – Port d’Aiguadolç• Blind Sun – Jardí Meliá• La novia – Mirador • Le tout nouveau testament –

Mirador• Rick Baker (Time Machine Award

winner) – Mirador• What We Become – Mirador • Summer Camp – Mirador • Turbo Kid – Mirador• Absolutely Anything – Mirador• Haruko’s Paranormal Laboratory

– Mirador • Nicolas Winding Refn (Time Ma-

chine Award Winner) – Mirador• Knock Knock – Mirador• Les revenants – Port d’Aiguadolç• Simon Yam (Honorary Maria

Award winner) – Jardí Meliá• Francesca – Jardí Meliá• Anabel – Jardí Meliá• Vulcania – Mirador • Baskin – Jardí Meliá• We Are Still Here – Mirador • Oliver Stone (Grand Honorary

Award winner) - Mirador • Sion Sono (Time Machine Award

winner) –Mirador• Rosanna Yanni (Nosferatu award

winner)– Jardí Meliá

• The Invitation – Mirador• Love 3D – Mirador • The Corpse of Anna Fritz – Mira-

dor• I am Your Father – Mirador• The Hallow – Mirador• Endorphine – Mirador • Bone Tomahawk – Mirador • Frankenstein – Mirador• Sacramento – Jardí Meliá • Minotauro Award – Mirador • The Final Girls – Mirador• Cop Car – Mirador• Der Nachtmahr – Jardí Meliá• Untamable Spirit Award – Casa

Bacardí• Lace Crater – Jardí Meliá• The Boy – Mirador • Ludo – Mirador • Victoria – Mirador• Yakuza Apocalypse: The Great

War of the Underworld – Mirador• Green Room – Mirador• The Survivalist – Mirador• The Devil’s Candy – Mirador• Smoke and Mirrors: The Story of

Tom Savini – Jardí Meliá • Angelica – Jardí Meliá• Into the Forest – Mirador• Evolution – Jardí Meliá• The Thief and the Cobbler – Jardí

Meliá

1

2

2

3

3

4

1

4


The Press in numbers Total accredited journalists: 665Broken down into:Graphic Press: 65Written Press B: 370Written Press A: 230

By media type:Radio: 79TV: 111Online: 163Agencies: 40Newspapers: 53Magazines: 85Blogs: 102Others :11

Promo MaterialPrograms: 50,000 copiesPostcards: 6,000 copiesExhibition postcards: 4,000 copies in 10 different modelsA4 Posters: 400 copiesA3 Posters: 1,000 copiesZombie Walk Posters: 1,000 copiesZombie Walk Flyers: 20,000 copiesAnima’t postcards: 4,000 copiesBrigadoon postcards: 4,000 copiesBrigadoon leafl ets: 8,000 copiesSitges Family Flyers: 3,000 copiesRenfe Flyers: 10,000 copiesIn addition to this material, it is important to also point out the publication of the Festival catalogue and the two offi cial books: Seven, los pecados de David Fincher and Taboada.

Website & numbersNumber of pages viewed: 3,555,696Sessions: 605,331Users: 334,834Data from 1 January to 31 Decem-ber 2015.

Social networks And numbersFacebook Fans: 60,525Twitter Followers: 47,527Instagram Followers: 4,040Pages viewed on YouTube (cumula-tive): 394,121 (Subscribers: 1,129)

newsletters10,046 subscribers

Newsletter contents: A recap of all sorts of interesting information about the Festival, from the latest developments in the lineup and general news to contests on social networks or encounters with fans. This year they were also used as an incentive for ticket and pass sales.

Newsletter frequency: Regular mail-ings on Friday, but supplemented with specifi c mailings (according to needs) other days of the week. Daily mailing during the Festival.

All together, we sent out 39 news-letters, 27 before the Festival, 11 during the Festival and 1 following the Festival.

Advertising AgreementsMedia outlets where the Sitges 2015 advertising campaign was conducted.

daily PressLa Vanguardia

PressCineinformeScifi worldFotogramasDirigido porViceHobby ConsolasCinemaníaComputer HoyPanenkaMongoliaSo FilmAcademia del Cine

radioCatalunya RàdioRàdio FlaixbackRàdio Flaix FM

TVTV3Movistar+

WebsitesNació DigitalAullidosVisit Sitgeslavanguardia.comBlisstopicFilmaffi nityCineAsia

CinemasVerdiCinesaPhenomena

Illuminated AdsGrupo MainTMB

ROSANNA YANNIVa néixer a Buenos Aires i va començar

com a model als divuit anys. Un temps

més tard, va abandonar l’Argentina rumb

a Itàlia, on va prosseguir el seu treball a

les passarel·les. En unes vacances a

Espanya, va conèixer Hugo Ferrer, que la

va fer debutar al cinema a Sol de verano

(63), de Julio Buch, en què compartia la

pantalla amb Arturo Fernández. Va ser

l’inici d’una carrera meteòrica, en la qual

va treballar amb autors de la talla de

Jesús Franco, Jacinto Molina, Sergio

Corbucci, Terence Young, Fernando

Fernán Gómez o Luis García Berlanga. La

seva filmografia inclou títols com La

marca del hombre lobo (68), Bésame,

monstruo (69), El gran amor del Conde

Drácula (73) i L’escopeta nacional (78).

Organitza

Col·laboren

C

M

Y

CM

MY

CY

CMY

K


Festival TargetsOur audience

Core target between 20 and 45 years old, 58% Men and 42% Wom-en. Used to participating in cultural events, leisure consumption and the exchange of film, music and comic contents. Multimedia technology and videogame users.

Spectators trained in new techno-logical formats, who participate in the creation of contents and opinion forums. Related to the videogame world.

Loyal audience that is regarded as a community and that enjoys the Fes-tival as a collective experience unlike any other in the world. The Festival is the essential date on the calen-dar and everything that happens

there is experienced from the con-text of a FAN. They participate ac-tively in film screenings, side events and unique activities like the Sitges Zombie Walk.

National and international VIP guests who attend Festival in asso-ciation with a film or on the occasion of tributes, special screenings or as jury members.

Students and teachers from film and audiovisual communication centers and universities.

School and family audiences at the Sitges Schools and Sitges Family screenings.

International producers and dis-tributors presenting their films, planning the relationship with the Festival’s media resources for pro-motional strategies.

Festival sponsoring and collaborat-ing companies, outstanding in differ-ent sectors related to consumption and culture.

National and international institu-tions represented through their cul-tural, economic or company depart-ments.


Sponsors & CollaboratorsWhy sponsor the Sitges Film Fes-tival? Because brands must always concentrate on what makes them stronger. And the Festival has always been clear about its commitment to a cinema that adds unconditional fans year after year. It is not an ordinary audience. They are people who ex-perience and devour everything the Festival does and that feel close to the collaborators who make it pos-sible. This historic commitment to authenticity has made the Festival the undisputed worldwide genre benchmark. That is why sponsor-ing the Sitges Film Festival means joining forces. A mutual influence between the Festival that has tested the boundaries of imagination and fantasy more and better than any other and the brands that make it a reality year after year.

Being present in Sitges is also a unique opportunity to dare to try out imaginative sponsorship solutions, to go way beyond with ideas that can rely on the amplifying effect of media outlets eager for catchy stories. And most importantly: Sitges has be-come, after 48 years, a truly global brand with a potential for expansion that goes beyond the geographic and time limits of the Festival itself.

Now, more than ever, committing to fantastic cinema is a guarantee of visibility, of remembrance, of affin-ity. For brands to get the message across to fans from all over the world that, if they are backing this unique Festival, it’s because they believe in it as much as its followers.

RAFA ANTóNCreative Director for the Festival and co-founder of

the CHINA MADRID advertising agency


Festival OpportunitiesGold SponsorFestival’s Main Sponsor

Silver Sponsor• Night Sponsor: Opening and

Closing Galas, Red Carpet, VIP Room

• Auditori Sponsor: Decoration on the 1,300 seats in the Main Theater. Spot during screening.

• Section Sponsor: Section + Award among the Official Award Winners

Bronze Sponsor• Official Vehicle/Official Airline

Sponsor • Sitges Forum Sponsor• Tribute Award Sponsor• Daily Making Of Sponsor

Sitges Vip & Business• Custom stays for groups. • Accommodations, catering and

Auditori screenings.

Focus Sponsor• Sitges Zombie Walk Sponsor• Sitges Schools / Sitges Family

Sponsor• Marathon Sponsor• Award Winners Press Conference

Sponsor• Diplomatic Sponsor • Welcome Pack Sponsor

Sponsor And Collaborator Categories

si tgesf i lmfest ival .com

SITGESFest ival Internacional de Cinema Fantàst ic de Catalunya

Sant Honora t , 32-3408870 S i tges (Barce lona)

Phone: +34 93 894 99 90 · +34 671 552 188

The Festival Book · tastic Film Festival of Catalonia was held from 9 to 18 October 2015 and was a...

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