We present the series of odd films of the 38th edition of the Molins de Rei Horror Film Festival 2019, wich will be held next November 8th to 17th, at the Sala Gotica of Molins de Rei with free access.
Here we are with the five films that make the selection for this second film mini-cycle at La Gòtica. They are not mainstream films; rather, they have often been forgotten and excluded as mere oddities. And we, with our sickly yearning for recovering and showing everything that standard trends, with their conventional paralysis do not hesitate to hide, value them worth for a few restless spirits who are gaily labelled as nerds by the mainstream purist gurus.
Be as it may, they are rarities in a multi-dimensional sense: in all of them, protagonists are outsiders, weird, eccentric and, once more, dropped out of the norm by those who consider them weirdos if not just freaks. To some extent, these characters are like the films they are in: they stay off the beaten tracks, and are driven by their marginality to become some kind of odd-balls; unfortunately, they sometimes deserve it.
Five low budget films that, one more time, show that money or the lack of it does not make a piece of art better or worse; moreover, credibility and enjoyment remain budget independent. Two films of this selection have had a remake with updated and much better special FX as well as bigger budgets, but with far worse results that make us think that they relied on that excess of inessential means to obtain some relevance.
(Ted Post, 1973)
This is a misleading and hard to classify film from start to end and keeps a consistent narrative rhythm with an in-crescendo progression that can easily unsettle present time audiences.
(Robin Hardy, 1973)
A creepy, dark and sickly plot with paganism — incarnated in magnificent Christopher Lee as Lord Summerisle –, and christianism — with excellent Edward Woodward as beatific Sargent Howie.
(George A. Romero, 1978)
Martin is an odd experiment, unique within Romero’s filmography. Definitely, risk lovers will enjoy watching it with its preference for suggestion over direct action.
(Daniel Mann, 1971)
This low cost production gets its best profits from Daniel Mann’s powerful and effective direction and the outstanding performances by young Bruce Davison, unforgettable Elsa Lanchester and a superb Ernest Borgnine.
(John Parker, 1955)
Fascinating and upsetting with a photography that takes us to Edgar G. Ulmer’s low cost noir cinema, German expressionism and Buñuel and Dali’s surrealism (very adequate for this year’s edition of the festival).
For reasons that escape our will, interesting and relevant films such as Angst (Gerald Kargl 1983) and A Meia Noite Levarei Sua Alma (José Mojica Marins 1964) have fallen out of our program. Perhaps some other day.