TerrorMolins Timeline:

Festival de Cine de Terror de Molins de Rei

2002
October 19

IXX Edition

Edición IX
Short films exhibition and the 12 Hours Horror Marathon get together in a weekend with a new format in Molins de Rei.
2001
October 27

XVIII Edition 12 Hours Horror Marathon

Edición XVIII
In 2001 the 12 Hours move to October, abandoning summer forever since.
October 26

XVIII Edition 1st Short Film Exhibition

Edición XVIII 1a Muestra de cortometrajes
In 2001 the 12 Hours celebrate their 1st Short Film Exhibition.
1993
July 1

XVII Edition

Edición XVII
After a three years pause the 12 Hours return under the name of Molins de Rei 12 Hours Fantastic and Horror Marathon.
1989
July 1

XVI Edition

Edición XVI
The performance for the 1989 12 Hours Horror Marathon were unforgettable.
1988
July 2

XV Edition

Edición XV
Hellraiser was one of the films at the 1988 Molins de Rei 12 Hours Horror Marathon.
1987
July 10

XIV Edition

Edición XIV
That year we offered around 7am a breakfast of "sangonada" in a edition of the 12 Hours that extended its duration until nex day's noon.
1986
July 5

XIII Edition

Edición XIII
In 1986 we screened films like A nightmare on en Elm Street, Fright Night or Re-animator.
1985
July 6

XII Edition

Edición XII
In that edition the 12 Hours have to overcome a similar cinema event celebrated few days before.
1984
July 30

XI Edition

Edición XI
Edition with projections at the Cine Club, at Foment and also at the Cine Joventut.
January 2

The 12 Hours go private

The 12 Hours go private
DerkoFilms takes over the 12 Hours Horror Marathon.
1983
July 8

X Edition

Edición X
The year of the controversial obituary used to promote the Festival.
1982
July 3

IX Edition

Edición IX
Full ticket for 1982 Molins 12 Hours Horror Marathon.
1981
July 4

VIII Edition

Edición VIII
That year the 12 Hours Marathon was held not only at Cine Joventut but also at Sala Versalles.
1980
July 5

Edition VII

Edition VII
That 1980 edition of the Molins Horror Film Festival was held the 5th of July at 10 p.m. at Cine Joventut and the tickets could be bought at Estanco Margarit.
1979
June 30

VI Edition

Edición VI
Ticket for Molins 12 Hour Horror Marathon 1979. That edition is rememberred for its chainsaw performance.
1978
July 1

Edition V

Edición VI
The 16 hours become what they are today, a 12 Hours Horror Marathon.
1976
July 3

Edition IV

Edición IV
16 Horas de Cine de Terror.
1974
July 7
1973
July 7

First Edition

Primera edición
In 1973 what today we know as TerrorMolins begins with the first 16 Hours Horror Marathon.

 
 

The beginning

MolinsLogo

THE «HORROR MARATHON» STARTED OUT IN 1973, THE OLDEST ONE ALL OVER SPAIN. IT WAS AN EMBRYO STAGE OF THE HORROR MOVIE FESTIVAL WE KNOW TODAY.

 
Back in 1973, the local film club were chewing over the way of getting some extra income that helped them to improve their rock-bottom financial estate. They surprised everybody with a fully breaking idea that, even today, more than forty years later, is still alive and kicking with a big success. The first «Horror Movie Marathon» across the country was being born. In the first two years, it consisted of 16 hours of genre cinema; after the third edition it became the now classical «Molins de Rei 12 Hours of Horror Movies». Since then, the «12 Hores» have turned into the Festival that we know today.

1973, the birth of a notion. The new age of horror.

In 1973 there was a re-birth of the genre of horror in the cinematographic industry, materialized in William Friedkin’s The Exorcist. The great commercial success of the film brought about an intense follow-up of devilish sequels and sub-products. It was the start of a new dimension of cinema full of sensationalism within the horror genre which showed up in an unstoppable increase of the sadistic boast and a decay of the old ellipsis that the old censorship codes had imposed, which were ruled out in order to protect the competition of cinema against television. Dare I say that Polanski was the last one who, in 1968, within that generic new language, used the classic idea of suggesting rather than showing the devilish baby-child at the end of Rose Mary’s Baby. The brilliant Polanski knew that the imagination of the audience can be more disturbing than raw reality. At this point, as an exercise of cinematographic expertise, we can compare Polanski’s non-present devilish baby-child with the purulent and extensively shown protagonist girl exhibited by Friedkin in The Exorcist to measure the new horror cinema that started to crowd the screens at the beginning of a golden era, the 70’s.

Joan Domènech, 28-06-2007, Molins de Rei.
President of Cine Club Hal 2002

Source: AVED Produccions web page.