‘They Will Be Dust,’ ‘Black Dog’ and ‘The New Years’ Headline Impressive Valladolid Program

As a seasoned film critic with over three decades of experience under my belt, I must say that this year’s Valladolid International Film Festival promises to be a treasure trove for cinephiles like myself. The diverse lineup is a testament to the richness and vitality of global cinema today.

This autumn marks the 69th occurrence of the Valladolid International Film Festival, Seminci. The event is scheduled to run from October 18th through the 26th.

To get ready, we’ve combed through the festival guide and picked out ten exceptional films that you certainly don’t want to skip at this year’s Semicni. Here’s why each one is a can’t-miss opportunity for this year’s event.

“They Will Be Dust,” Carlos Marques-Marcet (Spain)

Kicking off this year’s festival is “They Will Be Dust,” a Toronto Platform award-winning film by Carlos Marques-Marcet. This poignant musical tells the story of a woman who learns she has a terminal illness and decides to travel to Switzerland to end her life, with her partner of 40 years, Flavio, by her side. Festival organizers commend the movie as “an unexpected tribute to life itself and the unwavering love of those who journey with us.

“Vermiglio,” Maura Delpero (Italy, France, Belgium)

In the contest for Italy’s entry to the upcoming International Feature Oscar, “Vermiglio,” directed by Maura Delpero and winning the Silver Lion Grand Jury Prize at the Venice Film Festival, is an intimate epic. The film unfolds in a village nestled within the Italian Alps towards the end of World War II, where the presence of a soldier stirs tension among three sisters. After its premiere in Venice, it was screened in Toronto. Now, it will make its Spanish debut at Seminci.

“Stranger Eyes,” Yeo Siew Hua (Singapur, Taiwan, France, U.S.)

In Venice, the captivating series “Stranger Eyes” begins three months after a couple’s two-year-old daughter goes missing. They receive an anonymous DVD through their mailbox containing footage of their everyday activities. This intimate mystery progresses into a broader exploration of contemporary surveillance society. Critic Guy Lodge from EbMaster’s described it as a “touching, atmospheric examination of social seclusion and detachment.

“The Most Precious of Cargoes,” Michel Hazanavicius (France, Belgium)

Based on Jean-Claude Grumberg’s novel, “The Most Precious of Cargoes” is an uncommon entry in Seminci’s main competition – it’s an animated feature film. In his EbMaster review, Peter Debruge described “Cargoes” as a unique contender (the first animated film to compete for the Palme d’Or since “Persepolis” in 2007) and the one most likely to become a classic among all the films premiered at this year’s Cannes Film Festival.

“Black Dog,” Guan Hu (China)

The film titled “Black Dog” emerged victorious in the Un Certain Regard section at the Cannes Film Festival. It’s a captivating narrative about a former convict who finds himself back in his deserted hometown prior to embarking on an extraordinary motorbike journey across the vast Gobi Desert, accompanied by a seemingly rabid black dog. As Jessica Kiang from EbMaster put it during Cannes, this film is a “stunningly filmed, atmospheric and emotional allegory.

“The Drunkmen’s Marseillaise,” Pablo Gil Rituerto (Spain, France, Italy)

For the very first time, Seminci presents an extraordinary debut feature documentary. This film chronicles the journey of a production team as they traverse northern Spain, mirroring the covert adventure embarked upon by the Cantacronache music group back in the summer of 1961. They were on a mission to gather songs of resistance from the people. As we follow this parallel path, we uncover the deep-seated emotional and political landscape of a region where old wounds still linger.

“The Wailing,” Pedro Martín-Calero (Spain, Argentina, France)

In this transatlantic chiller, making its world debut at San Sebastian with acclaim from global critics, stands as a strong contender to become an indelible addition to Spain’s collection of haunting horror films. The movie follows the harrowing experiences of three women, each from different eras and distant lands, who are tormented by an intangible danger that remains unseen even to them. Yet, they all sense a spine-tingling scream emanating from its proximity.

“The New Years,” Rodrigo Sorogoyen, Sara Cano, Paula Fabra (Spain)

After winning the Best Foreign Film at the 2023 Cesar Awards, “The Beasts” – a production by Sorgoyen in collaboration with Movistar Plus+ and Arte France – unfolds as either a 10-part series or a two-part 449-minute movie. This story captures Ana and Oscar’s chance encounter on New Year’s Eve, 2015, and follows their lives for the next ten years, with each episode passing on the same day every year. The narrative shifts in tone from romantic comedy to family drama to a chilling near-horror experience. According to Sorgoyen, “it begins as a story about a couple, but ultimately reveals itself as a tale about life.” With its engaging plotline, it is expected to be one of the most discussed Spanish series or films of the year.

“Salve Maria,” Mar Coll (Spain)

Debuting at Locarno, the film “Salve Maria” marks a shift in direction for director Coll, delving into the realms of a genre-blending psychological thriller. In this daring departure, Coll tackles a controversial subject: The question of whether all women are naturally suited to motherhood. This is far from true for Maria, a gifted author and new mother, who finds herself tormented by a terrifying presence – her own self, and her growing fears of harming her infant child. Driven by an intense orchestral score composed by Zeltia Montes, the film creates an atmosphere of unease as it leads Maria into the High Pyrenees, seeking to comprehend her unusual feelings which Coll suggests lie beyond our moral compass yet are more prevalent than one might think.

“La Guitarra Flemenca de Yerai Cortés,” Antón Álvarez (Spain)

In this debut film by Álvarez (also known as C. Tangana, a renowned singer-songwriter), we see Cortés, an emerging flamenco talent from Spain, who gained recognition for his work with Rosalía’s “Antes de Morirme” and later “El Madrileño.” This movie, earning a Special Mention at San Sebastian’s New Directors section, features striking scenes like Cortés performing bulerias in Alicante’s Plaza Argel, where he spent his childhood with family and friends. However, what truly sets this film apart is the poignantly sad family narrative that Cortés wishes to express through music, combined with Álvarez’s ability to skillfully tell these stories, making it a unique cinematic experience.

2024-10-18 20:17

‘They Will Be Dust,’ ‘Black Dog’ and ‘The New Years’ Headline Impressive Valladolid Program

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