Welcome to the first of the chronicles that we will dedicate day after day to the 57th edition of the Sitges International Fantastic Film Festival. 'presence' – Steven Soderbergh's latest (and as always “interesting”) film is precisely missing something more “presence.” As on the other hand happens with most of his latest films, filmed with great accuracy and solvency but no passion or emotion. 'Presence' is no exception: A “ghost movie” halfway between 'Paranormal Activity' and 'A Ghost Story' that shows the story from the point of view of the “ghost.” Not only presence and emotion, it also lacks “chicha” in a film that only embraces its theoretical generic aspect during a forced and very brief climax that, on the other hand, generates nothing but indifference. It is curious, especially as a concept, but it is still a curious exercise in style… functional, hollow and not very incisive. ****** 'I, The Executioner' – At first glance the sequel to 'Above the Law' may seem like an attempt to capitalize on the success of the 'Brute Force' franchise. Maybe, but not entirely. Already in 2015 I warned, the original film demanded a sequel… which does not exactly meet what was expected, although it offers in return something more complete and elusive: An irresistible impossible mix “Made in Korea” that surprises with its relative seriousness. Very relative: We are still talking about an effective and very agile entertainment, of course, but aware that violence in current times can no longer be taken so lightly. Thus, although superficially and without ever abandoning its status as a commercial product, this stylized and mundane entertainment grows just like the first film, as a not so silly or hollow top-notch entertainment. ******* 'The second act' – A boatload soon, the best film that Quentin Dupieux has shot in years. Which doesn't mean… too much. And despite its benefits and its irresistibly objective discourse, one cannot ignore that it is still a short film, a joke, a joke, an anecdote or whatever you want to call it, stretched to the point of being able to appear and present itself as a feature film. Having has its charm, and as I said, the “whatever you want to call it” this time is much more solid than what has been usual. But it still does not take the form of a full-fledged film, demonstrating once again that Dupieux is not exactly telling stories. Which is what his (pen)last film does not do, nice but ultimately and “whatever you want to call it”, fleeting and anecdotal. ****** 'Twilight of the Warriors: Walled In' – The problems of its protagonists may not matter too much, but the fights between them, progressively longer, more intense and aggressive, interest everyone. In fact, one wonders why at first they have to talk and think about everything so much if in the end we know that they are going to solve it the hell out of it. Because that's life, because that's life at least in the “host” cinema, which precisely defines hosts as bread. And Soi Cheang's film goes from less to more, ending up well stocked with them after a climax so forceful that it compensates for the lack of it during its first half. *******
