Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!). The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats they get to see the film and can also enjoy the unfinished comic in an exhibition.
丹泽尔·华盛顿,杰弗里·怀特,伊芬什·哈德拉,拉基姆·梅尔斯,Kevin D. Benton,José Báez,伊芙·乔治,霍尔登·古德曼,奥布里·约瑟夫,Manny Joseph,拉·尚兹,Nichia Morales,迈克尔·波茨,April A. Reeves,Jeremy Sample,埃丝·史佩斯,约翰·道格拉斯·汤普森,Andy McQueen,Reinaldo Troya,Jordan S. Walker
丹泽尔·华盛顿,杰弗里·怀特,伊芬什·哈德拉,拉基姆·梅尔斯,Kevin D. Benton,José Báez,伊芙·乔治,霍尔登·古德曼,奥布里·约瑟夫,Manny Joseph,拉·尚兹,Nichia Morales,迈克尔·波茨,April A. Reeves,Jeremy Sample,埃丝·史佩斯,约翰·道格拉斯·汤普森,Andy McQueen,Reinaldo Troya,Jordan S. Walker
简介:Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!). The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats they get to see the film and can also enjoy the unfinished comic in an exhibition.