Morelia 2025 Interview: IT WOULD BE NIGHT IN CARACAS Directors Mariana Rondón and Marité Ugas on Shooting Their Political Thriller in Secret

Set in 2017, It Would Be Night in Caracas depicts political upheaval through the eyes of a Venezuelan writer desperate to flee the country. As the city collapses around her, she is threatened by revolutionaries, the police, and paramilitary operatives. Based on a novel by Karina Sainz Borgo, the film was co-directed by longtime filmmaking partners Mariana Rondón and Marité Ugas. Through their Sudaca Films, the two have worked together on a half-dozen films, including Bad Hair (2013) and last year’s Zafari. During the Covid pandemic, they were invited to adapt Borgo’s novel by the production company Redrum. ScreenAnarchy: How did you come to this project? Marité Ugas: The novel came out in 2019. It was an immediate bestseller and translated into several languages. No…

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With the official end of Spooky Season in sight the build up to the Horrordays must begin. And while two of the three films premiering on Shudder next month might not fall under that category, the third one is most recognizable as a holiday horror classic.    In November everyone in all territories will get to watch Abraham’s Boys: A Dracula Story. Later on that month subscribers only in the U.S. will get to see the very good time-looping crime comedy, Sew Torn, and holiday horror, Krampus. We don’t know what the rest of us are going to do, but we will make due.    Regular programming of The Boulet Brothers’ Dragula: Titans, Guts & Glory and The Last Drive-In with Joe Bob Briggs continue….

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An underground fighter and her estranged father steal a spacecraft to escape a dying Earth, only to face a deadly stowaway who sabotages their life support, forcing them into a fight for survival in the claustrophobic confines of space.

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In a world where genetic enhancements have become the norm, rebels challenge the system that exploits them.

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Director Kimo Stamboel’s newest thriller is terrifically tense and very bloody.

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Maddie Hasson, Alex Roe, Andra Nechita, and Marco Pigossi star in director Mercedes Bryce Morgan’s steamy thriller.

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Kelly Reichardt has spent her life chronicling the unhurried, uncertain rhythms of American life. Reichardt’s films linger on people who live just outside the margins — drifters, workers, artists — capturing the fragile connections that hold them together. From the lost runaways of River of Grass (1994) to the dreaming travelers of First Cow (2019), Reichardt challenges the myths of self-reliance that shape the American landscape, revealing a country sustained by small acts of care and endurance. Late last week, Reichardt’s latest film, The Mastermind (2025), hit theaters across the United States. This heist movie follows James Blaine Mooney (Josh O’Connor), a seemingly ordinary suburban father leading a secret life as an art thief. Inspired by the famous 1972 robbery of Massachusset’s Worcester Art Museum,…

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The lineup of projects for the genre program in the massive production market Ventana Sur, the re-named Fantastic! Lab, has announced.   Thirteen projects have been invited to meet with potential partners and peers, hoping to score the right connections that will help get their films made. A lot of them are from the host country, Argentina, with the rest of them coming from around Ibero-America, and two other market winners from Sitges in Spain, and BIFF in Belgium. Both festivals have had a long standing relationship with the genre program.    Names that we have come across before include: Julia Sofía Vega, the fabulous Tamae Garateguy, Rafael Toledo, who presented their project Shallow Hell at Frontieres this Summer, and Paul Urkijo.   All the projects can be found…

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Twelve years ago, YouTuber Riley Brennan went missing. When, after a long dry spell, a seemingly related tragedy lands on the doorstep of her sister Mia, the rescue mission restarts in debutante director Chris Stuckmann’s Shelby Oaks. Chris Stuckmann is one of the biggest names in the emerging landscape of video-based film criticism that has exploded over the last five or so years. Many of these film commentators are content to exist in the reaction/analysis space, but Stuckmann has made it clear that his dream is creation, and that dream comes to fruition with his first feature, Shelby Oaks. Produced by the veteran indie champions at Paper Street Pictures (The Artifice Girl, Scare Package, Trim Season), Shelby Oaks is an ambitious film whose reach occasionally exceeds its grasp, but…

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A note at the start that Chainsaw Man – The Movie: Reze Arc (just “Reze Arc” going forward because wow, what a title) is entirely accessible to the curious who have not seen the show. Some ongoing threads are touched on but the character dynamics are easy to pick up on and as the title says, it’s an arc, it has its own beginning, middle, and end. And for those who have seen the show, Reze Arc is immediately very different from the first season of the anime adaptation of Tatsuya Fujimoto’s manga. Gone are the cinematic approach to atmosphere, ultraclean linework, and subdued colors. They’re replaced by a brighter, flatter, and rougher style that seeks to bring Fujimoto’s art to the screen in an…

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