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.
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相关影片

  • 片名:我有毒
  • 状态:其他
  • 主演:Esteban Prol Horacio Fontova Sergio Podelei Gastón Cocchiarale Fini Bocchino Verónica Intile Goyo Escardó Demián Salomón Rodrigo Ferreyra 
  • 导演:Daniel de la Vega Pablo Parés 
  • 年份:2018
  • 地区:阿根廷
  • 类型:动作 科幻 恐怖 电影 
  • 频道:4.2
  • 上映:2018-11-14(Mar del Plata Film Festival),2019-08-22(墨西哥)
  • 语言:西班牙语
  • 更新:2026-03-05 04:10
  • 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.
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