The Midnight X-treme section of a festival such as the one in Sitges is dedicated to films that understand the genre in a radical way, whether it is pure or, as is the case, parodic or insane. Midnight cinema: What comes to be genre cinema for the very (or too much) fans of genre cinema, being, in general, films that stand out for the abuse of violence, blood or complicit humor. Movies that, also in general, should not be taken too seriously because they are made half in jest. To have fun. Australian Kiah Roache-Turner inserts a Mad Max-esque post-apocalyptic future into a zombie post-apocalypse with the same ‘trash’ and goofy approach as ‘Nekrotronic’. Or when evil is not so bad: Roache-Turner consecrating himself as a filmmaker with whom to lose hours of sleep. The film is what it is, nonsense taken to that X-treme where it wants to wallow like a pig in its shit: A consistent work with an ideology that knowingly, is between the worthy, the willful and the entertaining (although not be particularly memorable or funny). Wow, the same thing happens with his first installment (and Roache-Turner’s cousin pear), ‘Wyrmwood: The highway of the dead’. But maybe a little better. It rains it pours and the experience is a grade: Now we know exactly what to expect from one of those works that, in practice, seems that the only thing that wants to do is find its place in most of the world’s genre festivals. Like, for example, the one in Sitges. After midnight, when decent people are sleeping and only the unrepentant and unapologetic remain.
By Juan Pairet Iglesias