Hellboy

Guillermo del Toro considers Hellboy one of the five best-directed films of his career. Released in 2004, the movie was the result of years of development and perseverance. At the time, studios were reluctant to invest in an unproven comic book property like Hellboy, especially before the major box office successes of X-Men and Spider-Man. Del Toro first directed Blade II, which helped him gain enough credibility to finally secure the green light for Hellboy through Sony’s Columbia Pictures.

He recalls that the project had been stalled for a long time. In fact, Hellboy was already in development even before X-Men began filming. Del Toro has cited Blade and Dark City as pivotal in showing that darker, more stylized superhero films could succeed. These films helped create a climate where The Matrix and later projects like Hellboy could thrive.

In 2008, del Toro directed the sequel, Hellboy II: The Golden Army, which earned even stronger critical acclaim. However, the franchise did not continue beyond that. Del Toro believes that, in today’s Hollywood ecosystem, a third installment would be nearly impossible.

He points out that what made the first two films viable no longer exists: “The success of the first Hellboy on DVD and Blu-ray was phenomenal,” he wrote. “So much so that Columbia executive Ben Feingold pushed hard for the sequel. If I remember correctly, the film’s home video sales even surpassed its theatrical earnings. That kind of outcome would be almost unthinkable today.”

Ultimately, Hellboy represents a unique moment in film history—when passion projects could find life through unconventional paths and strong support from home media audiences.

See interview with Guillermo del Toro (in Spanish):

The evolution of the films of Guillermo del Toro:

Decapoda Shock

The story of a crab astronaut.



Now Javier Chillon tells us about his movie "Decapoda Shock":

I wanted to create something completely different from my previous short film, Die Schneider Krankheit. There were a lot of new ideas and techniques I wanted to experiment with, so I wrote the script specifically to include them all within a wild, offbeat story.

The film took two years to complete. The variety of locations, the large cast, and the extremely limited budget made the process very long and challenging. For example, the first scene featuring the astronaut took a full year to shoot, using three different locations and three different actors —two of them just for the hand shots.

The project was self-produced by cinematographer Luis Fuentes and me. With a total budget of around €1,500, we had very little money to work with, so we did everything ourselves and asked friends for help. Luckily, we had some incredibly talented friends, and given the circumstances, the outcome was surprisingly successful.

We used a Canon XL-H1 HDV camera, which we chose simply because a friend owned one and generously let us borrow it throughout the two-year shoot. Visually, we aimed for a comic book aesthetic. To achieve that look, we used orange as the dominant color—appearing prominently in costumes, props, and overall design.

Watch movie:

Juan de los muertos

A story about a attack of zombies americans in Cuba. Now the bad zombies are gringos.

Now Alejandro Brugues tell us about his movie "Juan of the dead":

Juan was always a good idea. I'm always taking notes, developing new stories, until one stands out and I can't get it out of my head. That was Juan. Besides, I love zombie films and it allowed me to do all the social commentary, so it was a perfect combination.

There are many anecdotes. The first day we took our zombies out to the street they had to attack an old man, and one of the zombies actually bit him and took some skin off his arm. So we had real zombies! We hired that one for another three scenes. Also we had neighbors calling the police a couple of times, because they saw heads on the street and body parts and all that. And we had policemen in the shooting! But they came anyway and made sure everything was fake. There are plenty more, trust me, I could write a book just with the anecdotes. Actually, I should!

Although the film turned out very close to what I had envisioned, you always have to adapt during production. At first, I didn’t plan to shoot most of it handheld, but the schedule was so intense that using dollies and cranes as much as I wanted simply wasn’t feasible. We also didn’t have the luxury to wait for perfect lighting or ideal conditions — if a scene wasn’t shot on the scheduled day, there was no second chance. We had to move fast. But I think that’s true for most film shoots. At least, that’s always been the case for me.

The budget was 2.3 million euros. And no, unfortunately, there’s no wild or funny story about how we got the funding. I like to joke that the producers must’ve had to sell their souls or worse, but in reality, everyone involved just genuinely loved the idea and wanted to be part of the madness.

We shot the film over the course of 44 days using the Red One camera. Why that one? Simple — our director of photography, Carles Gusi, recommended it, and I trust him completely. Honestly, I don’t miss shooting on 35mm. Sure, digital isn’t quite the same yet, but we’re getting there. And the benefits are clear: digital projection is clean, without scratches or reel-change hiccups. What can I say? I absolutely love it.

Marihuana Radioactiva Interplanetaria

Now Marcelo Leguiza tell us about his movie "Marihuana Radioactiva Interplanetaria":

My main motivation for making the film was to celebrate the 12th anniversary of our production company — and what better way than with a movie? At the time, we were filming Mocosis, which turned out to be more complex than expected. So we paused that project and started shooting Interplanetary Radioactive Marijuana instead, simply because it was easier to complete.

The film was shot entirely on a PAL Sony PDX 10 — it was the only camera we had at the time. After finishing the movie, I bought a PAL HDV Sony V1, and now we’re filming with a Canon T3i.

Around 60% of the movie was filmed in just two days, with seven additional days for extra scenes. The bulk of the footage was shot in summer, but many of the added scenes were done during winter. We really suffered through the cold, especially since we were wearing summer clothes that didn’t offer much protection.

The total budget was only $500. The alien costume wasn’t even made for the film — it was actually created as a hobby by a technician who later gave it to us. I thought it looked striking, so I borrowed it and saved on that expense. To hide a few imperfections and give it a unique touch, we added the jersey of the Argentine football club Racing.

There are quite a few jokes in the film about our neighbors in Uruguay. We were a bit nervous about presenting the movie at a festival there, but to our surprise, the audience loved it — they laughed a lot and received it with great enthusiasm.

Right now, we're preparing the DVD and YouTube premiere of Mocosis, our third feature film. We’re also wrapping up post-production on our fourth movie, Sonríe, which premieres in October. Meanwhile, we’re already in pre-production for our next film, which we plan to shoot in November.

And in early 2013, we’ll start filming Interplanetary Radioactive Marijuana 2.

Watch full movie:

Tinkers of the Wasteland

A post-apocalyptic comic full of chickens'n shit!



Now Raul Treviño tells us about his webcomic "Tinkers of the Wasteland":

My webcomic Tinkers of the Wasteland has become a platform for personal healing. Through it, I express thoughts and disagreements with the world around me. The main characters —Milla, Splitter, and Chapi— are reflections of myself. They embody different sides of my personality, emotions, and attitudes — both the ones I like and the ones I struggle with. In a way, Tinkers is my second life, projected into a fantastic world — at least in this first arc of the story.

Publishing it weekly has its own rhythm, and that’s one of the things I enjoy most. As I go through different moments in life —ups, downs, books I read, new experiences— all of it inevitably seeps into the comic. That influence, I believe, enriches the story. I’m certain that if I had rushed and completed it in a few months, it would have turned out very differently. It’s been two years now, and I’m still working on it.

Visually, I’ve always loved the Mad Max-inspired aesthetic since I was a kid, and it felt natural to bring that look into one of my stories. Interestingly, the whole thing started with a random pinup illustration of three characters riding a motorcycle. I looked at them and thought: These guys can tell a story. And that was the spark.

I handle all aspects of the comic myself, from writing to drawing. Still, I often meet up with fellow artists to share ideas, get feedback, and refine some plot points.

Interacting with fans has been one of the most rewarding parts of the process. For the English version, I asked readers to help spot grammar issues or typos in exchange for a credit on the “Thank You” page of both the digital and print editions. That’s been amazing —especially because English isn’t my first language.

As for cosplay —not yet! I haven’t seen anyone dress up as my characters, but I hope it happens someday. That would be such a cool milestone.

Most of the characters were born entirely in my head, except for King Queer, who was clearly inspired by Frank from The Rocky Horror Picture Show. I borrowed heavily from that character. I’m not gay, but I’ve always loved powerful, flamboyant gay villains —they really kick ass. Baron Ashura from Mazinger Z (half man, half woman) is another strong influence.

In Latin America, there are plenty of artists I admire. José Ladrönn is not only a respected colleague but also a close friend — he’s given me valuable advice since I started taking comics seriously. Fco. Ruiz Velazco and Humberto Ramos were also very supportive in my early days, and I’m deeply grateful to them.

As for the future of comic book distribution, I don’t believe print will disappear entirely. I see it shifting —maybe 70% digital, 30% print. The decline of printed media feels inevitable, but I don’t think it will vanish. That remaining 30% might evolve into something more special —limited, collector’s editions. It’s an interesting possibility, and I’m curious to see how it plays out.

As for the future of the distribution of comics, I don’t think book are gonna disappear at all. I think it’s going to be divided into two, maybe 70% digital and 30% printed. In my personal opinion the reduction of the print media is imminent, but not to the point of disappearing. By the course of time I believe that 30% it’s going to be special and limited editions. It is interesting to think so, I hope to see the resolution of this.

Tercer Mundo

Now Cesar Caro tells us about his movie "Third World":

I wanted to make a film across three countries that are very close to my heart: Chile —my homeland— and Costa Rica and Bolivia, two fascinating nations where I have lived and worked, and whose people I deeply respect. Interestingly, all three countries are also known for frequent UFO sightings, which became the central theme that inspired the film.

The idea for the movie first took shape while I was traveling through Costa Rica a few years ago. Locals were talking about USOs —Unidentified Submarine Objects— describing in vivid detail how mysterious lights emerged from beneath the surface of the water and shot into the sky. I was captivated by their stories and started taking notes for a possible screenplay. As I began writing, I instinctively connected those accounts with a solar eclipse I had once witnessed in the Bolivian highlands. I remember standing among a large crowd waiting for the eclipse, listening to conversations about its spiritual significance for the indigenous Aymara people. For them, the eclipse symbolizes the death of the sun god, Inti —a moment so sacred that it is honored with rituals. There were even rumors that UFOs might appear during the eclipse. Although I didn’t witness any lights, the experience forever changed how I perceived nature and the unknown. These stories and memories stayed with me for years and eventually became the raw material for Tercer Mundo (Third World).

The film explores themes I believe are at the core of Latin American identity —particularly the idea of expecting things from elsewhere. In pre-Columbian rock art, for example, we often find depictions of beings or objects descending from the sky. Throughout history, Latin America has witnessed the arrival of “the Other” —whether it be conquistadors, multinational corporations, or even extraterrestrials. This constant encounter with the foreigner —arriving by land, sea, or sky— is a compelling framework for a film that blends reality and fantasy, offering a new perspective on the so-called “Third World.”

Production took about a year, since we had to spend three to four months in each country. With a low-budget film, we couldn’t afford to revisit locations if something went wrong —especially when filming on beaches, volcanoes, or at 4,000 meters above sea level in the Andes. Fortunately, nature was on our side. In Costa Rica and La Paz, where clouds and rainstorms are common, the skies cleared whenever we were ready to shoot. The local crews were amazed —they couldn’t believe our luck. It was as if nature was supporting low-budget filmmaking.

From the beginning, Tercer Mundo was a difficult film to make. Most people didn’t believe in the project —it was too strange, too ambitious, too expensive to shoot in three different countries. But with passion and persistence, we made it happen. We developed a production plan that leveraged our experiences and connections in Chile, Costa Rica, and Bolivia. In each country, we built a network of friends, filmmakers, and enthusiastic collaborators willing to join the adventure. With a screenplay in hand and two backpacks, Ana Lucía (the cinematographer and producer) and I (as screenwriter and director) set out to shoot the film. In every country, we had to start from scratch —casting, location scouting, assembling the crew. It was like making three separate feature films, each in a different country. It was a challenging but unforgettable journey, full of remarkable places and people.

Technically, we used the Sony Z1, a camera that provides solid quality and can be effectively transferred to 35mm. Since the film follows three young adults in three different countries and landscapes, we wanted each setting to have its own visual identity. We designed a distinct color palette and atmosphere for each region to highlight its uniqueness.

Regarding film distribution, it’s increasingly difficult for Latin American films to secure traditional theatrical releases, especially in 35mm. Competing with Hollywood’s marketing budgets is nearly impossible. But I believe the future lies in digital cinema and online platforms —that’s where the new possibilities for independent films are emerging.

I want to invite all cinema lovers to discover Tercer Mundo. It will soon be available on DVD. This film is proof that with little money —but a lot of passion— it’s possible to create stories that cross borders and challenge stereotypes about what "Latin American cinema" is supposed to be. When actors, crews, and artists from different countries come together, they can shape something truly unique —a vision that redefines what it means to be part of the Third World.

Seres Genesis

Now Angel Mario Huerta tell us about his movie "Seres Genesis":

I’ve always loved science fiction, and I guess my main motivation was to create something I truly cared about—something that hadn’t really been done in my country before, at least not at a professional level. I wanted to prove that it was possible to make sci-fi in Mexico. Just imagining spaceships flying over Mexican landscapes was more than enough to get me excited about the project.

Seres: Genesis took around five weeks to shoot, and the entire experience was incredible—I had a great time making it. We used two RED ONE cameras, and it was actually the first feature film in Latin America to be shot with a RED. We started filming just as the first 100 units were released. I chose that camera because of its enormous potential and the fact that it was breaking new ground. I love a good challenge. Visually, I tried to emulate the look and feel of Battlestar Galactica, because I’m a huge fan of the show. It also just fit perfectly with the tone and storytelling style we were aiming for.

The budget was $1.2 million, which we raised through a government incentive program called 226 ISR. Honestly, it’s one of the best systems a government could offer to support filmmaking, especially since it brings private investors into the process—that’s a huge advantage.

As for distribution, I believe technology is making things increasingly accessible. Moving away from 35mm prints and their fragility is a big win for filmmakers everywhere. Digital formats make distribution easier, cheaper, and more controllable. In the long run, this shift will help level the playing field, allowing creativity—not just big budgets—to take center stage.

Los Marcianitos

Plutin, Satur and their friends travel from Mars to Bogota.

This is a colombian comicstrip published in the Los Monos of the newspaper El Espectador, during the eighties.

Filmatron

Only they wanted to make a science fiction movie.

Watch full movie:

Now Pablo Parés tells us about his movie "Filmatron":

We made Filmatron as a way to express, through film, how we view the Argentine movie-making system. It’s a kind of protest film—our way of criticizing the current state of the industry.

The movie took four years of our lives to complete… a long time, but a good one. It was a no-budget project, entirely self-financed with money from our day jobs. Filmatron is a truly independent production, made by a small group of film lovers. We enjoyed doing everything ourselves—our team of just 10 people took on every role in the process.

We shot the film using a Sony PD150 DV camera, which was the standard at the time. (Nowadays, we use a Canon 7D because it allows us to work with better lenses.)

Looking ahead to the future of film distribution, we’re focusing all our efforts on our YouTube channel. We believe the future of entertainment lies on the web—where creators can connect directly with audiences. Our hope is for a future without intermediaries.

Ciudad Cheveronga

Cheveronga City is Science Fiction for Children and Teenagers.

Something strange is happening in Cheveronga City: ice rocks are falling from the sky and giant monsters are rising from the depths of the sea. In the midst of this chaos, Alex Avatar—a curious boy like any other—will find himself at the center of a thrilling mystery.

Alex loves science and astronomy. He’s an orphan who lives with his grandfather, a wise and kind-hearted man who works as both a librarian and a fisherman. Although Alex doesn’t have any friends at school, that’s about to change. Soon, he’ll meet other kids who, like him, are destined to uncover the truth behind the strange events in Cheveronga.

Cheveronga City is a fast-paced and imaginative adventure that invites readers to explore reality through the lens of fantasy. It blends humor, action, and a touch of the surreal as fictional characters navigate a world where the everyday collides with the extraordinary. The story explores themes such as technology, cyberspace, and the challenges of growing up in a digital age, all while celebrating the enduring power of friendship and loyalty.

With a vivid narrative and a strong emotional core, Cheveronga City earned recognition as a finalist in the prestigious El Barco de Vapor – Biblioteca Luis Ángel Arango Prize for Children’s and Young Adult Literature (2009).

2033

What happens in Mexico City in 2033?

Now Francisco Laresgoiti tells us about his movie "2033":

2033 is a deeply personal project—at its core, it's a story about the relationship between a father and his son. But it also reflects my vision of what could be Mexico’s most probable future.

The film was shot over 33 days in 20 different locations, with a budget of 2.5 million USD. Many of the locations were provided at no cost. We used an Arricam Lite 35mm camera to achieve a specific depth of field and visual texture, combining saturated and desaturated tones to emphasize extreme heat and sterile environments.

Unfortunately, film distribution in Mexico is chaotic. And while digital distribution offers potential, it’s also likely to be plagued by corruption.

Watch movie.

Abandonados

Now David Contreras tells us about his movie "Abandonados":

The motivation behind Abandoned came from a deep desire to tell a story that carries both a message and a legacy—something that rises from the heart. This film weaves multiple narratives into a layered structure that gradually leads the audience to the simplest and most essential truth of life. Its protagonist, Professor Fernando Cortés (portrayed by Chilean actor César Rojas), is stripped of all material possessions, allowing the film’s message to become universal: love. A love that can only be lived in the present moment, because the future is unknown. Abandoned reminds us that now is the time to change, to pause and appreciate a flower, to watch the sunrise, to tell someone how much they mean to us. The central message is simple yet profound: “This is our time to breathe and to love.” I believe we all know this deep down. We just need to live it and become better human beings. Time is short—and the more we understand that, the more we can enjoy this shared journey across our planet.

Originally, Abandoned was going to be a single 90-minute film. But as the footage grew and the narrative evolved, I realized I wanted to tell a longer, more expansive story—one that followed the protagonist through many life events, like a saga. This led to the creation of a trilogy: Abandoned: The Gone Trilogy, which includes Part I: Water War, Part II: The Journey of Cortés, and Part III: Hope Mission, each running approximately 90 minutes.

I’ve always been drawn to stories that slowly draw the viewer in, stories where you gradually connect with the characters and begin to truly live their joys, tragedies, and adventures. That emotional immersion was something I deeply wanted to achieve with this film.

The actual filming took about two months, though the production was spread over two years, from 2008 to 2009, across various regions of Chile. We began in the mountainous landscapes of Antuco and continued in cities like Los Ángeles, Concepción, Penco, Tomé, Osorno, and Santiago. The process was filled with creativity, improvisation, and collaboration. It was also physically demanding. There were days when we were exhausted, covered in dust, with very little food. At times, it felt like we had become the characters we were trying to portray—displaced, worn, and vulnerable. But through all of that, we remained united by passion, love, and joy. It was beautiful to live the filmmaking process in such an intense and authentic way.

This was a deeply human and transformative experience for everyone involved. As my friend and colleague Rolando Guzmán once said, “Humanity is humanity... all the time, and this film reflects that.” And I truly believe it, with humility.

The entire trilogy was made on a budget of just $3,000. It may sound impossible, but it was a collective effort and a testament to creativity. More than 500 people came together—both on screen and behind the scenes—to make it happen, and that fills me with pride and gratitude.

We shot the film using DVCAM and DV formats, blending them based on the resources we had available at the time. Visually, I wanted a fictional story with elements of modern cinema and documentary realism. We relied heavily on handheld camera work and natural light to convey rawness and authenticity in each scene.

One of the most memorable production moments involved the character Valentina, the granddaughter of Professor Cortés, who dies after the great catastrophe. In one scene, Cortés finds a doll that reminds him of her. As we were filming in the mountains and running out of funds, we suddenly realized we still needed to purchase two identical dolls —one for scenes before the catastrophe and another, to be partially burned and damaged, for the aftermath.

Producer Rogger Zañartu and I searched across the city of Los Ángeles, visiting countless toy stores with no luck. Finally, we found one last shop, crossed our fingers, and stepped inside. And there she was —Valentina. We looked at each other and knew immediately: "This is her." We told the shopkeeper we needed two of the same doll for a film. He smiled, spoke with his boss, and returned with both dolls in hand —gifting them to us. It was a magical moment. We had found our Valentina, and her stunt double, ready for the Chilean Andes.

Today, we are finalizing post-production on SINO (Destiny), a suspense drama filmed in winter 2010 in the Andes. It tells the story of a young couple facing life-altering events in an isolated, icy landscape. At the same time, we are preparing our next production, ZOHE, a science fiction film set in the year 2084 in a post-catastrophe world. It promises to be a thrilling adventure filled with action and special effects.

As for the future of film distribution, I remain optimistic. I believe films will always find their audience —whether in theaters, on DVD, or online. Thanks to globalization and new digital platforms, independent creators have more ways than ever to share their work. The landscape is changing, but opportunities are growing. There is room for every story —especially those made with heart.

Let me know if you'd like this version tailored for a festival dossier, a press kit, or voiceover narration.

Lorna and her Robot

Lorna is a comic book character created by Spanish illustrator Alfonso Azpiri and writer Carlos Sainz Cidoncha, first appearing in 1980 in the magazine Mastia. Inspired by Barbarella and playfully parodying space operas like Star Wars, Lorna is a bold and sensual galactic adventurer, accompanied by her robot Arnold —a sort of heterosexual C3PO with erotic functions.

Initially, the series leaned heavily into erotic comedy, featuring voluptuous heroines and cheeky, light-hearted scenarios that reflected the sexual liberation of Spain’s post-Franco destape era. Over time, however, the stories evolved into more sophisticated science fiction narratives, while still maintaining the erotic charm that defined the character.

Lorna's publication history was somewhat erratic. She first appeared as a secondary feature in magazines such as Cimoc, later starred in special issues, and eventually headlined her own collected volumes. Azpiri’s vivid and distinctive watercolor illustrations quickly became his trademark, cementing his place as a master of Spanish comic art.

Beyond print, Lorna expanded into other media. She starred in a 1990 video game developed by Topo Soft, was the subject of a failed animated series project, and even featured in a crossover with Bethlehem Steele, a character from Penthouse Comix.

Following Azpiri’s passing in 2017, the future of Lorna remains uncertain. Yet her legacy lives on as a cult icon of erotic sci-fi —a singular fusion of sensuality, humor, and space-age imagination that continues to captivate generations of comic readers.

What is the science fiction movie that you liked?

 

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What is the science fiction book that you liked?

 

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