Sitges does not programme a single “fantastic” cinema: how to read its sections as a dispute over the boundaries of genre
Sitges’s sections are not mere compartments for arranging screening times. They form an editorial vocabulary that distinguishes competition, experimentation, independent horror, neighbouring genres, historical recovery, non-fiction and audience development. Reading that vocabulary makes it easier to find one’s way around and to debate what lies within—or at the edge of—the fantastic.
