"PUFA 2026 — Day 1 – Between Ketchup Blood, Mythology, and the Ghost of Chicho"

Introduction

The third edition of PUFA (Pucela Fantástica) kicked off at Broadway Cinemas, proving that terror isn’t confined to the silver screen. From the initial lobby chaos to the revelations and biting irony of the speeches, the opening day was a whirlwind of emotions, bottled guts (literally), and pure Spanish fantasy cinema history.

16:30 – Panic at Accreditation: The "Crime" of Helios Ketchup

The immersive experience started early. What should have been a routine accreditation handout turned into a B-movie gore fest when a bottle of Helios ketchup exploded inside the official festival tote bags. The PUFA tote bag began "bleeding" all over the cinema, leaving a sticky trail and an unmistakable tomato stench.

Fortunately, the volunteers stepped up like action heroes, saving the bag in extremis. Thanks to them, we made it into the first screening clean—without looking like suspects in a real murder in the restrooms.

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17:00 – Screening of The Grandmother and Q&A: The Secrets of Immortality

The afternoon continued with the screening of The Grandmother, presented in the theater by the festival’s co-directors alongside Paco Plaza and Almudena Amor. After the film, Daniel Farriol and the audience broke the ice in a fascinating Q&A where Plaza unpacked the rich symbolism hidden in the film:

#### Symbols and Eternity
Plaza delved into the concept of eternity symbolized by the ritual at the film’s opening, highlighting mythological elements like the Ouroboros (the serpent eating its own tail, representing the eternal cycle of life and rebirth).
#### The Genius of Carlos Vermut
Plaza revealed that one of the film’s most powerful visual metaphors came from screenwriter Carlos Vermut: the idea of the flame of a candle, which remains fixed in space even when you move the candle itself.
#### Anecdotes and COVID
The discussion covered the editing process, the complications of the pandemic lockdown, and included a touching tribute to Brazilian actress Vera Valdez, who passed away this year. They described her as the most "punk" member of the cast.
#### Clash of the Titans
Plaza had the crowd in stitches as he recounted how Chicho Ibáñez Serrador fired him on the spot in his early days because Plaza did whatever he damn well pleased—and Ibáñez made it clear that he did whatever Chicho damn well pleased. Genius and legend.

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20:00 – Opening Gala: Nostalgia, Hard Truths, and Sharp Irony

The official gala kicked off with chills running down spines as the iconic theme from Un, dos, tres... responda otra vez blared through the speakers—a timeless TV hit by Chicho.

#### Alejandro Ibáñez’s Dagger to Television
The first major moment of the night came with the posthumous Honorary Award for Chicho Ibáñez Serrador, presented by the PUFA co-directors to his son, Alejandro Ibáñez. Alejandro delivered one of the day’s biggest headlines when he analyzed his father’s legacy:
"My father was very grateful to cinema, but not so much to television, which seems to have forgotten him."
He thanked the seventh art for still honoring his father seven years after his death and championed his father’s two—radically opposed—films: the Gothic La residencia and the disturbing Who Can Kill a Child?.
#### Paco Plaza’s Brilliant Rebuttal
The generational handoff was perfectly staged when it was time to present the 2026 Honorary Award to Paco Plaza. His close friend Almudena Amor handed him the prize, praising him as "a chosen one" and one of the smartest and wisest people she’s ever known.

Plaza, oozing his usual charisma, thanked the PUFA for the recognition but couldn’t resist firing back with dark humor at the preceding speech. With a grin, the Valencian director dropped one of the night’s best lines:
"I don’t take this as a lifetime achievement award, but more like a pat on the back telling me, ‘kid, you’re doing alright—keep it up.’ Besides… I didn’t want to wait until I’m dead to get a tribute award seven years from now and have Alejandro, Chicho’s son, hand it to me."
A perfect closing, full of wit and camaraderie, that had the whole room roaring with laughter and applause.

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21:30 – Premiere of Insatiable (Saccharine)

The day wrapped up with the festival’s first official screening: the Australian Insatiable, directed by Natalie Erika James. A grim, unsettling body horror film that left the audience’s stomachs churning (and this time, it wasn’t because of the ketchup from earlier).

Stay tuned—we’ll be dissecting it soon in our full review. PUFA has already drenched Valladolid in red!

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### The Best

• Immersive Experience: The opening day was a rollercoaster of emotions, bottled guts, and pure Spanish fantasy cinema history.

Screening of The Grandmother*: The film was presented in the theater by the festival’s co-directors alongside Paco Plaza and Almudena Amor.

• Opening Gala: The official gala kicked off with chills as the iconic theme from Un, dos, tres... responda otra vez played.
• Honorary Award: The posthumous Honorary Award for Chicho Ibáñez Serrador, presented by the PUFA co-directors to his son, Alejandro Ibáñez.

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### The Worst

• Initial Chaos: The opening chaos in the lobby due to the exploded Helios ketchup.
• Pandemic Lockdown Complications: The discussion covered the editing process and the complications from the lockdown.
• Vera Valdez’s Passing: A touching tribute to Brazilian actress Vera Valdez, who passed away this year.

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### The Verdict of Claqueta Ácida

The PUFA opening day was a success—a mix of emotions, ketchup blood, and mythology. The screening of The Grandmother and the opening gala were the night’s highlights. Stay tuned for our review of Insatiable and more PUFA coverage. Until next time! 💀