bryant

Midway through my week in Montreal for Fantasia Festival, and boy is my ass tired. Losing weight is excellent, it’s just that I don’t have as much padding as I used to and Concordia University lecture hall chairs were not completely designed for two hour stretches. Worth it, though.

This is not my look at the full festival — that’ll come next week. Instead, I’ve been spending time thinking about why I cherish this festival so much.

Part of it is simply the continuity. My first Fantasia was 21 years ago — Chris and I drove up from Boston for the weekend. My second one was a couple of years later, and was the first one with S.; then for reasons which I’m sure were sane at the time I didn’t go again for like ten years. Then another eight years. After 2023, S. and I realized there was no reason not to go as often as yearly, and here we are again two years later.

I can look back on those previous visits and trace a lot of my life’s changes. Not just that this blog ran on Movable Type for the first one. I was gaming more the year we went from Montreal directly to Indianapolis for GenCon, which is not something that seems appealing right now even if it wasn’t exhausting. The differences between driving up from Boston and flying, which come to think of it is probably why I had those really big gaps. The ways I’m reacting to movies changed considerably during the pandemic.

So that’s one thing. Then there’s the audience: I am 100% sure that every single movie I see in the Henry F. Hall (except Jeruzalem) is benefiting from the enthusiasm of the audience. Every movie, no matter how bad, should be seen with audiences that are so happy to be there.

Finally, most importantly, there’s the risks. The movie industry is struggling in real and important ways; I can’t minimize the difficulties around original ideas, mid-budget movies that just don’t get made any more, and so on. All of that is real.

What’s also real, though, is that a majority of the movies I see here every year are taking big swings. I didn’t have to love Redux Redux last night to notice that it was made by a couple of brothers who just wanted to make a Terminator homage, so they grabbed a bunch of actors and some cheap locations and took their knowledge of the craft and put together two hours of film that made them happy. That’s fucking cool. I did love Sasyq, and it’s made by a Kazakhstan dude who’s played the ominous thug in a few Hollywood movies and TV shows and wanted to put his dream of a fairy tale on screen. I absolutely adored Dog of God, and it happened because another pair of irreverent brothers wanted to mythologize the story of a werewolf trial and realized they could get Latvian state funding for it as an experimental film. “Nobody cared what was in it as long as we had the logos in the right place at the beginning and the end of the movie.” Fuck yeah.

This festival reminds me that filmmakers are still finding ways to bring their weird little visions to life, with varying degrees of competency. This week is a celebration of parts of the human spirit that I will always love without reservation. Much of the time I get to see the directors come up before the movie and thank a rabidly excited audience; some of them have been here before, and some of them are experiencing this for the first time. How can I not be grateful for the opportunity to welcome them?

[Crossposted from Population: One; go here for the original post.]

Aw, that’s cute, I thought I wasn’t going to watch as many movies as I did in 2022. Instead I went from 423 watched to 508 watched. Remember when I said “I want to spend more time following my whims”? That worked out really well. In 2022, I did a weekly challenge plus a weekly movie watching club plus another weekly movie watching club — it got to be a grind. In 2023 I was more varied about my tastes and I had more fun.

I also went to not one but two film festivals, SIFF and Fantasia. S. came with to Montreal! Including shorts, I watched 36 movies at SIFF and 45 movies at Fantasia, so that’s a pretty big chunk of the additional movies right there. The festivals were immensely fun and I really, really need to remember how much I enjoy that kind of thing.

My time spent watching movies was absolutely worth it. My top ten movies of 2023 were excellent, and there were way more good ones than just those ten. Plus this was the year I really discovered Iranian cinema (A Separation, Certified Copy, No Bears), I got that Bergman boxed set and watched a ton of it, and I dug into 1970s American film in a more serious way.

Directors who were largely new to me who I really liked: Bergman, as per the above; Claire Denis, as a direct result of watching Trouble Every Day and Stars at Noon as a double feature at the Grand Illusion; and Aaron Moorhead and Justin Benson, thanks to the 2023 Hooptober challenge. I also kept watching more than my share of Aki Kaurismäki.

Oh, and while I only watched one Bela Tarr/Agnes Hranitzky movie in 2023, it was in fact enough to cement them among my very favorite directors. It gets no more grim than this. I’m very glad I got to watch Werckmeister Harmonies on the big screen, and I made a point of making Satantango the first thing I watched in 2024.

My most watched actor was Juliette Binoche, thanks to Claire Denis and a rewatch of Three Colours and a bunch of other good movies. After her it’s a lot of Shaw Brothers character actors — we finished the first volume of the Arrow Shawscope set, and got started on the second — plus some 70s Italian actors which I chalk up to a lot of poliziotteschi. Huh, I watched nine of those grimy nihilistic Italian crime flicks in 2023! Not bad. I did say I was more varied about my tastes.

How about 2024? For the second year running, I’m going to watch more TV. One reason I held off on this post for a month was because I wanted to test that theory out, and in fact I only (ha) watched 24 movies in January. Six a week is a lot of movies, but I also caught up on some Slow Horses and got started on a couple of other shows. It feels good.

S. and I won’t be attending Fantasia, barring something pretty unusual. I do plan to hit SIFF harder, since I got a pass this year, and I’ll be doing Noir City at SIFF this month. I also got a subscription to Radiance Films‘ releases for 2024. Not cheap! But I think of all the boutique Blu-ray labels they come closest to hitting my sweet spot, and S likes the look of the upcoming releases. So that’ll be cool.

All in all, if I had to guess, I’ll probably see close to 400 movies… but no weekly challenges again, other than our beloved Boofest.

As is perhaps obvious, I’ve stopped copying Letterboxd reviews to this blog. I finally figured out how to script downloads of my Letterboxd data, though, so over the course of the next month or so I’ll be writing code to pull my reviews into Datasette, which accomplishes my goal of making sure I control my own words without clogging up a mostly inactive blog.

And just like I said last year, the best video store in the country makes it possible for me to watch a huge range of movies I couldn’t see otherwise. If you have a local video store, and you like movies, support them. They need you.

[Crossposted from Population: One; go here for the original post.]

We had eight days of movies scheduled; we have completed four days. Halfway mark! I am tired but very happy; our hotel continues to be perfectly positioned and the food’s still quite good. There’s this little counter service Chinese place next to the hotel which is unexpectedly tasty.

Highlights so far: Lovely, Dark, and Deep, which is some of the best cosmic horror I’ve seen in a while. Not Lovecraftian. It lays out the situation in the first fifteen minutes, so that as Georgina Campbell discovers the scope of the horror, we have the same retroactive realizations she does. Smart movie.

Also great: Talk To Me. The Philippou brothers may be YouTube bros but they’re good filmmakers who care about their craft, and their insight into teens being teens is strong. Very kinetic, certainly terrifying.

On the non-horror side of the fence, I greatly enjoyed The First Slam Dunk. I’m not a huge anime fan and I almost didn’t get tickets for this one, but I’m so glad I did. Director Takehiko Inoue really loves basketball, as I discovered afterwards, and it shows. I can’t think of any sports movies structured like this one — the climatic game is the spine of the movie, with flashbacks explaining how the characters got there — and it’s very cool.

We also learned something very important. If you’re doing back to back movies, you can tell the volunteers when you get out of the first one and they’ll shuffle you off into a little holding pen and you get seated first for the next one. I don’t care so much about my exact position in the theater but it’s nice to maximize sitting down time.

The in-room laundry is running. It’s crappy but it’s better than a laundromat.

[Crossposted from Population: One; go here for the original post.]

The Ninja War of Torakage: B

This was the weirdest thing I saw at Fantasia. Underneath it all you’ll find a pretty standard historical ninja epic about Torakage, this poor guy who just wants to retire from ninjaing and raise a family, but there’s a lot of insanity between the surface of the movie and the core. I don’t know Yoshihiro Nishimura’s work but he’s a special effects/makeup dude who occasionally directs, I guess. This is perhaps obvious from the opening shot in which our protagonist cuts off a couple of heads and we center two spouting fountains of gore for a very long time.

Once we’ve gotten the sense that it’s going to be a reasonably violent action film, Nishimura proceeds to demonstrate that it’s going to be supremely weird by cutting to a Portugese scholar named Francisco who narrates the premise of the movie with the help of shadow puppets. Visually awesome, by the by, once you get over the Japanese actor in Euroface. Francisco shows up to explain the movie all the time, although he doesn’t explain any of the weird stuff.

Other awesome things: the weird creature with wings made of hands and eyes everywhere; the bamboo mecha; the way Torakage’s wife Tsukikage also kicks ass; the Greek chorus in jars. I appreciated this one a lot.

Mirrored from Population: One.

Full Strike: B

This was pretty much OK. Very broad Hong Kong sports comedy with all the usual bits. There’s a drunken master, there’s an evil magistrate, there’s familial tension, and so on. Oh, and a random alien who lands in a UFO that looks like a badminton shuttlecock. Don’t pay too much attention to him, since he’s not actually part of the movie.

Right — the sport is badminton. Serious business! The producer, Andrew Ooi, introduced the movie and explained that they’re all big fans of badminton so why not make a movie about it? Fair enough.

Josie Ho was a standout; her transitions from washed up ex-champion to fierce competitor were a nice bit of acting. That’s the extra effort that you don’t always see in a farce.

Mirrored from Population: One.

Still not the singer or Disney movie. Man, has it really been nine years since I went to the best genre film festival in North America? Too long! Thus I am going this year, for sure, because Susan and I have plane tickets and a hotel. Directly thereafter we’re going to Gencon. If we seem delirious at the latter, you’ll know why.

Fantasia just announced the initial wave of films. I want to see all of these, of course, but some of them look particularly interesting. In no particular order: Jeruzalem looks potentially insane and cool; Big Match could be the kind of high-gloss South Korean action film I dig; Deathgasm um we’ll see; The Demolisher seems like it has potential; I’m all over anything to do with Milgram, more for the myth of the experiment than the reality, so Experimenter yes (plus nice cast); The Golden Cane Warrior looks awesome; and They Look Like People has gotten very good reviews.

Booyah! Very excited. And as you know, Montreal is within driving range of Boston.

Mirrored from Population: One.

(Back! Back in the saddle again!)

Evil Aliens is the goriest film I saw all week. You know what you’re getting when a rotating spiky probe hits someone’s delicate rear end within the first five minutes of the movie. Sploosh!

It’s also a total riot. Everyone’s comparing it to Evil Dead, which is exactly accurate. You get all the gore in the world, a wickedly nasty sense of humor, plenty of self-aware parody, and evil alien monsters. I laughed all the way through when I wasn’t cringing in shock. There weren’t any really scary bits; the aliens are gonna do damage and people are gonna die and none of that comes as any kind of a surprise. There are a couple of jump scares, but the point is definitely blood, a bit of sex, and funny stuff. Also, the scene with the harvester is the best use of music in a horror movie ever, no really.

The whole plot is parody, really. Real aliens show up on a nearly empty Welsh island, and a tabloid journalism show heads off to film there after some cryptic reports. Inbred Welsh farmers kick the crap out of aliens; the crap kicking is returned. There are ley lines. It’s damned snarky.

We saw three British horror flicks over the week (two from England, one from Ireland), and they couldn’t have been more different: the gorefest Evil Aliens, the monster movie Isolation, and the survival horror flick Wilderness. All were excellent. British horror is completely rocking the house right now and I give them huge happy thumbs up and I want more, please.

Grade: A.

[Crossposted from Population: One; go here for the original post.]

(Yeah, it was Scandinavia night up at the old film festival.)

So Pusher 3 is advertised as a crime drama, which I guess is accurate in that it’s not a comedy or a thriller and it’s set in a criminal milieu. On the other hand, before the movie Nicolas Winding Refn, the director, told us that he was inspired by reality TV. That’s a lot more of the feel right there.

It’s a bleak night in the life of Milo, Copenhagen drug dealer. He’s attending NA meetings to try and kick his habit, cooking dinner for his daughter’s 25th birthday party, and dealing with the unexpected arrival of 10,000 Ecstasy tabs instead of the heroin he’d expected. If that sounds like there’s a comic aspect — yeah, there is, but it’s used to highlight the empty grind that’s Milo’s life.

His cooking and his human interactions are a tired hulk of a man bulling his way through an existence he doesn’t particularly enjoy. He doesn’t want to engage in the sudden bursts of violence that come later in the movie, but he’s got to do it. There’s no path that’d take him out of the swamp.

Not so much plot. It’s a slice of life; it’s reality TV focusing on criminals. Things happen, and Milo doesn’t particularly change as a result of them. It’s Zlatko Buric’s performance as Milo that binds the movie together. He’s ugly, tall, and weary in every moment of film. Refn isn’t afraid of the long wordless reaction shot; Buric bears out the director’s trust. This was probably my favorite performance of the festival so far.

Grade: A-.

[Crossposted from Population: One; go here for the original post.]

The Gravedancers is a home for bad acting, in no way saved by poor directing, a bad screenplay, and half-hearted special effects.

The bad acting was the first thing I noticed. The second thing I noticed was the regrettable tendency towards teasing direction — in a horror flick, I tend to feel that shock jump cuts should have some kind of underlying rationale. Jump cut to the monster’s perspective, jump cut to reveal a new perspective, but don’t jump cut for cheap thrills. Alas. By the time the second or third monster-eye cam shot turned out not to be a monster’s point of view at all, I’d decided that Mike Mendez wasn’t going to be particularly honest with his scares, and a lot of his tricks for scaring me went out the window.

The setup — dance on a grave, earn the hatred of the inhabitants — wasn’t bad. But it was wasted. Three monsters is too many to distinguish if you’re not even gonna begin to differentiate them until two thirds of the way through the movie. Bah.

Oh, and some of you will remember Clare Kramer as Glory in Buffy. Don’t expect too much from her. Sorry.

Grade: C-.

[Crossposted from Population: One; go here for the original post.]

Yah, so, J-horror, long black hair as a signifier of angry spirits, everyday object as a carrier of the horror…

Red shoes, actually. Except these were more fuchsia. And yes, the idea is to evoke Hans Christian Andersen, but it didn’t work out very well. Lots of ballet, but no horrific mandate to dance forever, more’s the pity.

The twist, as seems to be obligatory in Korean J-horror influenced movies, has to do with family dynamics. Sadly, the director didn’t manage to overlap the ghost story and the family horror story at all, which meant that the last twenty minutes of the movie felt like an overdone coda: “Ah, you’ve resolved the ghosts? Now we will show you the real ending, because the dramatic tension we just built up and resolved was only the beginning!”

So I coulda done without that. I mean, it wasn’t abysmal, but it sure wasn’t good.

Grade: C+.

[Crossposted from Population: One; go here for the original post.]