Black Gate

Last Tuesday saw the presentation of the official closing film of the 2014 Fantasia International Film Festival. Film festivals being what they are, there’d actually be another two days of films after that. In any event, I’d manage to see the closer, after catching two other movies earlier in the day.

I started things at 5:30 with an artful Danish horror film called When Animals Dream. After that, at 7:30, came an American sf comedy called Space Station 76, a send-up of 70s television sci-fi. Finally, at 9:45, came the closing film: Welcome to New York, directed by Abel Ferrara. Once again, I was in for a highly varied evening of cinema.

When Animals Dream was preceded by a short called Sea Devil, co-written and co-directed by D.C. Marcial and Brett Potter. An American fisherman agrees to meet two Cuban refugees at sea and takes them on board; later the ship rescues another man, weirdly mutilated and caked in an undersea growth. The movie goes on to tell a tight (16-minute) story of horror in the deeps. There’s a good atmosphere here, like something out of Jeff VanderMeer or Laird Barron. The short nicely underplays the horror, refusing to specify what’s happening, giving just enough information to be shocking, and deploying sudden cuts to good effect.

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As I said in my last post, I went out of town for the first weekend of August, and thus missed a couple days’ worth of movies playing at the Fantasia film festival. I was able to catch up with some on Monday, though. Fantasia maintains a screening room, with workstations where journalists, industry people, and other accredited folks can watch movies on computer. It’s not the optimal way to experience a film — they’ve usually been burned onto a DVD or accessed through a private Vimeo account — but it’s serviceable if you can’t catch the movie any other way. The screening room usually loses rights to the movies shortly after they play at the festival, but when I went by on Monday, there were still quite a few available.

So from about 11 in the morning until I left to get a quick meal before Thermae Romae II, I sat and watched films. These are the tales I saw in the screening room: two movies I missed over the weekend and one that various misfortunes had kept me from seeing earlier. The first of the three was a Japanese near-future science-fiction movie called Real. The second was another Japanese movie, the live-action manga adaptation Black Butler, which mixed action, comedy, sf, horror, bits of steampunk, and probably some other things I didn’t catch. The last movie I saw was an American film called The One I Love, a slightly horrific low-key relationship comedy. As per usual, it was a fascinating and oddly mixed day of movies at Fantasia.

I’ll begin with Real (originally titled Riaru), but I have to admit I’m still not entirely sure what to make of it. Directed by Kiyoshi Kurosawa from a script by him and Sachiko Tanaka, and based on a novel by Rokuro Inui called A Perfect Day for Plesiosaur, it seemed to reinvent itself periodically throughout. The closest I can get to a sense of it is to use that overworked adjective Hitchcockian — in this case not to indicate technique but atmosphere, the way tension builds in the first part and then twists and dissolves and becomes something quite different by the third act.

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A week ago, on Thursday, July 31, I saw yet another movie at the Fantasia Festival. Then I left town for the weekend to attend to some business of my own. I got back in on Sunday, and went to see another movie Monday evening. By that time, I’d also been able to catch up on a couple of films that I’d missed over the weekend — but I’ll be talking about them later. For the moment, I’ll discuss the films I saw in the Fantasia theatres.

The movie I saw on Thursday was called The Fake (Saibi). It was an animated film from Korea, directed by Yeon Sang-ho from his own script. It’s a harsh, downbeat drama. The movie I saw Monday was almost completely different, a comedy from Japan called Thermae Romae II (Terumae romae II), about a Roman architect who unwittingly travels in time to modern Japan and learns new ways to think about bathhouses. Hideki Takeuchi, who directed the first Thermae Romae, handled direction here as well, though with a change of writers: Hiroshi Hashimoto stepped in for Shogo Muto. Both movies adapt Tokyo-born Chicago resident Mari Yamazaki’s original manga, and as the first screened at last year’s Fantasia festival, I’ll actually talk about both Thermae Romae films in this review.

First, though, I’ll discuss The Fake. It’s set in a small town in Korea about to be flooded by a new dam. A new evangelical pastor has come to town and is raising money for the construction of a new chapel — while also selling a ‘holy water’ that supposedly can work miraculous cures. Min-chul, the town ne’er-do-well, who hits his wife and steals his daughter’s college money, returns to town. After a scrape with Elder Choi, the pastor’s business manager, Min-chul sees a wanted poster and recognises Choi as a con-man. But nobody wants to listen to Min-chul when he tries to tell the truth.

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I didn’t see any films at Fantasia on Monday, July 28, and then on the 29th I saw two. One was Guardians of the Galaxy, which I’ve already written about. The next was a distinctive but disappointing horror film called Cybernatural. Disappointment here is perhaps relative; Cybernatural’s been one of the most talked-about films at the festival, so far as I can judge, and as a result my expectations were high. And honesty compels me to note that I’m not a big fan of horror movies as such, though I’d like to think I enjoy good horror when there’s a good story.

Certainly, the first film I’d see on Wednesday the 30th was a horror movie that erased the disappointment of the night before. The film that did the trick was Venezuela’s first-ever commercial genre film, The House at the End of Time (La casa del fin de los tiempos), which I followed with an American thriller called Time Lapse. It all made for an interesting mix of films.

Cybernatural was directed by Leo Gabriadze from a script by Nelson Greaves. Like Open Windows, it’s a movie that takes place entirely on a computer screen. In this case, the screen belongs to a teenaged girl named Blaire (Shelley Hennig), who at the start of the film is involved in a Skype chat with her boyfriend Mitch (Moses Jacob Storm). Things are about to get heated when suddenly more friends join, other kids at their school. But there’s somebody else with them, an anonymous presence on their group video chat. And their computers have started to act strange. It seems that exactly a year ago one of their former classmates committed suicide, after someone in the group posted a humiliating video of her online. Now she’s back for revenge.

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There are a couple of things I’ve noticed in my Fantastia experience so far which I haven’t yet mentioned. The first is the general friendliness of people: the ease I’ve had in getting into conversations while in line for a film, or in the theatre waiting for a movie to start. I’ve met other writers, a programming director for a Mexican horror film festival (check it out), and, on the Sunday before last (July 27), a DJ with Concordia University’s radio station, CJLO.

Fantasia’s hosted on Concordia’s downtown campus, and DJ Saturn de Los Angeles is one of a number of CJLO DJs who play music before the start of films in the Hall Theater, while the audience is filing in and finding their seats. And this is the other element of the festival I’ve not yet written about, the pre-film music. As selected by the DJs up at the back of the Hall to fit with the movie about to play, it sets the tone and prepares you for what you’re about to watch. I’ve found the selections appropriate and inventive, adding a little extra style to the Fantasia experience. The music raises your excitement level just a bit, like hearing the pre-show music at a rock concert. You know something’s coming, and when the music stops, your attention focuses on the screen that much more.

Saturn plays Japanese pop and indie rock in their weekly show, so it’s appropriate I met them before the first of two anime films I’d see on the day. We were waiting for the North American premiere of Hal, a character-oriented science-fiction anime that’d be preceded by a short film called Sonny Boy and Dewdrop Girl. After Hal, which was shown in the mid-sized D.B. Clarke Theater, I’d head upstairs to the Hall to see the Canadian premiere of another anime, Giovanni’s Island. I’d then go on to see two more films that Sunday, both documentaries (and coincidentally met more CJLO folks in line at the later one), but I’ll be discussing those in another post. Here, I want to consider the two animated films.

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I’m going to do something a little different in this instalment of my diary of the Fantasia film festival: I’m going to write about two movies in the reverse order from which I saw them. I watched both on Saturday, July 26, and it so happened that the second one struck me as a perfectly fine movie of the sort of movie that it was, while the first seemed a little bit more.

The second movie was the Canadian premiere of Once Upon a Time in Shanghai (original title: E Zhan), a martial-arts film set in 1930, featuring warring gangsters, a humble youth from the countryside, and sinister Japanese agents trying to gain control of the Shanghai underworld. It was directed by Wong Ching-Po, written by Wong Jing, boasted fight choreography by Yuen Wo-Ping, and starred Philip Ng as the heroic rustic Ma Yongzhen, Andy On as a charismatic gangster alternately Ma’s enemy and friend, and veteran actor Sammo Hung in a major supporting role as Ma’s mentor. The first movie was an animated musical from France called Jack and the Cuckoo-Clock Heart (Jack et la mécanique du coeur), co-directed by Mathias Malzieu and Stéphane Berla; Malzieu also wrote the film and performed the voice of the main character. It’s not a perfect movie, but it had a blend of style and imagination I found quite powerful.

But let’s start with Shanghai (a remake of 1972’s Boxer From Shantung [Ma Yong Zhen]). As I said, it’s a perfectly fine movie that does just what it says on the tin: provides for lots of distinctive martial-arts fight scenes against a 1930s period setting, with a distinct patriotic subtext — even the gangsters are opposed to the Japanese or Westerners controlling Shanghai or China. A broad mix of action, comedy, and melodrama, it played in the big Hall Theater and the audience cheered the fights and laughed when they were supposed to and generally had a good time.

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In a surprising number of ways the experience of having a pass for a movie festival is not wholly unlike the experience of going to a science-fiction convention. One such similarity is the inevitability of conflicts in your ideal schedule. You’ll see two potentially interesting things on at once. So you pick and choose and guess which of the things looks like it’ll be better.

At 5 PM on Friday, July 25, a Korean film called Mr. Go screened in the Hall Theater, a 3D comedy about an ape that played professional baseball. It sounded like it might be funny (I mean, you know, apes!), but I decided I’d much rather see The Infinite Man at 5:20, an Australian comedy about a man who invents time travel in a desperate attempt to repair his relationship with the woman he loves. After that, a movie called Yasmine, about a young woman studying martial arts, played at 7:50; it’s the first commercial film from the Sultanate of Brunei, but while I thought it’d be interesting to see a country’s first movie, I decided I didn’t want to take the chance of missing a science-fiction film about cloning called Closer to God, which screened at 9:35. I’m still not sure how those choices worked out.

The Infinite Man was directed and written by Hugh Sullivan. It stars Josh McConville as Dean, a somewhat uptight scientist madly in love with Lana, played by Hannah Marshall. They’ve been together at least a couple of years, but their relationship’s in trouble due to Dean’s obsessive need to control things around him. It probably doesn’t help that Lana is being stalked by Terry (Alex Dimitriades, who plays the part with a note-perfect blend of menace and goofiness), an Olympic-level javelin thrower who dated her briefly four years ago. At any rate, Dean decides to rekindle his romance by going back to the resort where he spent a perfect day with Lana the year before. But the resort’s gone out of business. And then Terry shows up. And Lana leaves with him. So Dean does the only logical thing: moves into the resort and builds a time machine so he can go back and set things right. Events don’t go quite according to plan. He has to go back again, and runs into himself, and Lana ends up going back as well, and then so does Terry, and complications feed on complications.

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On Thursday, July 24, I saw two movies. One hinted at the supernatural. The other was a surprisingly faithful adaptation of a classic sf story. On the surface, these films didn’t seem to have a lot in common. But to me they raised similar questions about free will, about how people change, and about whether one can really choose that change.

The first was Faults, which screened at 7:15 at the De Sève Theatre. Directed and written by Riley Stearns, it starred Leland Orser as a man who specialised in deprogramming brainwashed cult members; he was trying to undo the damage a mysterious group called Faults had done to a young woman (played by Mary Elizabeth Winstead, who also produced the film). The second movie I saw right afterward at the Hall Theater at 9:45. It was titled Predestination and adapted Robert Heinlein’s “All You Zombies …” — the title, apparently, was changed to avoid confusion in the marketplace: the filmmakers didn’t want people thinking it had to do with the walking dead. It starred Ethan Hawke and Sarah Snook in her first star role in a feature film. Much of the movie was taken directly from the story, the main changes being additions which helped the story work on screen — and which also ultimately challenged the original story, adding a new ending beyond Heinlein’s text.

I’ll start with Faults, which is in many ways an excellent film that does an awful lot right. It’s a period piece set (so far as I could tell) somewhere around 1980. I mention this because this decision affects both atmosphere and plot: there are no cell phones, no Internet. I’ve noticed a number of films at Fantasia set in the 70s or 80s and you can see the logic. The plot becomes simpler to manage. And you can evoke a time with props and costumes that are probably relatively cheap and easy to find. In this case I think it also taps into a fear of cults and brainwashing that was in the air in the post-Jonestown years.

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I’m going to break from the chronological record I’ve been keeping of the Fantasia Festival to write a bit here about a movie I saw last night. I’m going to do this on the off chance that my doing so may help some of you decide what you’ll be doing with a couple hours of your upcoming weekend. On Tuesday at 7:30, Fantasia presented the Canadian premiere of Guardians of the Galaxy and I was there.

It’s a fun, fine movie. It’s not a great movie, I feel, and not even the greatest Marvel movie — I didn’t think it was as good as The Avengers or Captain America 2. But it’s another solid entry in Marvel’s growing filmography. That said, it’s not really a super-hero movie, but space opera: a group of ragtag adventurers in outer space come together when the retrieval of a mysterious artifact from a dead world leads to the emergence of a threat to the galaxy. Directed by James Gunn from a script by Gunn and Nicole Perlman, it moves swiftly and easily over familiar terrain, primarily using ideas and concepts from Dan Abnett and Andy Lanning’s excellent run on Marvel’s space-oriented comics — notably Nova and Guardians of the Galaxy.

It’s filled with adventure and action scenes. It’s also filled with humour, and largely successful humour at that. The characters are engaging, with each of the heroes distinctive and developed as individuals — though the villains of the piece are underplayed. There are moments of real strangeness, though I’m not sure the richness of the ideas in the original comics always come across. And the worldbuilding — or galaxybuilding — is so minimal that the scope of the film feels limited as a result. Still, this is a tightly-constructed high-velocity movie with a surprising amount of warmth. It’s a story about outcasts coming together for the common good and learning to be better as a group than they could have been apart. There’s nothing revolutionary about that, but Guardians does the old idea well.

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