Black Gate

My first movie on July 28 was one of my most-anticipated of the festival. In 2017 I watched Gintama, a live-action manga adaptation I thought was one of the funniest things I’d ever laid eyes on, and which also told a good solid science-fictional action-adventure story. Naturally when I saw Gintama 2 was playing at Fantasia I was eager to see it. It is unfortunate that sometimes great expectations result in great disappointment.

The story of Gintama 2, which is titled in full Gintama 2: Rules are Made to be Broken (Gintama 2: Okite wa Yaburu Tame ni Koso Aru, 銀魂2 掟は破るためにこそある) follows the first directly enough. In an alternate reality where extraterrestrials conquered Japan in the nineteenth century, a new society’s sprung up that’s a weird mix of period technology, super-science, Japanese cultural traditions, and aliens. Samurai were discharged from their traditional role, launched a rebellion, and were defeated. One former samurai, Gintoki Sakata (Shun Oguri, Terra Formars), has formed an odd-jobs company with young Shinpachi Shimura (Masaki Suda, Wilderness, Assassination Classroom, Princess Jellyfish) and superstrong teen alien girl Kagura (Kanna Hashimoto, Kingdom, Assassination Classroom). This time out, they become involved with a plot against the shogun, and a scheme that divides their country’s police force, the Shinsengumi.

The main actors from the first movie reprise their roles. Director Yuichi Fukuda returns as well. But the feel of this movie is very different. There’s less comedy, and less focus on the main characters. I have no idea how much this reflects the source material. But I found I was disappointed.

To be clear, this is recognisably a sequel to Gintama. It has a similar look, with outrageously-costumed leads wandering a Japan blending past and future. And there is still a lot of humour, in a similar vein to the original. There are more gross-out gags than in the first film, but not so much as to represent a really different approach. Early on, in particular, we see some of the same kind of metafictional jokes that marked the previous movie.

Unfortunately, that doesn’t last. Instead Gintama 2 turns out to be more interested in the internal strife within the Shinsengumi, to the point that the ostensible leads are largely sidelined. While the film does find some humour in the Shinsengumi storyline, for the most part it’s much more restrained. We get a scheming manipulative villain we’re apparently meant to take seriously, and the riotous pace of the first movie never kicks in.

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For my last movie of July 27 I crossed the street to the De Sève Cinema to take in the French-Swiss co-production Les Particules (The Particles). It’s the first fiction feature by director Blaise Harrison, who co-wrote the script with Mariette Désert. After a day of particularly frenetic movies, this was good way to end the evening; a subtler, atmospheric, intelligent, and character-based film that thoroughly succeeded at what it was trying to do.

The movie follows Pierre-André, or P.A. (Thomas Daloz), an inarticulate older teen in a small town on the Franco-Swiss border. He’s in a band, kind of, or at least has a group of friends; we see them at school, and buying drugs, and taking drugs, and wandering around. We see a romance between P.A. and a chronically ill girl named Roshine (Néa Lüders), and watch their relationship develop. It’s all good slice-of-life storytelling.

Except we also follow P.A. on a school trip into the Large Hadron Collider hundreds of feet below their village. And we come to suspect the installation might be linked to the strange things that happen over the course of the movie, slowly at first, then as the film goes on a little faster and a little more obvious. Reality changes. Things, and characters, disappear. Are the quantum-level forces of the LHC causing the world to change? Or does this have to do with mental illness? Or both?

This is a stunning movie, in its sound and images, but also in the way it brings out the sense of lived experience and everyday life. And then again in the way that everyday life fits into a symbolic pattern, exploring many meanings of ‘particles’ in human existence and in the larger world. So the first shot is a view from above of the countryside as P.A. takes the bus to school: lights of houses, here and there, against the darkness of the night, glowing particles in blackness. And so, later, Christmas tree lights are something similar. So also is snow, as winter and the school year wind on.

But the crucial point, I think, is that the youths we see in the film are particles themselves, fitting into the school system, fitting (or not fitting) into society, bouncing off each other in unexpected collisions. P.A.’s relationship with Roshine is symbolically matter and anti-matter meeting. The hard physics of the LHC provide the underpinning for a metaphor that gives the material of the film some unity.

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My fourth film of July 27 was once again in the Hall Theatre. It was a Russian film about which I had heard very good things, with one web site calling it among the best action movies of the year so far. You may have heard of Chekhov’s gun; well, Why Don’t You Just Die! (Papa, Sdokhni) gives us Chekhov’s gun, along with Chekhov’s other gun, Chekhov’s claw hammer, Chekhov’s power drill, Chekhov’s CRT TV, and any number of Chekhov’s other odds and ends.

Written and directed by Kirill Sokolov, the film opens with a young man before the door of an apartment, nervously contemplating the doorbell, a claw hammer clutched behind his back. His name is Matvey (Aleksandr Kuznetsov, Marten in The Scythian), and he has come to visit Andrey Gennadievitch (Vitaliy Khaev), the father of Matvey’s girlfriend Olya (Evgeniya Kregzhde). Matvey’s got a score to settle with Andrey, or thinks he does. There’s more going on than he knows, though, and after the opening tension explodes into violence things settle down only to open up as more and more characters get drawn into the confrontation.

The film unfolds largely within Andrey’s apartment, with flashbacks now and again showing us background that shapes what goes on. New wrinkles are constantly added, new aspects of character demonstrated. The plot takes on new shapes at unexpected moments. Violence is a leitmotif; beautiful, horrific, entertaining violence.

There is a lot of blood and blood-splatter in this film; there is torture and the threat of torture. It’s all presented with a cartoony verve, but this is not violence for the sake of violence, or violence for the sake of comedy. The movie is in fact very violent and very funny, but uses violence for the sake of story, creating a tension and a tone and, in the end, getting a certain point across. It will not be to all tastes. It very much was to mine.

There’s a temptation to talk about Quentin Tarantino when faced with a violent but clever small-scale crime film. The sense of corruption is probably most like Tarantino; more than brutal men doing brutal things, there is here the feel of a tough world in which everybody’s out for their own interests. But then the characters also, most of them, have redeeming features, too. Goons are also friends. Sometimes. As a result Why Don’t You Just Die! feels more like an early Guy Ritchie film — the Guy Ritchie of Lock, Stock, and Two Smoking Barrels or Snatch, not the Ritchie of the Sherlock Holmes films. The film’s pacing in particular is like those movies, and how flashbacks are cut in after a bizarre or unexpected plot twist as a way of explaining the twist. But also how people do bad things for good reasons, or what they think are good reasons.

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My third movie of July 27 was a live-action manga adaptation by the dauntless and prolific Shinsuke Sato. Having been thrilled by his previous work in past years (I Am A Hero, Bleach, Inuyashiki, Death Note: Light Up the New World, and Library Wars), I was eager to see something new from him. This year’s offering was Kingdom (Kingudamu, キングダム), which Sato scripted along with Tsutomu Kuroiwa, adapting the manga of the same name by Yasuhisa Hara. As of August, there were 55 volumes of the manga, which had already been adapted into a 77-episode anime. I am not familiar with the source material beyond those statistics, but they suggest that Kuroiwa and Sato had their work cut out for them fitting the story into a two-and-a-quarter-hour movie.

The setting is ancient China, where war swirls among feuding kingdoms. Two orphans are taken as slaves by a wealthy merchant. They grow up dreaming of a better life, and practicing swordplay on their own in the forest near their master’s home. One, Piao (Ryo Yoshizawa, Gintama), is bought by a government minister. Piao’s blood-brother, hothead Xin (Kento Yamazaki, Jojo’s Bizarre Adventure), is therefore surprised some time later when a dying Piao returns with a mission for him — and the soldiers who gave Piao his mortal wound hard on his heels. Xin’s launched on a quest that leads him to the young king Ying Zheng, now deposed by a palace coup. The minister who bought Piao had used him as the king’s double, which saved Ying’s life. Now the ambitious Xin wants to keep him alive, and make his own way to a great destiny.

This is a well-told story. It builds nicely, through varied set-pieces that come at key structural points, are executed with flair, and move the story forward. It’s always colourful and fun to look at, though unsurprisingly the costumes show the manga roots of the film: major characters stand out through their eye-catching gear, to the point that we know a general we see at only a couple of points is obviously going to play a major role in the climax. But this fits into the overall tone of the movie, both narratively and visually. The choreography is strikingly effective, which is important, and the humour works, mostly coming in the form of Xin’s aggressive attitude toward just about everything.

If you look carefully, you might notice the film’s not actually as lavish as it seems. There aren’t any major urban scenes, for example. But there’s enough variety generally that you don’t notice any lack. Xin and company explore a lot of different places, and the story feels full to bursting. The sense of a vast kingdom containing a range of people and cultures and landscapes comes across, and that means more is not needed.

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For my second film of July 27 I stuck around the Hall Theatre for another animated feature, this time from Japan. Preceding it was a 13-minute animated short from Canada.

“Alexis Inside” was directed by Montrealer Brandon Blommaert. Alexis is one of a group of friends who play a VR video game. When one of the friends goes missing, the vampire-like force that afflicted her is passed on to Alexis, who shuts herself away from the world. Can her remaining friend save her? The short’s open to interpretation, and has a stylish look based on old-style computer graphics given modern details and animation. I read it as being about depression, and see an ambiguity in the title having to do with the insides of Alexis, as opposed to Alexis choosing to lock herself away from the world. The film’s an interesting, disconcerting piece, somewhat alienating due to its look but ultimately emotionally engaging.

The feature I’d come to see was The Relative Worlds (Sotai Sekai, ソウタイセカイ). Written and directed by Yuhei Sakuragi, it’s adapted from a series Sakuragi did for Hulu Japan. Shin (Yuki Kaji) is a Japanese teenager whose mother died a sudden inexplicable death when he was a child, part of an ongoing wave of inexplicable deaths across Japan. His date with Kotori (Maaya Uchida) is interrupted by the death of his father, which we in the audience see is connected with something far stranger. It turns out that Japan is linked to another reality, where history took a very different turn. Everyone in Shin’s reality — or at least Shin’s Japan — has a doppelganger there, and when somebody in one reality dies so does their doppelganger in the other. Shin’s double, Jin, has crossed over to this reality to kill Kotori, because in Jin’s reality Kotori’s double is the despotic Princess Kotoko, who rules the dystopia of that world and also has dark schemes for this one.

This is not a bad plot, and the deaths of Shin’s parents are unsurprisingly tied in with the core plot of the conflict of the two worlds. There’s a solid emotional background, in other words. The problem is the rest of the story. It’s uninvolving, playing out on a small scale. This does change in the last third or so of the film, as the other world deploys the full strength of its forces, and organisations in this world get involved. But the build’s erratic, too slow for too long.

What I think the movie is trying to do is keep the story focussed on the teen protagonists, Shin and Jin and Kotori, and that’s not a bad idea. But there’s an asymmetry. The bad guys from the otherworld are too powerful to stop. You understand why Jin planned to kill Kotori, and the movie doesn’t really come up with a better alternative. Nor does it effectively explore the morality of killing an innocent for the greater good, partly because the science fiction aspect of the story is so outlandish, and partly because the greater good is abstract. The movie doesn’t really dramatise either world; doesn’t make us believe in a society of individuals in either reality.

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Saturday, July 27, was going to be a long day for me at Fantasia. Hopefully a good one, too. I had five movies on my schedule, starting at noon with the animated Chinese fantasy-adventure White Snake (白蛇：缘起, 白蛇：緣起).

Directed by Amp Wong and Ji Zhao from a script by Da Mao, it’s a prequel to the Chinese legend of the White Snake, one of China’s Four Great Folktales. That story was first written down in the Ming Dynasty but originated in the Song Dynasty; the film’s set hundreds of years before that, in the Tang Dynasty. As the movie opens, snakes are being hunted to make immortality drugs for an evil general. A snake demon, Blanca (Zhe Zhang), tries to assassinate him and fails. She escapes, and wakes as an amnesiac in a village of snake-hunters. She’s cared for by a scholar-hunter named Xu Xuan (Tianxiang Yang). They try to uncover Blanca’s past, and in the process struggle with various supernatural forces, the machinations of the wicked general, and the plans of Blanca’s own family.

This a lovely film, colourful and action-packed with fluid 3D animation. It builds a spectacular fantasy world of misty mountains and wide rivers and thick forests and ancient ruins. Then it fills that world with spirits and demons and magic. And engaging heroes. The characters are well-designed and cartoony in a good sense; they move a little like marionettes in the hands of a master puppeteer, not stiffly so much as stylised. To me there’s a slightly classic feel as a result, though I can see other opinions varying.

Importantly, action scenes aren’t stiff in the slightest. This is a film that takes full advantage of animation’s capacities, using its medium to tell a magical story brimming with metamorphoses and impossible motion. Battles are large-scale events defined by supernatural tranformations. Even quick editing rhythms in those set-pieces don’t obscure the story, and still give us time to feel the impact of magic at work.

Which I think is important, as this is to me a literally wonderful film: that is, filled with wonder. It evokes that wonder by having a strong story with solid characters moving through a world of magic, but then also by presenting magic and monsters in a way that emphasises what is astonishing about them. It’s a fantasy story that knows how to present fantasy, which can be trickier than it sounds; it’s not just having characters stand around in shock at what they see. It’s that they, and we, keep seeing new things. The world expands, at just the right rate of change.

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My second film of July 26 was in the big Hall theatre, a science-fiction anime called Human Lost (人間失格). Directed by Fuminori Kizaki, it was scripted by Tou Ubukata based on a novel by Osamu Dazai. The movie’s set in 2036, when advanced nanotechnology has given human beings a lifespan of 120 years but turned Japan into a deeply unequal society, with the wealthy sequestered inside a vast citadel called “the Inside.” Some people, for unclear reasons, metamorphose into monsters: the ‘Human Lost’ phenomenon. A troubled young artist, Yozo Oba (Mamoru Miyano), gets involved with his cyborg friend Takeichi (Jun Fukuyama) when he attempts to break into the Inside, and sets off a complex series of events which bring to light the truth about the Human Lost problem and the future of 2036 — but which also might drive Yozo over the edge of sanity.

Osamu Dazai was one of the most celebrated Japanese writers of the first half of the twentieth century; he died in 1948. I have not read his novel No Longer Human (which has the same name in Japanese as Human Lost), but Wikipedia tells me it is considered his masterpiece. Wikipedia also tells me that an alternate and perhaps more faithful translation of the title is “Disqualified From Being Human,” which is closer to the film title. I mention this because a glance at the plot outline suggests the film is otherwise pretty far from its source. More explosions, to start with.

The film takes the idea of a troubled, self-destructive young painter at odds with a stifling society in some counterintuitive directions. Let me put it this way: I had no idea while watching this film that I was watching an adaptation of a twentieth-century novel about alienation and anomie. I can see some connections, even with only the most cursory knowledge of the book. For example, the biotech that keeps people alive forces them to stay alive; suicide is effectively impossible, which is an interesting twist on certain things from the original story. The future society is something of a straitjacket more generally. Some characters have the same names and characteristics as those in the novel. The story’s divided into “notebooks,” which is a structural choice taken from the book.

There’s certainly a kind of ambition at work here. There’s an unusual feel for a violent cyberpunkish dystopia, a strange pacing that puts an emphasis on Yozo rather than on bigger and wilder battle scenes — for better or worse. The problem is, the movie never really manages to find a connection to something recognisable as real life. The action and futuristic plot points are what draw interest, and Yozo’s not charismatic or interesting enough to be intriguing on his own without reference to the larger plot.

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My first film on Friday, July 26, was a Kazakh work playing at the de Sève Cinema. Written and directed by Adilkhan Yerzhanov, Night God is a particular sort of uncompromising. It’s a beautiful picture, but extremely slow, still, and self-consciously meditative. I was deeply moved, for all its studied avoidance of simple dramatic action.

A man (Bajmurat Zhumanov), his wife, and his daughter (Aliya Yerzhanova) arrive in an unnamed town, a post-industrial city ruled by a cadre of state officers. It’s dark and cold, with comets in the sky, and the people live in fear of the coming of the Night God who will destroy the world. The man’s ordered to report to the local TV station to act as an extra, in exchange for which he’ll be given a house; this sets off a chain of serio-comic misadventures that must be called ‘kafkaesque’ if that word is to have any meaning.

A fake bomb’s strapped to his torso as part of a game show. But the bomb turns out to be real. He asks to have it removed. But before that he has to get an imam to sign a document attesting that he isn’t a radical. Thematically, then, there is a faith present in the film implicitly opposing the belief in the Night God; but all along the way the movie’s speaking of the struggle to believe in anything in a world that is feral and, to all appearances, meaningless.

The first thing one notices about the film is its intense visual beauty. It’s a mix of beautiful shadows and beautiful light. Taking place in an endless night, illumination is nevertheless powerful, bringing out colours and detail. We see every crack in every wall, every mote of dust; and this city is filled with cracks and dust. Although apparently shot entirely in studio, the town feels like a real place, looks like a real city coping with decayed industries and a collapse of central government. There are no screens or phones, and it feels right that a television station, the old technology of an earlier age, is central to the story.

That sheer sensory power is important, because the movie’s based mostly on very long takes with no or minimal camera moves. That is, the camera moves enough to give a very subtle sense of personality to the scene; not a sense of threat, as can happen with long tracking shots, but a kind of curious meditative feel, as though the camera is shifting ever-so-slowly to get a better idea of what’s happening. The soundtrack’s minimal, mostly a soundscape of whistling winds and water dripping from some unseen broken pipe. We’re stuck staring at what the movie insists on, and fortunately that is often beautiful in the way that inorganic decay and abandoned things can be beautiful. It has been said that the film has a painterly visual sensibility, and this is true. A statue, a clock without hands, a grated floor with light rising through it, come to feel like powerful statements hinting at a symbolism more profound than can be easily stated.

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On June 25 I went to the De Sève Theatre for the one movie I’d see that day at the Concordia campus. It was called Culture Shock, and while it’s available on Hulu, this was a rare chance to see it in Canada.

It was preceded by a short called “Re-Home,” directed by Izzy Lee. I’ll note for the record that I’m friends with the man who provided the music for the short, though I don’t think that affected my opinion one way or the other. In a future in which a wall along the southern border of the United States has been built, a poor Spanish-speaking woman (Gigi Saul Guerrero, director of Culture Shock) re-homes her baby, giving the child up for adoption to an Anglophone couple. But is something darker going on?

As usual at Fantasia, to ask that question is to get the answer “yes.” The short’s done well, with lots of atmosphere and style, but the twist at the end is the farthest thing from surprising. This feels like a piece of a larger story; either a beginning setting up something more complicated, or the ending of a tragedy that would have allowed us to be more invested in the mother and made her more individual. It’s highly watchable as it is, and certainly doesn’t overstay its welcome at only 8 minutes, but might actually be better served at a longer running time with more plot development.

Then came Culture Shock, which was made as an episode of Hulu’s horror anthology series Into the Dark. Each episode of the show is based on an American holiday, and this one was inspired by the Fourth of July. As noted, Culture Shock was directed by Gigi Saul Guerrero, who also worked on the script by James Benson and Efrén Hernández. She introduced the movie by noting it was a Blumhouse production, and saying that as an immigrant she felt she had a responsibility to tackle this material. She said she hopes it has something to say, and also provides an escape for 90 minutes.

It follows Marisol (Martha Higareda, of Altered Carbon fame), a heavily pregnant Mexican woman desperate to cross into the United States and begin a new life in a country she sees as having more opportunities. A good part of the movie follows her difficulties finding her way northward, showing her challenges as a woman finding out who she can trust and who she can’t; it also establishes the stories of other would-be immigrants travelling with her. When they all reach the border, though, something strange happens. Marisol wakes up in an idyllic American small town out of the 1950s or early 60s, a place obviously unreal. What’s happened to her? And how can she get free of this weird red-white-and-blue image of domesticity?

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There was only one film I planned to watch on July 24, and that was writer-director Johannes Nyholm’s Koko-di Koko-da. It promised to be a strange movie about characters trying to break out of a time loop, and I settled in at the De Sève Theatre wondering at the horror elements implied by the film’s description in the festival catalogue.

It’s a little difficult to describe the plot of this movie without giving away a major swerve at the end of the first act. But: an opening section introduces us to the happily-married Tobias (Leif Edlund Johansson) and Elin (Ylva Gallon). Then we see tragedy strike, and after an interlude with shadow-puppets we skip forward three years to the main part of the movie. Tobias and Elin are on the verge of separating, sniping at each other as they set out on a vacation together. They end up camping overnight in the woods, and in the morning are attacked by three vicious wanderers: the brutal giant Sampo (Morad Khatchadorian), the sinister Cherry (Brandy Litmanen), and a short ringmaster named Mog (Peter Belli). With them is an attack dog. Tobias and Elin are killed — and then Tobias awakes at dawn and the whole thing begins again.

We eventually come to understand what is happening here, and roughly why. The conclusion ties up the loop in an interesting mobius strip of causality. And one of the loops follows Elin instead of Tobias, producing an unusual resolution. But there are problems here.

Before I get to them, I want to note what the movie does right, and how I read what it’s trying to do. To start with, it looks very nice, and it’s shot with a strong eye for point-of-view. The woods are a place of dread, not just dark but cold and damp. The more joyous early part of the movie is bathed in light, brighter in atmosphere, but still with an almost subliminal sense of weirdness.

Character is the driver of the film, and the basic sense of who the leads are is very strong. This is not true of the wanderers, but that’s fine; their purpose is to drive events, to put stress on Elin and Tobias. I am not sure that the dramatic structure really helps bring out the interaction and relationship of those two. But then again the film seems to aim at establishing them less through dialogue and more through a close observation of their actions — not just what they do but how they do it, their every shiver and every wild glance.

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