Black Gate

All genres have their tropes that get returned to again and again. Historians write about the Civil War and World War II and the Civil War; singers write about breakups. For crime shows, serial killers represent the genre’s bottomless well. Netflix’s Mindhunter seeks to explore that vein as deeply as possible, and in the process creates television’s quietest noir.

FBI Special Agents Bill Tench (Holt McCallany) and Holden Ford (Jonathan Groff) are the founders of the FBI’s Behavioral Science Unit, which gave birth to the idea of “profiling” serial killers. Tench and Ford crisscross the country, interviewing serial killers with the intent of developing tools that will allow for the developing of psychological fingerprints of these compulsive killers, as an aid to capturing them. Fascinating and thoughtful, the series is significantly quieter than other cop shows. Mindhunter jettisons the foot chases and gunfights, and focuses on the agents interviewing serial killers

Mindhunter is based on the book of the same name by John Douglas and Mark Olshaker. Again, lesser cop shows pay lip service to the idea of “getting into the sick bastard’s head,” usually followed by some leap of logic that leads to the cops catching the killer. In Mindhunter, the interviews are the big centerpieces of most episodes. They’re great exercises in text and subtext, with the agents asking about thoughts and processes of the killers. The challenge of the show, and the reward for the patient viewer, is the agents discussing the interviews afterwards. They debate if the answers given were sincere, if the killer was being truthful, or misinterpreting things, or just outright lying. While fascinating, the interviews carry their own frustrating ambiguity.

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Yesterday I posted my last full review of a film from the 2019 Fantasia International Film Festival. Today, then, a post looking back at this year’s Fantasia. First, as always, my profound thanks to everyone who puts the festival together. And thanks as well to the audiences, who give the festival a reason for being. Special thanks to everyone I watched movies with, everyone I waited in line with, and everyone who I talked with and hung out with during Fantasia 2019.

This year was a bit odd for me, in that for the first week or even two I felt that while I was watching a lot of very solid feature films I was nevertheless missing a certain sense of surprise; a feeling I normally have at Fantasia of being blindsided by a movie, or a set of movies one after another. This may have simply been a function of what films I happened to see, or a subjective impression caused by some minor health issue (chronic fatigue takes many forms). Certainly that sense of mild shock did set in before too long. But it came from an unexpected place. What struck me as most impressive about the festival this year were not features but the short films.

It has been observed that the relation of short film to long film is more-or-less that of the short prose story to the novel. The short format is capable of powerful work, condensing narrative into terse, elliptical, allusive flashes. Artists often work at that length before embarking on longer stories, sometimes to hone their craft, sometimes to build a name, sometimes because they love the form. But audiences tend to prefer immersion in a longer story. In any case, while there are a number of outlets for prose short stories, short film rarely gets the same kind of exposure.

There are exceptions. It’s perfectly fair to talk about TV episodes as short film, for example. But one of the strengths of a good short is the way it can build a world very quickly, establishing as much as we need to know about character and telling a story with them in just a few minutes. So I want to write for a moment about a film I saw this year that I haven’t yet covered: “Balloon,” by Shin Hyun-woo.

Every year Fantasia has several blocks of animated shorts for children that play at the McCord Museum of Canadian History, not far from the main Fantasia theatres. I have two young nieces, and saw two blocks of those films this year. Plans for coverage here from age-appropriate reviewers fell through, but I have to say as an adult viewer that I was generally impressed by the craft I saw in these shorts.

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All good things must come to an end, they say, and for me Fantasia 2019 ended at the Hall Theatre with the Korean action-horror movie The Divine Fury (사자, romanised as Saja, literally Emissary). Directed by Kim Joo-hwan, it follows Yong-hu (Park Seo-jun), a champion MMA fighter who lost his father under mysterious circumstances at a young age. In the present, when mysterious wounds appear on his hands and he is attacked by a demonic force, a blind shaman guides him to exorcist Father Ahn (Ahn Sung-ki), who tells him the wounds are stigmata and give him great power in fighting demons. The two team up, reluctantly on the part of Yong-hu, who holds a grudge against Christianity after the death of his father. But there are dark forces at work in Seoul, and Yong-hu must use all his skills to defeat the forces of hell on earth.

There are a lot of good ideas in this movie. And a lot of the time it looks very nice, with lovely shots of Seoul by night, and glossy, richly-coloured cinematography. Unfortunately the action and horror elements are not blended well, and character beats don’t come off as powerfully as they should.

Let’s start with the action bits. After a long introductory sequence showing Yong-hu as a boy and the death of his father at the hands of demons, we get our first fight. Note that the intro’s failed to build any real narrative momentum, and even the appearance of the demon is only brief. The actual fight we see with the adult Yong-hu looks like it’ll be more exciting; but then it too ends quickly. There is a plot reason for this, but the scene sets a pattern for the rest of the film. Yong-hu finds himself battling demons, and his power ends each exorcism before any real sense of dread can emerge. The set-pieces are thus brief and don’t develop into anything significant, even when plot’s being advanced.

The climax is easily the most kinetic and visually interesting sequence of the movie, a well-shot brawl that does have its own internal structure: Yong-hu defeats some flunkies to make his way to the boss, and then both hero and villain level up as the fight goes on. The problem is that the combatants don’t have anything to say to each other, literally and figuratively. The spectacular visuals feel empty, as Yong-hu doesn’t seem to be dealing with any particular character issue in the fight. The staging’s fine, but there’s no particular sense that there’s an internal logic that dictates when Yong-hu’s done enough to end the conflict. Basically, there comes a point when he hits the bad guy enough that the bad guy goes down and stays down.

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