Black Gate

Last year I almost reviewed a movie at Fantasia called 1BR. But exhaustion got to me as the festival wore on, and I passed on the film. I’m never happy about having to compromise with fatigue, though, and since 1BR recently came to Netflix — where for a while it was among their 10 most-streamed movies, at one point even reaching the top 5 — I decided to rectify last year’s omission and take a look at it now.

Written and directed by David Marmor, his first feature film, it follows Sarah (Nicole Brydon Bloom), a young woman who feels estranged from her father (Alan Blumenfeld). Working in Los Angeles as a temp with aspirations to become a costume designer, she finds her first apartment as the film opens. Though the plumbing makes strange noises, her neighbours seem nice and Sarah befriends an old former actress named Edie (Susan Davis) while being drawn to the handsome Brian (Giles Matthey). But creepy one-eyed Lester (Clayton Hoff) keeps trying to push a weird old book about community. And Sarah’s got a secret: she moved in with her cat, Giles, even though building manager Jerry (Taylor Nichols) told her there were no pets allowed.

In fact things are worse than Sarah imagines. It turns out the book about community’s a bible for the apartment block — and that all the residents are part of a cult-like group prepared to force Sarah to join them. Acts of physical and psychological torture follow. Sarah is broken down and slowly builds herself back up, and it all builds remorselessly to a powerfully symbolic final shot.

The movie works because it pays so much attention to Sarah’s character, as well as the people around her. Bloom brings out Sarah’s flaws as well as her strengths. She is thoughtless enough to sneak the cat into a pet-free building without thinking about other people’s allergies. And she is weak-willed, unformed in certain ways as the film starts. The story has a strong subtext investigating her feelings about her father and unconscious search for replacement father figures; it’s a horror-thriller as bildungsroman, building to an overtly Freudian choice with an icepick.

The movie’s tone and visuals bring this out quite nicely. The film’s drenched with warm sunlight in its exterior shots, presenting a kind of warmth that echoes the self-image of the residents of the apartment block. Interiors of Sarah’s apartment emphasise bare white walls and wooden floors, the unyielding emptiness of unfurnished rooms. There’s a lovely moment early on as Sarah tries to sleep in her new apartment, which I think captures the dislocation of the experience of the first night in a new home. Conversely, later in the film all the homier scenes become unreal, as the rules and philosophy of the community become more detailed. The imagery of the building interiors ironically underscore the extreme rejection of the outer world and the unreality of the residents’ world-view, the willed aversion to external fact they push on Sarah.

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Every year I wrap up my coverage of Fantasia with a last post looking back at the festival, reflecting on the experience. This year’s edition of Fantasia calls for reflection even more than most. I have a couple of posts still to come taking care of loose ends from previous years, but here are a few final thoughts on the all-streaming 2020 Fantasia Film Festival.

First, as always, thanks go out to the team of people who made the festival possible. This time out I want to especially thank the social media team who kept a Discord channel going through the festival, answering questions and maintaining a group space for talking about movies, particularly Social Media Strategist Alyssia Duval-Nguon. The festival was always going to suffer from the inability to hang out with friends in person, but Fantasia’s people did the best they could under the circumstances.

Which I think sums things up for this year. I have no idea what things were like behind the scenes, but from my perspective as viewer and critic the Festival was the best I could imagine it being given the state of the pandemic. Technologically, my experience was as smooth as I could reasonably hope. It’s unfortunate that the festival lasted only two-thirds as long as usual, but the films had the level of quality I’ve come to expect. It seemed to me there fewer big-budget movies, but the range of smaller films meant I didn’t miss them much.

Still, it is clearly obvious that a theatre environment would have been a better way to watch these movies. Some of them, like Hunted, seemed to aim at using sensory power to overwhelm the viewer in a specific way; but all of them would have gained by the theatrical experience. It’s not just a question of the size of the image and the loudness of the sound system, but of the details that come out when you see the picture blown up and when you hear the sensitivity of the speakers. And in my experience films are only helped by watching them along with a Fantasia audience.

I also have to say that while the technological side of the event was run flawlessly by Fantasia, I personally had a couple of issues due to the equipment I was using. My laptop’s not the newest, and had a tendency to stop once or twice per film to buffer for a few seconds. Generally the streaming experience shifts some of the burden of keeping things running onto the audience. Usually to be sure of watching a movie I want to watch, I just have to make sure I’m in the right line at the right time. Watching a stream means I have to be sure that my computer’s not feeling temperamental, which is hard to guarantee; for example, I almost missed Jesters: The Game Changers because my firewall acted up. So there was a bit of unusual stress involved in watching the scheduled movies.

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