Black Gate

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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