Black Gate

“MonsterDykë” is a four-minute Canadian short directed and written by Kaye Adelaide and Mariel Sharp. It stars Adelaide as a trans sculptress who’s being pestered for a date by a manipulative guy; she hangs up on him and turns to her work-in-progress. At which point the movie turns into an update of the Pygmalion myth. It has an interesting look, shot on back-and-white 16mm film, and is both sweet and explicit. The design of the sculpture’s imaginative, and if the story’s not surprising, at less than five minutes it doesn’t really need to be.

The feature that was bundled with the short was Giving Birth to A Butterfly, which would prove to be one of my pleasant surprises of the 2021 Fantasia Festival. It’s the first film from director Theodore Schafer, who co-wrote it with Patrick Lawler. And it’s a surprising work that seems to change shape as it goes along. The air of surrealism is constant. But the degree of surrealism is not, and what starts at first like a domestic comedy with an odd edge delves into more dreamlike and indeed mythic terrain as the story goes on.

Diana (Annie Parisse) is married to the optimistic but unaccomplished aspiring restauranteur Daryl (Paul Sparks), and is the mother of teens Danielle (Rachel Resheff) and Andrew, AKA Drew (Owen Campbell). Shortly after the movie starts, Drew introduces the family to his new fiancée, Marlene (Gus Birney), who is pregnant and not with with Drew’s child. Diana is not terribly pleased about this situation, but when her identity is stolen she must turn to Marlene to hep her drive to the address of a mysterious company where she hopes to resolve the situation. Meanwhile Danielle’s working backstage on the school play, and Marlene’s mother (Constance Shulman), who sees herself as an actress, is losing touch with reality.

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“Munkie” is a 15-minute short film from New Zealand written and directed by Steven Chow. It follows Rose (Xana Tang), a youth with controlling parents who are immigrants or of recent Asian ancestry. Rose has a plan to stop their interference in her life. But things do have a tendency to go wrong. It’s a fictional story based on a true crime, and it’s very well-done, sketching character and atmosphere coldly and even brutally. It’s a shocking story, and ends in a strong place — that is, a place which leaves the viewer briefly wanting more. In fact it’s a tightly-structured story that does its damage and gets out at the right moment.

Bundled with that short was Baby, Don’t Cry, an American movie directed by Jesse Dvorak. But the main creative force behind the movie seems to be screenwriter and star Zita Bai, who plays Baby, a teenage daughter of Chinese immigrants to the northwestern United States. An outcast, Baby’s got an almost overwhelming interest in filming what is around her, perhaps less as a way to make films and tells stories than to document and record her life. And then she falls in with Fox (Vas Provatakis), a tall shaven-headed white punk leading a wild but independent life. Flashbacks and moments of surrealism and things seen through the camera lens are integrated well, as Baby finds herself pulled from her parents’ abusive home toward an uncertain adulthood.

It’s a movie that hangs out on the edge of genre. You’re never really sure if it’s about to turn into a full-fledged crime story, and I suppose it doesn’t quite, but the very end of the film suggests it should be read as an unconventional fantasy. Or, indeed, on the edge of fantasy and myth. You could perhaps read it as a mimetic story, but I think that would run counter to the plain meaning of what we see (and a question-and-answer session with the filmmakers, available on Fantasia’s YouTube page, would seem to confirm this). It’s an ending that to me opens up a number of further questions, inviting a second watch to see what plays out differently and what does not have the meaning we thought. And this is no bad thing.

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“The Last Word” (“Le dernier mot”) is a five-minute-long short film written and directed by Lucas Warin. It starts outside a café: a man (Owen Little) is writing in a notebook, turning over phrases as he works on a story. He appears to discover a bizarre power; but appearances can be deceiving. This is a fun piece about the relation between writer and text, and the ability of writing to conjure a character, if only in the writer’s head. And about whether we really get to write our own stories.

The short was bundled with Ghosting Gloria (Muerto con Gloria), directed by Marcela Matta and Mauro Sarser; Sarser’s credited with the script, though it seems both worked on the story during the making of the film. The translation of the title’s a little odd, as Gloria (Stefanía Tortorella) isn’t ghosted in the usual sense. In fact, something of the reverse.

Gloria’s thirty years old, single, has never had an orgasm, and has more or less given up on relationships. Then she moves into a new house, where a man (Federico Guerra) recently died. His ghost remains, and Gloria begins an enthusiastically sexual relationship with the ghost. She experiments wildly; soon finds herself happier than she’s ever been; and her friend Sandra (Nenan Pelenur), a fellow employee at the bookstore where she works, notices her change of mood. But can the living and the dead maintain a healthy relationship?

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In 2020 a group of Japanese directors launched ‘Kaiju Defeats Covid,’ a viral scheme in which kaiju fans were encouraged to send in clips of themselves using the kaiju they had around the house (well, or models thereof) to destroy the COVID-19 virus. There’s something appealing about this idea, enlisting the very large to defeat the very small: like a reversal of War Of the Worlds. At any rate, Director Shunji Iwai took the core of this idea and built a feature film out of it, making first a series of videos for YouTube and then expanding them into a full feature film.

The 12 Day Tale of the Monster That Died In 8 (8日で死んだ怪獣の12日の物語, Yoka de Shinda Kaiju no Juninichi no Monogatari) follows an actor named Sato (Takumi Saitoh, who has been in many things including Haruko’s Paranormal Laboratory and Tokyo Vampire Hotel, here playing a version of himself) temporarily with no work due to the COVID shutdown of the Japanese film industry. To fill the time, he’s bought ‘capsule kaijus’ online, small monsters that hatch from a capsule and will grow; Sato plans to send their final forms to take on COVID (the idea of capsule kaiju, incidentally, is taken from a 60s TV show called Ultraseven). He gets advice about the creatures from a director he knows, Shinji Higuchi (one of the directors behind the Kaiju Defeats Covid project, also the co-director of Shin Godzilla, and the director of, among other things, the live-action Attack On Titan), and watches a YouTuber raising her own capsule kaiju. And he chats with other friends and co-workers. The entire film is in fact a series of video calls, occasionally interrupted by scenes of dancers, or a drone flying through a city, all of it in black and white. (Wikizilla.org claims that this is the first kaiju movie shot entirely in black-and-white since 1965.)

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The Small Gauge Trauma showcase is the Fantasia Film Festival’s annual collection of short genre films. Mostly these are horror movies, sometimes action; science fiction shorts get their own showcase. Small Gauge Trauma 2021 featured 10 movies from a total of 8 different countries.

It started with “Aria,” from the UK. It’s a 13-minute piece from writer-director Christopher Poole, which begins as a couple (Susannah Fielding and Daniel Lawrence Taylor) set up a new security system and digital assistant: Aria. Which soon begins to behave oddly, and surreal moments blur the line between waking and dream. It’s a solid enough story with some ominous touches and memorable images, though I didn’t think the ending really paid off the promise of the earlier oddity.

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“Choulequec” is a 26-minute short film from France, written and directed by Benoit Blanc and Matthias Girbig, and it’s quite charming in an absurd way. It follows a man, Lucas Lesol (Girbig), searching for Alma (Billie Blain), his missing 16-year-old daughter. On a rural highway he crosses the city limits of the town of Choulequec and finds himself in a bizarre place where an officious sheriff, Chépair (one of two roles for Benoit Blanc), has made up absurd laws. It starts out less like Kafka and more like Alice In Wonderland, possessed of the same left-field logic, and as it goes on becomes increasingly surreal. Fiction bends in on itself, and we’re never sure if we’re watching the characters or watching the characters watch the characters. It’s a story abut stories, and it’s done very well with some very sharp ideas. I’m not sure the end quite resolves anything (in terms of either plot or theme), but the journey along the way is amusing and clever; you can see it for yourself here.

Bundled with the short was Hotel Poseidon, from Belgium, written and directed by Stef Lernous. Lernous is the artistic director of Abattoir Fermé, a theater company founded in 1999. Originally noted for its underground guerilla-theatre style, in recent years the company’s taken cinematic approaches to its staged works (which included an adult adaptation of Alice In Wonderland for the book’s 150th anniversary in 2015). They’ve performed opera and created TV shows, so cinema is a logical progression. Lernous talked a bit about the process of making the film in a question-and-answer session available on Fantasia’s YouTube page; there was only one draft of the script, and he was able to use exactly the actors he wanted in the roles he created. The result is a surreal, grimy film that lurches from sequence to sequence, with intentional swerves in tone and plot. It’s an interesting approach; I don’t think it really works.

The story’s set in the eponymous hotel, a decaying wreck owned by Dave (Tom Vermeir), a passive middle-aged man. He wanders the massive place he inherited some time before, stumbling from one scenario into another. On the same day his friend Jacki plans to host a concert, his aunt dies (with financial consequences for Dave), and a woman (Anneke Sluiters) turns up who insists on taking a room at the hotel even though it’s closed for business. And frankly disgusting: the hotel’s beyond dirty or dingy, an underlit and grotesque near-ruin. We watch Dave stumble through the day, see him attend the concert, see him suffer various humiliations, see him abducted and penned up in a large glass pen that oddly resembles the garden of Eden.

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Back to the Wharf (风平浪静, Feng Ping Lang Jing) is a distinctive mixture of social drama and film noir. It’s a Chinese movie, directed by Li Xiaofeng from a script he wrote with Yu Xin, and has a lot to say about the changes Chinese society’s seen over the last several decades — and says it by exploring dramatic themes: the bonds of the family versus mercenary society, for example. Guilt and atonement. The futility of violence. Whatever specific applicability these things have for China, they’re also things that can play to viewers around the world.

The plot follows Song Hao (played as a youth by Zhou Zhengjie and as an adult by Zhang Yu), who as the film starts is a teenaged student aiming at a scholarship. That’s taken away from him for purely political reasons, and, distraught at the sudden loss of his future, he commits an act of violence. This leads to an accidental death, and his father helps him flee. 15 years later his mother dies, and he returns to his home town, where he cautiously tries to resume relations with his father Jianhui (Wang Yanhui), and starts a love affair with his former classmate Pan Xiaoshuang (Song Jia, Final Master), and goes into business with his former best friend Li Tang (Lee Hong-Chi) — all while trying to make amends to the daughter of the man he killed, Wan Xiaoning (Deng Enxi), without telling her the truth of his crime. But Li’s real estate company has plans for the property where Wan lives, and she’s the final holdout preventing a deal. You can see disaster coming.

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The official opening film of Fantasia 2021 was Brain Freeze, a Québecois zombie movie which played at Montreal’s Cinéma Impérial, a classic movie palace dating back to 1913. For a variety of reasons I wasn’t able to attend, but the film streamed on Fantasia’s servers on August 9, and that showing I decided to check out.

Bundled with the feature was a short, “No Title.” The 9-minute animated film’s written and directed by Alexandra Myotte, and it’s about a UFO chaser in 1990 who goes to a small town in Québec following reports of an alien abduction. He finds a blind sculptress, and an unexpected story. This is an extremely well-made movie, with a sharply written and performed voice-over from the always-faceless UFOlogist (Jean-Sébastien Hamel, also the sound designer), and excellent 2D animation that finds very strong images and brings out some of the cosmic implications of the tale. It’s also got some very down-to-earth themes, about art and love, and a killer line about revenge at the end. Add to that, it ties into some actual local history in the town of Saint-Amable, and nicely evokes the pre-internet feel of 30 years ago. It’s a very good piece, clever, distinctive, and funny.

Then came Brain Freeze, directed by Julien Knafo, who co-wrote with Jean Barbe. Near a major Québec city there’s a small island suburb where the ultra-rich are scheming to use chemicals to grow grass in the middle of the winter so they can play golf year-round. The good news for them is that they’re about to succeed. The bad news is that there will be side effects, in the form of zombies.

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My last film of the fourth day of the 2021 Fantasia Film Festival was We’re All Going To The World’s Fair, written and directed by Jane Schoenbrun. It’s not technically a genre story, unless you give it a highly determined reading, but it is a story about genre. It’s also a coming-of-age story, a story about a girl trying to find herself and work out her own story from the inspiration of genre tales she loves — even if dangers may come with it.

The movie begins with a long take introducing us to Casey (Anna Cobb), a young teen girl sitting before her webcam. She enacts a simple ritual that begins a — game? spell? We’re not sure at first what to make of what she’s doing; then she tells us of the World’s Fair Challenge, where people perform the ritual we’ve seen and, over time, change mentally. And they upload videos as they do, documenting their progression as they change from what they were into something else entirely. We see some of these videos interspersed among Casey’s own recordings, which she puts up on the web documenting her changes, and her hopes, and her reflections. And then we see an older man, JLB (Michael J Rogers), reach out to her claiming to have secret knowledge about the World’s Fair Challenge, and we doubt his good intentions, and we start to worry even more about Casey and where this challenge will take her.

For a large part of the movie we’re not really sure what’s happening. Almost everything we see is mediated one way or another, something recorded by someone for their own reasons — Casey’s video diaries, or JLB’s weird distorted messages, or other World’s Fair videos. What do we take as reality? Is Casey, who talked about how neat it would be to live in a horror story, going mad? Is there a supernatural force involved? Is she telling a story?

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