Black Gate

The strangest title of any film at Fantasia 2021 was the Korean short “Digital Video Editing with Adobe Premiere Pro: The Real-World Guide to Set Up and Workflow.” (“그녀를 지우는 시간”) A 40-minute piece written and directed by Hong Seong-yoon, it opens with a scene from a romance movie as a young woman meets a handsome businessman — and then there’s a ghost. And the image freezes. And in a voice-over we hear the director, Seo, explain that his movie’s haunted, with a ghost showing up in crucial shots, and is there any way to edit around those shots? He’s talking to a freelance film editor, Ms. Park, and the movie mostly takes the form of a dialogue between the two of them as they try to work out how to cut the undead while still creating an artistically satisfying film. We see scenes from the film played over again as the editor tries out a variety of tricks, hear the debates between editor and director, and see clever ideas that eliminate the mysterious haunting.

Seo’s work is generic romance, but “Digital Video Editing” is a funny and engaging film, with good performances and an excellent script. It’s a bit of a look backstage at how a movie gets put together, and presents a dialogue that echoes a lot of artistic collaboration. Park, the outsider, has ideas about what to do with the film. Seo, who’s worked on it much longer, has specific things he feels need to come across. But do those things work? One way to look at the ghost is as a kind of spirit of the film, forcing the movie to take a certain form regardless of the intent of anyone working on it. But more importantly, it’s spooky. Add to that the dialogue’s sharp, and the sense of how film works is very strong; this is a very good short.

Bundled with it was Not Quite Dead Yet (一度死んでみた, Ichido Shindemitai). It’s a comedy from Japan, in which Mr. Nobata (Shinichi Tsutsumi), the head of a mid-sized pharma company, tries an unorthodox maneuver to try to find out the identity of a mole in his company: he takes a new drug his scientists have developed, the ‘Juliet pill,’ which will leave him apparently dead for 48 hours. Things don’t go as planned, and Nobata’s enemies strike — but he can still appear as a ghost to his daughter Nanase (Suzu Hirose, Fireworks and Laplace’s Witch), a struggling death metal singer, and with her help might survive to turn the tables. But she’s become estranged from him following her mother’s death, while he’s assigned one of his more self-effacing employees, Taku (Ryo Yoshizawa, of the live-action Bleach and Gintama films), to keep an eye on her. And the mole in the company is still there, now out to make sure Tanabe never revives.

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Out of Hong Kong comes Time (殺出個黃昏, Shā chū gè huánghūn), a film by Ricky Ko about a trio of elderly assassins. Written by Ching Yi Ho and Ka Tung Lam, it’s a character-based drama far more than it is an action movie, though it does start and end with action scenes. It’s also a showcase for some veteran Hong Kong actors, notably Petrina Fung Bo Bo (who the Fantasia program notes tell me was known as “the Shirley Temple of Hong Kong”) and 1950s movie star Patrick Tse; as the title hints, the film is a story about the progress of time and the situation of the elderly.

Decades ago, Chau (Tse), Fong (Fung), and Chung (Suet Lam) were a team of assassins for hire. As the film begins, Fong’s decided to get the band back together. She’s found a new business opportunity: providing quick merciful deaths to the elderly in Hong Kong who have decided to end their lives in a world that they feel has no more place for them. Chau, the martial-artist and knife expert who does the actual killings, is at first repulsed but soon decides that it’s for the best that he provide clean ends for people who will kill themselves one way or another. But then the group’s contacted by a 16-year-old, Tze Ying (Suet-Ying Chung), who sees no future for herself and so is determined to hire their services.

Chau ends up taking her under his wing, only to find out that she has very real problems. Meanwhile, Fong’s son and daughter-in-law are scheming against her. And Chung’s lost his heart to a prostitute (Belinda Yan Zi-fei) who appreciates him as a client but has no desire for a non-professional relationship. These stories weave around each other, making for an elegant plot that shows us the leads as a group and as individuals.

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On the 3rd Day (Al Tercer Día) is an excellent horror film from Argentina, based on the novel 3 días by Gonzalo Ventura. The book was turned into a script by Ventura with Alberto Fasce, and the adaptation directed by Daniel de la Vega. It’s from the same production company that brought the world last year’s The Undertaker’s Home (AKA The Funeral Home), and there are some passing similarities: both are well-shot films that have fun playing with traditional horror elements, and indeed have all the zest of classic horror stories, while also making interesting structural choices and telling a good story in thoughtful ways.

There’s a limit to how much one should describe the plot of On the 3rd Day; part of the fun of the film is in figuring out what’s happening at about the rate the main character does. That character is Cecilia (Mariana Anghileri), who abducts her son from her abusive husband one night and then ends up in a bad car accident involving a strange old man named Enrique (Gerardo Romano), who himself is carrying a curious cargo. Three days later Cecilia wakes up in an old house with no idea of what’s happened since the accident and no idea where her son is. We follow her as she wanders off to find out the secret of those missing days, and in a parallel track of story follow Enrique as he tries to solve some mysteries of his own connected with that night.

We soon get an idea of what kind of story Enrique thinks this is, one in which he’s a hero fighting terrible darkness. But is he right? Much of the early part of the movie revolves around the mania that appears to drive him, implicitly set against with the mystery that grips Cecilia. Enrique’s very certain about many things, perhaps too certain, while Cecilia’s part in the story is defined by her uncertainty. It makes for a good contrast, and the film’s incredibly effective at slowly revealing the truth of what’s going on — not just in measuring out how much to deliver when, but also how to exceed the promises it appears to make about the kind of movie we’re watching. What looks like a suspense film becomes utter horror, and one that goes all the way into a kind of dark romanticism, a gothic tone that nods to classics of German Expressionism.

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Prisoners of the Ghostland was one of the most anticipated films at Fantasia 2021. It unites madcap director Sion Sono (last seen at Fantasia with the feature version of Tokyo Vampire Hotel) with a certain mister Nicolas Cage. You might reasonably expect a full-throttle over-the-top ride. And that doesn’t quite happen.

Written by Aaron Hendry and Reza Sixo Safai, the movie takes place in a part of the world scarred by a spill of nuclear waste. A village called Samurai Town is ruled by a rapacious Governor (Bill Moseley) who, as the film begins, hauls a criminal named Hero (Cage) out of prison to look for his granddaughter Bernice (Sofia Boutella), who herself has fled the city for the dangers of the uncontrolled territory called the Ghostlands. Hero’s given a deadline and a booby-trapped suit that’ll blow up parts of his anatomy he’d rather keep if he fails to return on time, or if he thinks impure thoughts around the Governor’s granddaughter.

He drives off into the Ghostlands on his quest, and you might expect a long odyssey to follow. Instead he finds Bernice quickly, but also gets taken prisoner by a group who dwell in the Ghostlands. Revelations and subplots follow; there are glimpses of a parallel track of story back in Samurai Town, following the governor’s bodyguard Yasujiro (Tak Sakaguchi, Musashi in last year’s Crazy Samurai Musashi); there are flashbacks to establish Hero’s backstory; and you can see clearly how it’s all going to lead to a showdown back in Samurai Town.

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“Cuckoo!” is a 7-minute short film from the Netherlands directed by Jörgen Scholtens, who co-wrote with Jörgen Van Weeren. It’s a surreal piece about a tiny man (Frank Lammers) who lives in a cuckoo clock with his even tinier cat. He’s responsible for popping out on the hour, but one day things go wrong and lead to a cascade failure. It’s an absurd piece about routine, and it has a good production design involving old technologies. It’s a bittersweet story that works.

With it was bundled Kratt, an Estonian feature written and directed by Rasmus Merivoo. In 2017 I loved November, a film about the superstitions of a small Estonian village in the 18th century; one of those superstitions was the Kratt, a monstrous servant you could get the Devil to bring to life to do your will. The Kratt needs to always be doing work, or it’ll turn violently against its masters. To be clear, this film is nothing like November, which was a downbeat arthouse fantasy; this Kratt is an oddball comedy-satire, mixing straight-faced gags with moments of outright gore. Still, I was interested in seeing another spin on the Kratt story, not least because of the different tone this movie promised.

Kratt takes place in the present day, when a couple of young kids, Mia and Kevin (Nora and Harri Merivoo, the director’s real-life children) are left with their grandmother (Mari Lill) in a small village somewhere in Estonia. The kids are unimpressed with farm life, and when they find out about the legend of the Kratt they think they have a solution. Things, of course, go wrong. Their quest to build the Kratt and the consequences of their actions unfold against the background of village life and its controversies, which include protestors trying to prevent deforestation and a middle-aged politician (Ivo Uukkivi) caught up in corruption and playing both sides.

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Satoshi Kon was one of the great geniuses of anime. Born in 1963, in his twenties he worked briefly in manga, then became an assistant to Katsuhiro Otomo, scripting a segment in the anthology film Memories. The first movie of his own was Perfect Blue, in 1997, a suspense story about an actress pursued by a stalker. It blurs the line between real and unreal, which would become a hallmark of Kon’s later work — as with his next film, 2002’s Millennium Actress, in which documentarians investigate the life story of a retired actress. Tokyo Godfathers, from 2003, is a more straightforward look at three street people in Tokyo who find an abandoned baby; Kon followed it with Paranoia Agent, a 13-episode anime about a mysterious series of street assaults. His final completed film was Paprika, in 2006, another film examining the fragmented nature of identity and dreams, this time based on a science-fiction novel about a dream terrorist. Kon was at work on another movie, to be called Dreaming Machine, when he was diagnosed in 2010 with pancreatic cancer, dying later that year at age 46.

It’s tragic for anyone to die that young, and the tragedy’s compounded by the greatness of Kon’s cinematic achievements in his relatively brief life. Every one of his films can be described as a masterpiece, and his influence spread far beyond anime even to mainstream Hollywood filmmakers. This year a new documentary about Kon played the Fantasia Film Festival (whose prize for top animated feature of the year is named for Kon). Satoshi Kon: The Illusionist is an 82-minute examination of Kon’s work from Pascal-Alex Vincent, and it’s a solid introduction to his achievements.

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Midnight (미드나이트, Mi-deu-nai-teu) is a suspense thriller from Korea that revolves around Kyung-mi (Ki-joo Jin), a young deaf woman who, one night on her way to meet her mother (Hae-yeon Kil), comes across a grievously wounded woman named So-jung (Kim Hye-Yoon). So-jung’s been attacked by a maniacal serial killer, Do-sik (Wi Ha-Joon, Squid Game), who now sees Kyung-mi and selects her as his next victim. Meanwhile, So-jung’s frantic brother (Park Hoon) is desperately trying to find his sister. Whether he’ll be able to help the women is unclear; Do-sik’s crafty, daring, and manipulative. But Kyung-mi’s resourceful herself.

Writter-director Oh-Seung Kwon presents a Hitchcockian story in which an unsuspecting and basically innocent person finds themself isolated from society by a scheming, ruthless murderer. There are scenes with security officers that demonstrate how adept Do-sik is at using the system and turning it against itself; there’s no help for Kyung-mi from that quarter. Involving the police, or indeed any outside source, just gives Do-sik more tools to use.

The film unfolds over the course of a single night, not quite in real time, and the lack of any major temporal jumping-forward emphasises the remorselessness of events. If things are sometimes convenient for the plot, as can be the case in Hitchcockian thrillers, then having everything take place in one stretch of time helps: Do-sik doesn’t need to come up with permanent con games, he just needs to keep people busy and set things up so he can do what he wants. The background of night in a big city works as well; the cityscapes are mostly empty, streets unpopulated. I don’t know how much of a part budget concerns played in the lack of extras, but it’s effective in building the sense of isolation. There’s nobody to help, nobody to see violence play out. Only quiet houses and deserted streets.

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