Black Gate

My third screening on July 29 was a double-feature at the De Sève Cinema of two animated movies, a long short and a short feature. “A Japanese Boy Who Draws” (ある日本の絵描き少年) is 20 minutes long. Twilight, which I immediately came to think of as (Not That) Twilight (and in fact some places online translate the title 薄暮, Hakubo, as Project Twilight), is 53 minutes long. They’re both slice-of-life films about young people in Japan making art, but are otherwise very different narratively and visually. Which is to say they have enough in common and enough contrast to make a fine double bill.

Written and directed by Masanao Kawajiri, “A Japanese Boy Who Draws” can actually be said to deal with two Japanese boys who draw: Shinji, an aspiring manga artist, and his friend Masaru, a mentally challenged boy who wears a luchador mask everywhere. They meet at the age of 10, and we follow Shinji as he narrates his career trying to break into manga. He breaks from Masaru, who does not grow up as Shinji does. But Shinji’s life doesn’t go as smoothly as he hoped. He gets into manga, he gets better at his craft, but nevertheless his career stalls out. He returns to his home town, and, as one might expect, reconnects with Masaru in a surprising way.

Put like that, the film sounds standard; it isn’t. It looks distinctive, to start with. Different art styles reflect Shinji’s different ages, different levels of drawing ability, and perhaps different relationships to art at different times. Childlike drawings give way to manga pages give way to greyscale live-action photography. The film’s particularly strong technically in the way it uses comics pages to tell its story; panels are a tricky thing to make work in motion pictures, but it comes off brilliantly here.

At the same time, this isn’t just a technical exercise. There’s some powerful emotional material in the movie. Shinji’s lack of progress in his career is powerful because it feels almost subversive: he works hard, he lives for his art, and he gets nowhere not just in business but as an artist. If there is a problem with the film, incidentally, it is that it may be difficult for an audience to assess how good an artist Shinji is or is not. I found myself surprised at the way other characters uniformly dismissed his work when the art on screen seemed perfectly fine. In any event, Shinji doesn’t have the creativity needed to make a great manga, it seems, which is fair enough.

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One of the things that most fascinates me about film is the way Frankenstein is at least as important in that medium as it is in prose. Obviously this importance is most visible in genre film, but it’s there one way or another in the mainstream too — consider Gods and Monsters. From at least 1910, when the story was adapted into a then-epic ten-minute movie, through the tremendously important 1931 Boris Karloff version, it’s a story that’s haunted cinema. One way or another the tale or the monster comes up regularly at Fantasia, whether in Guillermo del Toro talking about the monster as a religious figure, or a film using a 1977 version of the story as a metafictional conceit. So this year, in addition to a screening of the notorious 1971 Dracula vs. Frankenstein, there was Depraved: a straight-faced modern-day retelling of the Frankenstein story.

It opens with a man (Owen Campbell) and his girlfriend Lucy (Chloë Levine). They have a minor domestic disagreement; he leaves; is murdered; and then wakes up. He’s lost his memory, and is horribly scarred (and is now played by Alex Breaux). He was re-animated by a scientist named Henry (David Call), who names the reborn entity Adam. Henry has a friend named Polidori (Joshua Leonard, who began his film acting career way back with The Blair Witch Project), who’s responsible for acquiring funding for Henry’s one-man revivification project. That’s turning out to be tricky, though, and Polidori wants to take Adam public. As he argues with Henry about this, they along with Henry’s girlfriend Liz (Ana Kayne) educate Adam about human life and history. But will Adam be able to control his instincts? How will it all end?

In tragedy, of course, as it began. The film was written and directed by Larry Fessenden, and it’s an interesting straightforward science-fictional take on Shelley’s Frankenstein. Fessenden’s a veteran filmmaker (and actor, who appeared among other places in In A Valley of Violence) who has spoken about being influenced by the Universal horror films. His second movie, 1982’s Habit, was a vampire film; his first major feature with a full crew, 1991’s No Telling, was subtitled The Frankenstein Complex. This movie’s a more direct take on the story.

In some ways, though, it’s still very subversive. The fevered gothic atmosphere of the original, with its point-of-view anchored by Victor Frankenstein’s subjectivity, is gone. This is Frankenstein from the creature’s perspective, a rendering in which Adam’s humanity is key. Thus we do not have the frenzied moment of creation, no cry of “It’s alive!” There is a level, in fact, in which this movie undermines Frankenstein’s claim to create anything. Fessenden underlines the fact that Adam, or the raw material of his brain, had a life before Frankenstein ever got his hands on him.

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There’s still so much I don’t know about film, so many great movies I haven’t seen. Thankfully, every year Fantasia screens restorations and special presentations of a number of established classics (and semi-classics). I usually don’t have free time in my schedule to watch films I’ve already seen — I had to pass on First Blood to watch Why Don’t You Just Die!, while a presentation of The Crow later in the festival was up against something else — but early on July 29 I had an open spot to take in a film I’d never seen before: a 35mm screening of the 1992 classic by Ringo Lam (Lam Ling-tung) Full Contact. Lam passed away late last year at only 63, and so Fantasia honoured him with a presentation of one of his greatest works.

Written by Yin Nam, the movie’s about Jeff (Gou Fei in some translations, Ko Fei in others, played in any case by Chow Yun-Fat), a tough bouncer in Bangkok whose friend Sam Sei (Anthony Wong) went into debt to a loan shark to pay for Jeff’s mother’s burial. To pay off the debt, they decide to embark on a heist alongside Sam’s cousin Judge (Simon Yam). Judge has other plans. He betrays Jeff, and leaves him for dead. But Jeff survives, and as Sam rises in the underworld, Jeff returns seeking revenge.

And revenge he shall have. Full Contact is one of the late apotheoses of the 80s action movie, filled with snarling attitude and brutal gunfights. There’s a heft to the violence, a weight that comes only in part from the lack of CGI. Mostly it comes from acting and directing and writing. You feel anything can happen to any character at any time. Or at least anything imaginable in 1992; the film’s solidly of its time, to the point of opening with a dance sequence set to Extreme’s “Get the Funk Out.” Which, somehow, impossibly, works.

The movie moves well, building to set-pieces that send the plot off in unpredictable directions. The heist, for example, is the kind of action sequence other movies might make their grand climax. Here it’s more like the end of a long first act, twisting the story to set up the rest of the film. But the point is that it has its own logic and its own structure, with a car chase and a running gun fight and then a siege of a man pinned down inside a house. All of it’s clear, all of it fun to watch, and yet also oddly realistic; the gang’s small, and the violence is on a matching scale.

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My second film of July 28 screened at the De Sève Cinema. It was an animated film from Korea with a Japanese director, Takahiro Umehara, and it was stunning. Watching early scenes of The Moon in the Hidden Woods (Sup-e Sum-eun Dal, 숲에 숨은 달) I wondered where the movie could go from its opening act — it had already shown us a major city, fights, desert nomads, monsters, a wild variety of costumes and architecture and technologies and designs. Surely, I thought, it would have to slow down. It did; and then built back up again.

Long ago, in another world, the moon disappeared and its place was usurped by Muju, the red sky. The world’s been wasting away ever since, but as the film proper opens there is another usurpation, as the ambitious Count Tar claims a throne and the rightful Princess, Navillera, flees rather than be forced to marry him (voice talent for the film includes Lee Jihyon, Jung Yoojung, and Kim Yul, but I cannot find a cast list attaching actors to roles). In the metropolis of Trade City she comes across a drumming contest, and falls in with one of the rival groups, which is led by a youth named Janggu (the word, incidentally, for a specific kind of Korean drum). Helped by Janggu’s allies they flee through a wasteland where terrible Shadows come out under the red sky, and end up at the drummers’ village — where they find a clue that hints at the salvation of the world, to be found deep within the mysterious Hidden Woods.

The movie’s not just constantly visually creative, but a fascinating mix of sensibilities. There’s a post-apocalyptic feel here, as this world has been rebuilt in the shadow of a great tragedy, but there is also steampunk in its technology. And a traditional mythic fantasy feel in the way the social structure’s set up (the casual acceptance of monarchy, for example) and in the use of elements like music and community ritual. Above all the worldbuilding is incredibly rich in the way different places are not just designed differently but also mix different visual elements. Cities feel like cities, with a variety of fashions and cultures.

Character design is relatively realistic, but with a cartooniness that plays well in comic moments. Still, this is far from the anime approach of simply-drawn characters against a hyper-realistic background. The film’s all of a piece, and there’s an almost relaxing reliance on traditional 2D drawn imagery over 3D CGI. There is some well-used computer imagery, but the look of the movie’s traditional. It is in fact a thoroughly well-done children’s or YA film, something that plays well for adults but (I would think) particularly speaks to a younger audience. Navillera and Janggu are our leads, the people about whom the tale revolves. The other characters are well-drawn, but relatively uncomplicated. There is a slight implication of some of the adult characters having a relationship that might play differently to older viewers, in terms of their emotional tone, but that’s left understated.

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I’ve watched Rollerball (1975) at least a couple of times every decade since I first saw it on VHS in 1988. Before then, I had caught sporadic bursts of ultra-violence set to the contrasting strains of Toccata in D Minor and Adagio whenever the film was shown late at night on TV, and when my mum was unaware I was watching it.

It’s a great example of growing up with a film. We all have films that resonate with us on a personal level; films that we saw as impressionable teens and then revisited as allegedly wiser adults. With Rollerball, when I was younger it was all about skipping through the ‘boring corporate’ stuff and watching the games; reveling in the bone-crunching impacts, the frenetic energy and realism of the sport’s depiction.

In later years, as I grew out of my empathy-less youth, the party scenes laden with hollow bacchanalia and culminating in the tree burning scenes, and Moonpie’s inevitable yet devastating fate affected me deeply.  Now, older, battle-scarred and tainted by the cynicism of modern living, it’s the corporate stranglehold on life that interests me, that and the knowing glances between every character in the film who seem to be working together to make Jonathan E fail.

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My first movie on July 28 was one of my most-anticipated of the festival. In 2017 I watched Gintama, a live-action manga adaptation I thought was one of the funniest things I’d ever laid eyes on, and which also told a good solid science-fictional action-adventure story. Naturally when I saw Gintama 2 was playing at Fantasia I was eager to see it. It is unfortunate that sometimes great expectations result in great disappointment.

The story of Gintama 2, which is titled in full Gintama 2: Rules are Made to be Broken (Gintama 2: Okite wa Yaburu Tame ni Koso Aru, 銀魂2 掟は破るためにこそある) follows the first directly enough. In an alternate reality where extraterrestrials conquered Japan in the nineteenth century, a new society’s sprung up that’s a weird mix of period technology, super-science, Japanese cultural traditions, and aliens. Samurai were discharged from their traditional role, launched a rebellion, and were defeated. One former samurai, Gintoki Sakata (Shun Oguri, Terra Formars), has formed an odd-jobs company with young Shinpachi Shimura (Masaki Suda, Wilderness, Assassination Classroom, Princess Jellyfish) and superstrong teen alien girl Kagura (Kanna Hashimoto, Kingdom, Assassination Classroom). This time out, they become involved with a plot against the shogun, and a scheme that divides their country’s police force, the Shinsengumi.

The main actors from the first movie reprise their roles. Director Yuichi Fukuda returns as well. But the feel of this movie is very different. There’s less comedy, and less focus on the main characters. I have no idea how much this reflects the source material. But I found I was disappointed.

To be clear, this is recognisably a sequel to Gintama. It has a similar look, with outrageously-costumed leads wandering a Japan blending past and future. And there is still a lot of humour, in a similar vein to the original. There are more gross-out gags than in the first film, but not so much as to represent a really different approach. Early on, in particular, we see some of the same kind of metafictional jokes that marked the previous movie.

Unfortunately, that doesn’t last. Instead Gintama 2 turns out to be more interested in the internal strife within the Shinsengumi, to the point that the ostensible leads are largely sidelined. While the film does find some humour in the Shinsengumi storyline, for the most part it’s much more restrained. We get a scheming manipulative villain we’re apparently meant to take seriously, and the riotous pace of the first movie never kicks in.

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For my last movie of July 27 I crossed the street to the De Sève Cinema to take in the French-Swiss co-production Les Particules (The Particles). It’s the first fiction feature by director Blaise Harrison, who co-wrote the script with Mariette Désert. After a day of particularly frenetic movies, this was good way to end the evening; a subtler, atmospheric, intelligent, and character-based film that thoroughly succeeded at what it was trying to do.

The movie follows Pierre-André, or P.A. (Thomas Daloz), an inarticulate older teen in a small town on the Franco-Swiss border. He’s in a band, kind of, or at least has a group of friends; we see them at school, and buying drugs, and taking drugs, and wandering around. We see a romance between P.A. and a chronically ill girl named Roshine (Néa Lüders), and watch their relationship develop. It’s all good slice-of-life storytelling.

Except we also follow P.A. on a school trip into the Large Hadron Collider hundreds of feet below their village. And we come to suspect the installation might be linked to the strange things that happen over the course of the movie, slowly at first, then as the film goes on a little faster and a little more obvious. Reality changes. Things, and characters, disappear. Are the quantum-level forces of the LHC causing the world to change? Or does this have to do with mental illness? Or both?

This is a stunning movie, in its sound and images, but also in the way it brings out the sense of lived experience and everyday life. And then again in the way that everyday life fits into a symbolic pattern, exploring many meanings of ‘particles’ in human existence and in the larger world. So the first shot is a view from above of the countryside as P.A. takes the bus to school: lights of houses, here and there, against the darkness of the night, glowing particles in blackness. And so, later, Christmas tree lights are something similar. So also is snow, as winter and the school year wind on.

But the crucial point, I think, is that the youths we see in the film are particles themselves, fitting into the school system, fitting (or not fitting) into society, bouncing off each other in unexpected collisions. P.A.’s relationship with Roshine is symbolically matter and anti-matter meeting. The hard physics of the LHC provide the underpinning for a metaphor that gives the material of the film some unity.

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My fourth film of July 27 was once again in the Hall Theatre. It was a Russian film about which I had heard very good things, with one web site calling it among the best action movies of the year so far. You may have heard of Chekhov’s gun; well, Why Don’t You Just Die! (Papa, Sdokhni) gives us Chekhov’s gun, along with Chekhov’s other gun, Chekhov’s claw hammer, Chekhov’s power drill, Chekhov’s CRT TV, and any number of Chekhov’s other odds and ends.

Written and directed by Kirill Sokolov, the film opens with a young man before the door of an apartment, nervously contemplating the doorbell, a claw hammer clutched behind his back. His name is Matvey (Aleksandr Kuznetsov, Marten in The Scythian), and he has come to visit Andrey Gennadievitch (Vitaliy Khaev), the father of Matvey’s girlfriend Olya (Evgeniya Kregzhde). Matvey’s got a score to settle with Andrey, or thinks he does. There’s more going on than he knows, though, and after the opening tension explodes into violence things settle down only to open up as more and more characters get drawn into the confrontation.

The film unfolds largely within Andrey’s apartment, with flashbacks now and again showing us background that shapes what goes on. New wrinkles are constantly added, new aspects of character demonstrated. The plot takes on new shapes at unexpected moments. Violence is a leitmotif; beautiful, horrific, entertaining violence.

There is a lot of blood and blood-splatter in this film; there is torture and the threat of torture. It’s all presented with a cartoony verve, but this is not violence for the sake of violence, or violence for the sake of comedy. The movie is in fact very violent and very funny, but uses violence for the sake of story, creating a tension and a tone and, in the end, getting a certain point across. It will not be to all tastes. It very much was to mine.

There’s a temptation to talk about Quentin Tarantino when faced with a violent but clever small-scale crime film. The sense of corruption is probably most like Tarantino; more than brutal men doing brutal things, there is here the feel of a tough world in which everybody’s out for their own interests. But then the characters also, most of them, have redeeming features, too. Goons are also friends. Sometimes. As a result Why Don’t You Just Die! feels more like an early Guy Ritchie film — the Guy Ritchie of Lock, Stock, and Two Smoking Barrels or Snatch, not the Ritchie of the Sherlock Holmes films. The film’s pacing in particular is like those movies, and how flashbacks are cut in after a bizarre or unexpected plot twist as a way of explaining the twist. But also how people do bad things for good reasons, or what they think are good reasons.

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My third movie of July 27 was a live-action manga adaptation by the dauntless and prolific Shinsuke Sato. Having been thrilled by his previous work in past years (I Am A Hero, Bleach, Inuyashiki, Death Note: Light Up the New World, and Library Wars), I was eager to see something new from him. This year’s offering was Kingdom (Kingudamu, キングダム), which Sato scripted along with Tsutomu Kuroiwa, adapting the manga of the same name by Yasuhisa Hara. As of August, there were 55 volumes of the manga, which had already been adapted into a 77-episode anime. I am not familiar with the source material beyond those statistics, but they suggest that Kuroiwa and Sato had their work cut out for them fitting the story into a two-and-a-quarter-hour movie.

The setting is ancient China, where war swirls among feuding kingdoms. Two orphans are taken as slaves by a wealthy merchant. They grow up dreaming of a better life, and practicing swordplay on their own in the forest near their master’s home. One, Piao (Ryo Yoshizawa, Gintama), is bought by a government minister. Piao’s blood-brother, hothead Xin (Kento Yamazaki, Jojo’s Bizarre Adventure), is therefore surprised some time later when a dying Piao returns with a mission for him — and the soldiers who gave Piao his mortal wound hard on his heels. Xin’s launched on a quest that leads him to the young king Ying Zheng, now deposed by a palace coup. The minister who bought Piao had used him as the king’s double, which saved Ying’s life. Now the ambitious Xin wants to keep him alive, and make his own way to a great destiny.

This is a well-told story. It builds nicely, through varied set-pieces that come at key structural points, are executed with flair, and move the story forward. It’s always colourful and fun to look at, though unsurprisingly the costumes show the manga roots of the film: major characters stand out through their eye-catching gear, to the point that we know a general we see at only a couple of points is obviously going to play a major role in the climax. But this fits into the overall tone of the movie, both narratively and visually. The choreography is strikingly effective, which is important, and the humour works, mostly coming in the form of Xin’s aggressive attitude toward just about everything.

If you look carefully, you might notice the film’s not actually as lavish as it seems. There aren’t any major urban scenes, for example. But there’s enough variety generally that you don’t notice any lack. Xin and company explore a lot of different places, and the story feels full to bursting. The sense of a vast kingdom containing a range of people and cultures and landscapes comes across, and that means more is not needed.

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For my second film of July 27 I stuck around the Hall Theatre for another animated feature, this time from Japan. Preceding it was a 13-minute animated short from Canada.

“Alexis Inside” was directed by Montrealer Brandon Blommaert. Alexis is one of a group of friends who play a VR video game. When one of the friends goes missing, the vampire-like force that afflicted her is passed on to Alexis, who shuts herself away from the world. Can her remaining friend save her? The short’s open to interpretation, and has a stylish look based on old-style computer graphics given modern details and animation. I read it as being about depression, and see an ambiguity in the title having to do with the insides of Alexis, as opposed to Alexis choosing to lock herself away from the world. The film’s an interesting, disconcerting piece, somewhat alienating due to its look but ultimately emotionally engaging.

The feature I’d come to see was The Relative Worlds (Sotai Sekai, ソウタイセカイ). Written and directed by Yuhei Sakuragi, it’s adapted from a series Sakuragi did for Hulu Japan. Shin (Yuki Kaji) is a Japanese teenager whose mother died a sudden inexplicable death when he was a child, part of an ongoing wave of inexplicable deaths across Japan. His date with Kotori (Maaya Uchida) is interrupted by the death of his father, which we in the audience see is connected with something far stranger. It turns out that Japan is linked to another reality, where history took a very different turn. Everyone in Shin’s reality — or at least Shin’s Japan — has a doppelganger there, and when somebody in one reality dies so does their doppelganger in the other. Shin’s double, Jin, has crossed over to this reality to kill Kotori, because in Jin’s reality Kotori’s double is the despotic Princess Kotoko, who rules the dystopia of that world and also has dark schemes for this one.

This is not a bad plot, and the deaths of Shin’s parents are unsurprisingly tied in with the core plot of the conflict of the two worlds. There’s a solid emotional background, in other words. The problem is the rest of the story. It’s uninvolving, playing out on a small scale. This does change in the last third or so of the film, as the other world deploys the full strength of its forces, and organisations in this world get involved. But the build’s erratic, too slow for too long.

What I think the movie is trying to do is keep the story focussed on the teen protagonists, Shin and Jin and Kotori, and that’s not a bad idea. But there’s an asymmetry. The bad guys from the otherworld are too powerful to stop. You understand why Jin planned to kill Kotori, and the movie doesn’t really come up with a better alternative. Nor does it effectively explore the morality of killing an innocent for the greater good, partly because the science fiction aspect of the story is so outlandish, and partly because the greater good is abstract. The movie doesn’t really dramatise either world; doesn’t make us believe in a society of individuals in either reality.

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