Black Gate

While it is somewhat of an American tradition to go broke in the month of December, I try my hardest to do it in October as well. You’d think at this point, my obsession with the strange and unusual would have nowhere left to turn. I mean, there are only so many dead-things-under-glass one girl can have, right?

According to the National Retail Federation, spending on Halloween-related items is expected to reach $10.14 billion in the weeks surrounding October 31, 2021; up from $8.05 billion in 2020 which was an all-time high. This doesn’t happen if places like Spirit Halloween keep cranking out the same plastics skulls year after year. And here in lies the dilemma – there is a new batch of gothic splendor every October. What is a goth girl to do when faced with news like this?

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“Death and the Winemaker” (“Le Vigneron et la Mort”) is a 19-minute French-language animated film from Switzerland written and directed by Victor Jaquier. It’s a folkloric tale about a winemaker (voiced by Kacey Mottet Klein) in a Renaissancelike land who tries to win the heart of a noble young lady (Marie-Claire Dubois) by crafting the best wine in the world. But things take a turn when Death (Virginie Meisterhans) is drawn to the perfection of the winemaker’s creation. The story’s a nice rich tale of unwanted consequences, but what makes it work are the 2D visuals. The film recalls classic Disney movies in its designs, but is darker and naratively much richer. The castle in which the beautiful maiden dwells with her tyrannical father is detailed and charming, the winemaker’s town is intricate and gothic, the characters are cartoony and evocative. It’s good work for all ages.

The feature film it was bundled with was the movie I’d been most eagerly looking forward to at Fantasia, and it did not disappoint. The Spine of Night, written and directed by the team of Morgan Galen King and Philip Gelatt, is billed as a feature-length animated sword-and-sorcery film for adults in the vein of the Heavy Metal movie. And it very much is that. It’s more serious than Heavy Metal in many ways, but the violence and cosmic scope is if anything even greater.

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“A Tale Best Forgotten” is a five-minute film conceived and directed by Sweden’s Tomas Stark, based on a poem by Helen Adam. The text’s set to music, and sung over a long take in which the camera tilts back and forth to bring out the story; you can read the original here. It’s difficult to find detailed credits for the film, but it looks like Sebastian Bergström composed the tune to which Adam’s murder ballad is set, though I can’t find who does the singing. In any event, the evocative lyrics are given a fine cinematic accompaniment, as the images of the house and river create a lovely brooding atmosphere. I note that the first line of the poem, which specifies a certain mythic meaning to the ‘dog-headed man,’ is dropped; without it the film finds its own meanings for things, creating a more fairy-tale feel. In all it’s extremely strong work that displays a powerful visual imagination.

Bundled with the short was one of the movies I was most looking forward to at Fantasia 2021, Hellbender (or, as it’s sometimes written, H6llb6nd6r). It’s the sixth feature film from the Adams family: John Adams, his wife Toby Poser, and their teen daughters Zelda and Lulu. They make films as a collective — no studio backing, just their own resources, with locals and friends as actors. Different family members handle different tasks as strikes their fancy, with Poser usually the main writer, John Adams interested in sound, and Zelda Adams interested in cinematography and camerawork. I saw their previous movie The Deeper You Dig at Fantasia 2019, and enjoyed it; I was eager to see the follow-up. And while I liked The Deeper You Dig, I think Hellbender is a major step forward.

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Hercules and the Captive Women (Italy/France, 1961)

The Steve Reeves Hercules (Italy, 1958) was a big hit on both sides of the Atlantic, proving there was a market for shirtless strongman movies in drive-in movie theaters across America. The Italian movie industry obliged by churning out reams of low-budget sword-and-sandal “peplum” films, many of which had heroes named Goliath or Maciste in their original forms. When they were dubbed into English, for name-recognition purposes most of these strongmen were renamed Hercules, giving us a bewildering array of Hercules and the… movies from 1960 through 1965, when they were abruptly replaced by the so-called Spaghetti Westerns. Not many of these slammed-out Herc films are worth spending 80 minutes on today, but a few of them hold up and are worth a look. Here, for your delectation and delight, are three very different examples.

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Every year the Fantasia International Film Festival presents an International Science-Fiction Short Film Showcase, and every year it’s worth watching. This year’s edition gathered nine films from seven countries into one 115-minute block. Most of the films tended to the near-future and the dystopic, but still held surprises.

The showcase started with “Mark II,” an 8-minute piece directed by Brent Howard, who co-wrote with Pride St. Clair. Mark (John Ennis) is an office worker in a reality where technology’s taken an odd route: 90s-style PCs and CRT screens but advances in other fields, especially robotics. Mark, despairing at the limitations of his human body, is drawn to the possibility of an upgrade. But will he get what he wants? This is a fine short film that easily could have gone wrong, if the viewer had been left thinking Mark was the butt of a joke; that doesn’t happen, thanks to an excellent performance by Ennis. He brings out Mark’s profound depression, his despair at his body, and in one well-delivered voice-over line seals the film perfectly. I thought it was solid enough when I saw it, but Ennis’ performance has left it haunting me since.

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