Black Gate

All good things must come to an end, they say, and for me Fantasia 2019 ended at the Hall Theatre with the Korean action-horror movie The Divine Fury (사자, romanised as Saja, literally Emissary). Directed by Kim Joo-hwan, it follows Yong-hu (Park Seo-jun), a champion MMA fighter who lost his father under mysterious circumstances at a young age. In the present, when mysterious wounds appear on his hands and he is attacked by a demonic force, a blind shaman guides him to exorcist Father Ahn (Ahn Sung-ki), who tells him the wounds are stigmata and give him great power in fighting demons. The two team up, reluctantly on the part of Yong-hu, who holds a grudge against Christianity after the death of his father. But there are dark forces at work in Seoul, and Yong-hu must use all his skills to defeat the forces of hell on earth.

There are a lot of good ideas in this movie. And a lot of the time it looks very nice, with lovely shots of Seoul by night, and glossy, richly-coloured cinematography. Unfortunately the action and horror elements are not blended well, and character beats don’t come off as powerfully as they should.

Let’s start with the action bits. After a long introductory sequence showing Yong-hu as a boy and the death of his father at the hands of demons, we get our first fight. Note that the intro’s failed to build any real narrative momentum, and even the appearance of the demon is only brief. The actual fight we see with the adult Yong-hu looks like it’ll be more exciting; but then it too ends quickly. There is a plot reason for this, but the scene sets a pattern for the rest of the film. Yong-hu finds himself battling demons, and his power ends each exorcism before any real sense of dread can emerge. The set-pieces are thus brief and don’t develop into anything significant, even when plot’s being advanced.

The climax is easily the most kinetic and visually interesting sequence of the movie, a well-shot brawl that does have its own internal structure: Yong-hu defeats some flunkies to make his way to the boss, and then both hero and villain level up as the fight goes on. The problem is that the combatants don’t have anything to say to each other, literally and figuratively. The spectacular visuals feel empty, as Yong-hu doesn’t seem to be dealing with any particular character issue in the fight. The staging’s fine, but there’s no particular sense that there’s an internal logic that dictates when Yong-hu’s done enough to end the conflict. Basically, there comes a point when he hits the bad guy enough that the bad guy goes down and stays down.

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The nice thing about my last day of Fantasia was that rather than sit in one place, I would watch something on my own in the screening room, then something at the small De Sève Cinema, and finally something at the big Hall Theatre. It had the well-rounded feeling of a good summing-up.

The film I had at the De Sève Cinema was The Miracle of the Sargasso Sea (To thávma tis thálassas ton Sargassón, Το Θαύμα της Θάλασσας των Σαργασσών). Directed by Syllas Tzoumerkas from a script he wrote with star Youla Boudali, it follows two characters in the Greek town of Messolonghi. The first is police chief Elisabeth (Angeliki Papoulia), who we see in the opening scenes be exiled from her law-enforcement career in Athens; years later she’s still a square peg in the round hole of Messolonghi. The second is a quiet girl named Rita (Youla Boudali) who works in an eel processing facility; her brother, Manolis (Christos Passalis), is a local pop star. We see Elisabeth and Rita negotiating their lives in Messolonghi, with its various social complexities and patriarchal attitudes. And then a crime unites them, and various secrets of the town come to light.

This is a well-shot film, pleasant to look at with a kind of off-centred low-key energy — there aren’t many mannered symmetrically-composed shots here, but there’s a closeness to the characters that’s engaging. The actors shine, and Papoulia in particular comes off well, a weary dismissive cop with an anger that’s less smouldering than it is in a state of steady magnesium-like incandescence. Multilayered dinner parties are shot with an interesting sense of the social complexities and relationships of the speakers. Contrasting with this are brief scenes of dreams and visions.

And yet much of the film has the feel of a TV cop show — not an American network drama set in the big-city, but something like Inspector Montalbano or Broadchurch. Shows about cops in a small town, solving small-town crimes. Shows that lack the distinctive weirdness of Twin Peaks but that still dwell on the character of the investigators and suspects. Miracle of the Sargasso Sea is different in that the crime doesn’t happen at or before the beginning of the story, but instead relatively late in the film. At which point the paths of the two main characters, until then having nothing to do with each other, begin to converge.

This is an unusual structure which sounds worth trying, but to my mind it comes off as dramatically inert. Early on the different strands are interesting on their own but don’t inform each other, meaning neither really builds up any momentum. Then when the crime does happen, there’s no twist to it. We find out about a death, and the killer and motive are exactly what we imagine they are. The investigation goes about as one might expect. What could have been a subversion of genre ends up merely a dramatic structure that misfires.

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After taking a day to attend to various non-cinema matters, I came early to the last day of the Fantasia Film Festival. I had two movies I wanted to see in theatres, but first I wanted to catch up on something I’d missed when played on the big screen: the 2019 International Science Fiction Short Film Showcase. Luckily, I was able to watch it at the Fantasia screening room. Uncharacteristically, American shorts dominated this year; in an appropriately science-fictional statistic, 7 of 9 movies were from the US, with one from Australia that ended the showcase (at least in the order described in the Fantasia program) and one from Ukraine that began it.

“Eternity,” directed by Anna Sobolevska from a script by Sobolevska and Alina Semeryakova, is an effective 23-minute tale about a future year 2058 in which dying people can upload themselves into digital worlds designed by a massive corporation. These worlds have been tested by living humans, but for some even the best are pallid copies of the real world. One way or another, nobody wants the simple afterlives provided by the state. Ian (Oleg Moskalenko) is a man who doesn’t buy into the illusions provided by the Charon Corporation. But his wife Marie (Daria Plakhtiy) is thrilled by the cyber-estate they’re offering. Then tragedy strikes, and Ian has to make a series of terrible choices, balancing the desires of both of them with his idea of integrity.

This is an extremely strong film. It looks sharp, to start with; both the grim, shadowy real world and the lushly-hued cyber-fantasies come across well. The acting’s strong, especially from Moskalenko. The story structure’s solid, getting across a complicated science-fictional idea, exploring it with both plot twists and background ideas (Charon is everywhere, it seems), and above all telling a character-centred tale.

What may be most impressive is how many themes are on display here. I read it as a story about a man struggling to hold on to his beliefs in the face of corporate pressure, trying to set aside sterile romanticism but forced into being complicit with the powers that run the world. But then there’s also a lot here about the power of capitalism, especially in opposition to what used to be viewed as transcendental values — Charon sells a simulacrum of heaven, almost but not quite the real thing. So the film’s about life, death, and what’s beyond, and how to meet all these things. And, on top everything else, it’s built around a relationship of man and wife sketched both convincingly and briefly. This is Sobolevska’s first film as both writer and director, and it’s impressive; one hopes to see more from her in future.

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I approached my second and last film of July 30 with real uncertainty. I’d never seen many tokusatsu films or TV shows, and what I had seen I hadn’t cared for. (‘Tokusatsu’ literally means something like ‘special effects,’ but in the West it’s come especially to refer to shows like Power Rangers or Kamen Rider.) Still, playing in the De Sève Cinema was Garo — Under the Moonbow (Garo: gekkô no tabibito, 牙狼 — 月虹ノ旅人, also translated Garo: Moonbow Traveler), written and directed by Keita Amemiya. It’s the latest installment of a franchise, created by Amemiya, which began with a 2005 TV series and has continued through more TV shows, live-action movies, and anime series. as well as video games, manga, and various other tie-ins. A veteran creator of tokusatsu dramas, Amemiya is particularly known for his powerful design sense, and the images and description of the film promised a stylish fantasy adventure. Although it’d be my first experience with a series that had dozens of hours of continuity behind it, I decided it was worth passing up a chance to see The Crow on the big screen in order to watch Under the Moonbow.

The movie’s about Reiga Saezima (Masei Nakayama), one of an order of warriors, the Makai Knights, who protect humanity from monsters called Horrors. Superhumanly powerful, he becomes even stronger when wearing his suit of special golden armour — which is unfortunately corrupted by evil not long after the movie opens. Saezima has to purify it, but also must save his true love (Natsumi Ishibashi), who has been abducted by Horrors. Yet as he fights his way through a bizarre train, even more plots boil away, leading ultimately to a fantastic battle involving secrets of his lineage.

The first thing to say is that the film’s easily understood without any prior knowledge of the franchise. I suspect that the climax will have more weight for people familiar with the world and with certain characters who appear there, but everything’s set up well enough in the film itself. Exposition’s delivered cleanly, and does not overbalance the plot. The complexities of the world are dramatised well, and if in an absolute sense evil still remains to be fought, at least the main antagonist of this particular story is dealt with.

Beyond that, the plot’s nicely-worked. The tale keeps expanding as the film goes on, sprouting subplots. A range of characters get moments of their own in which to shine; everyone does something important in bringing matters to a happy ending. Rules of this fantasy are established, and followed logically in ways that bring out unexpected wrinkles. Importantly, new ideas and images are always emerging,

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