Black Gate

My last movie of July 20 was a horror film from South Africa. Written and directed by Harold Holscher, 8 has elements of the classical ghost story embedded in a larger tale of folklore and tragedy. It’s a period tale, set in 1977, and is set in a farm named Hemel op Aarde: Heaven on Earth.

Not long after the start of the film the run-down farm’s inherited by a man named William (Garth Breytenbach), a failed businessman who wants to start over there along with his wife Sarah (Inge Beckmann) and niece Mary (Keita Luna). Mary, who came to live with William and Sarah after the death of her parents, is happy to come to the farm; she’s an inquisitive girl deeply interested in all manner of subjects, including African myth and insects. Sarah doesn’t care for these things, or for having to live far from the big city. William’s difficulty in getting the electricity running at the farm doesn’t help. Luckily, the White family is given a hand by an older Black man named Lazarus (Tshamano Sebe). William’s soon relying on Lazarus for all sorts of things, despite Sarah’s distrust. And despite the distrust of a nearby village of Black people, who know and despise Lazarus, and who have no use for William, either. Is Lazarus hiding a dark secret?

In fact, we know from the opening shots of the movie that he is. And as 8 goes on that mystery is unveiled; unveiled almost too completely for the film to stay a horror story, in fact. There’s an honesty and directness to the film that’s unusual in horror. There are few jump scares, and few horrific twists. Instead there’s an ultimately character-based story that comes close to being a kind of tragedy. You know why people act the way they do, and what Lazarus wants. You understand the price he has to pay for his actions. And you have sympathy for everyone involved.

It’s oddly colourful for a horror movie, too, rich and shadowed, but not afraid of the bright light of the sun. I found approaching it as a horror film left me wrong-footed; the farmhouse, which seems like a spooky haunted house in the early scenes of the movie, becomes less important narratively and thematically as the story goes on. If the usual haunted house seems to have something to say about (for example) class or power or history or the personality that dwells within it, Heaven on Earth comes to have less and less meaning, as the focus of the story increasingly moves away from the main building. What might have been an icon of colonial power is instead just a place where things happen.

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The evening of July 20 saw me stay at the De Sève Theatre after the Born of Woman showcase for a feature film written and directed by Jon Mikel Caballero: The Incredible Shrinking Wknd. It’s a time-loop story, a subgenre that strikes me as having increased in popularity significantly over the past few years. We’re at the point, then, that a time-loop story has to do something different to stand out. So what does Wknd do?

It’s the story of Alba (Iria del Rio), newly turned 30, who’s spending a weekend partying at a cottage in the country with a group of acquaintances as well as her boyfriend of three years or so, Pablo (Adam Quintero). Alba’s generally thoughtless and lives for the day; despite having spent time at the cottage when she was young, she forgets to bring bottled water to a house with no indoor plumbing. Pablo wants something more, and in an argument one night breaks up with Alba. And then, not long after, reality resets and Alba gets to live through the weekend again. And again, and again; and then she notices the weekend’s getting shorter, and the time she has to live through is dwindling.

I’ll note to start with that the movie’s technically well-done. It looks very fine, with colours that establish moods, and a good variety of visually-interesting natural settings. Iria del Rio gives Alba a charismatic energy while making it clear that charisma’s covering up a certain kind of emptiness; there’s less to Alba than there appears, in a nicely-calculated way.

Narratively, the movie’s clever, almost a necessity in a time-loop story. The dialogue’s solid, and there’s a very nice visual idea (best left for the viewer to discover) that brings out the way the weekend’s shrinking. That twist itself is handled well, giving an increasing sense of tension as well as contrasting nicely with Alba’s tendency to care only about the present.

It gets a little odd in that Alba herself doesn’t reset, which becomes a minor plot point. If she gets drunk in one go-round, say, she’s hungover in the next. This is perhaps a way to talk about consequences, but it raises questions about the mechanism by which the time-loop exists in the first place and whether matter’s actually being transported through time. This is a film largely uninterested in such questions, though, and indeed the lack of concern with why the loop exists and why it works as it does is one of The Incredible Shrinking Wknd’s more frustrating aspects.

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On the afternoon of Saturday, July 20, I passed by the De Sève Theatre for the Born of Woman 2019 series of short genre films directed by women. It was the fourth iteration of the showcase, and in four years it’s become a hot ticket; I nearly didn’t get in. But there was just space enough in the end, and so I was able to see the collection of 9 films representing half-a-dozen countries.

The showcase started with “Lili,” a 9-minute piece written and directed by Yfke Van Berckelaer. An actress (Lisa Smit), Lili, comes to audition for a role. The camera’s fixed on her, the man (Derek De Lint) she’s reading for unseen. He seems receptive to what she brings on her first reading, but has her try the dialogue again, and again, pushing her more and more. You can see what’s coming, and what the reversal will be, but the movie works because the slowly pushing-in camera’s a disturbingly effective point of view, because Smit in particular is very good in her part, and because the dialogue’s cleverly and subtly ironic.

The art of sequencing a short film showcase can be overlooked, but in this case the arrangement of the shorts (most of which, in my opinion, were extremely strong to start with) was perfect. A good case in point was following “Lili” with the melancholic “Sometimes, I Think About Dying,” a 12-minute story from director Stefanie Abel Horowitz from a play by Kevin Armento, adapted by Horowitz, Armento, and Katy Wright-Mead, who also stars. It’s the story of Fran (Wright-Mead), a quiet, depressed woman who makes a connection with a male co-worker, Robert (Jim Sarbh). Will she be able to come out of her shell enough to maintain a relationship?

The movie’s almost unbearably painful in its portrait of a woman lacking in self-confidence. At the same time, Fran’s oddly sympathetic, so that by extension Robert feels like a lifeline for her. The orbit of the two of them is well-crafted, and the film really lands solidly because it knows where to end — not just what point of the story, but what seems like the exact right frame of film to end on.

Then different again was Australian writer-director Adele Vuko’s “The Hitchhiker,” about three women driving through the night to reach a music festival. Jade (Liv Hewson), the driver, picks up a hitchhiker (Brooke Satchwell), in part to distract her friends from innocent questions cutting near to a secret Jade doesn’t wish to reveal. The hitchhiker has a secret of her own, though, which only becomes clear once the friends pull in to a roadside bar.

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On Saturday, July 20, I was down at the Hall Theatre bright and early — relatively speaking — for an 11 AM showing of Ride Your Wave (Kimi to, nami ni noretara, きみと、波にのれたら), an animated feature from director Masaaki Yuasa. I’d seen two of Yuasa’s previous works, Lu Over the Wall and the excellent Night Is Short, Walk On Girl, and was eager to see what was in store this time around. As it turns out, Ride Your Wave, written by Reiko Yoshida, is a solid story that in a quiet way keeps doing unexpected things. It’s a romance, and then it isn’t; it’s a realistic story, and then it really isn’t. It’s a little reminiscent of Night Is Short, but is nowhere near as strange as that movie. Still, it does what it does quite well.

It follows Hinako (Rina Kawaei), a surfer and oceanography student, as she moves back to the coastal town where she lived as a child in order to go to university. There, she meets Minato (Ryôta Katayose), a young firefighter. They embark on an intense relationship — and then things go awry. It is in what happens next that the film perhaps gains its identity, though it’s worth preserving the twist that sets it up; enough to say that the supernatural manifests through water, in a kindly way. The question, then, is where the characters go, and particularly how Hinako will develop as a person.

That sounds vague, and Ride Your Wave isn’t. But it does take enough surprising turns it’s difficult to talk about as a story without giving away things better left to the film. So let me say this: it consistently nails the emotional tones it tries to evoke, and is a solidly-built story with a theme that slowly emerges of Hinako’s personal growth. It is a movie about her self-realisation, her coming of age, and it manages that in a surprising and touching way. It is a movie about sacrifice, and heroism, and letting things go, and it powerfully combines them all in Hinako’s story and background.

(I will note that there is one peculiar note. We learn something about how Minato and Hinako first met, or at least when they first met, that Minato knows but does not reveal to Hinako. It’s an odd choice to have him not tell her this thing, though it’s perhaps true that it comes to nothing. Still, it darkens Minato in a way I’m not sure was intended, turning him into a keeper of secrets, however benign.)

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