This day started early:
3:30am, to be precise, with the alarm right in the room, rather than just the hallway. I don't know what it was about - I just headed out and tried not to bother the firefighters who showed up impressively quickly - but I'm glad it wasn't serious. This is a twelve-story building with 10 rooms on my floor, and there were not 100 people milling about afterward. Maybe it's just usually filled with college students and mostly-empty for the summer (there are about a dozen keyboxes for AirBNB rentals and brokers showing it to prospective tenants locked to the front steps, and that doesn't even include me), but I have a hard time imagining the folks who sleep through that din or say, man, that's a lot of stairs, maybe I'll evacuate when I smell smoke or firefighters pull me out.
So, it was almost 4am by the time I got to bed, which is just shy of the line where I usually say it's not worth going back to sleep. My body was going to wake me up at 8am or so anyway, though, and I wound up dragging something fierce for most of the day. It didn't help that most of the afternoon programming was from the Underground section and I'm not really a giallo guy, so I wound up dozing off or zoning out until the shorts package in the evening.
I mean, after "Methuselah" by Nathan Sellers; his short was 4 minutes long and pretty darn strong. Obviously, Justine was not really looking at my giant lens-covering finger in disdain (why Samsung designed this phone so that ones finger naturally rests there whne using the buttons to snap a picture is beyond me).
On the other hand, Adam C. Briggs and Sam Dixon made a movie that was often dark and grainy and very easy to zone out to, so I missed some the film, their Q&A gave the impression that Brisbane is not exactly an Australian hive of creative expression, but it was a scene where everybody sort of knows each other, and they wound up working together, if in unfamiliar roles at times.
Mickey Reese and Josh Fadem were really "on" in their intro and Q&A for
Every Heavy Thing. I dig the energy which I didn't have, and that Reese wrote it for Fadem, who had played over a hundred supporting roles but never had a lead, so this was made with him in mind, and pretty much the entire cast. I suppose, as with Brisbane, when you're making movies in Oklahoma City, you know who you're working with.
After that, it was
The House with Laughing Windows, and, as I say below, I am just not a giallo guy.
At some point after that, though, the caffeine kicked in or something, or maybe the "Things That Go Bump in the East" selections were just more my speed. Here we've got our moderator (Xige Li?), "Mom, Stay Dead" director Lee Na-hee, programmer/translator Steven Lee, "Dhet!" composer Dameer Khan, and "Red Spider Lilies: The Ascension" co-star/producer Eriko Nakamura & director Koji Shiraishi. As you can see, it was a pretty fun session, with Lee talking about how her short was inspired by how her mother actually blossomed once she finally moved out of the house, gaining a bunch of new hobbies and creating art, which got her thinking about how there are a lot of movies about how children grow at times like this but not necessarily parents.
Khan, meanwhile, is local to Montreal, representing "Dhet!" since director Ummid Ashraf had visa issues. There seemed to be more trouble with visas this year then I remember being a case before, although that could just be random variation. It does demonstrate how even relatively small-scale shorts like this have international collaborators, and Khan talked about how the giant highways the protagonist is traveling make Dhaka a very loud city, so the music had to be layered and a bit discordant, enough so that when it is suddenly quiet, the eeriness of it really hits.
If you look at IMDB, "Red Spider Lilies" is listed as "Pilot Version", and Eriko Nakamura said that, yes, they were very much looking do something more with it. I hope they do; it's a fun premise! She also mentioned that she was in another film at Fantasia this year,
Dollhouse, but also not to go see it on her account because it wasn't really one of her great acting roles.
Finally, I made it across the street to Hall, where this is sort of the best picture I got of the surprisingly big contingent for
I Fell in Love with a Z-Grade Director in Brooklyn: Writer/director Kenichi Ugana plus actors Lissa Cranadang-Sweeney, Rocko Zevenbergen, Madeline Barbush, Estevan Muñoz, Ui Mihara, and Katsunari Nakagawa. One thing Mihara mentioned is that she felt a lot like her character going into the movie: If you look at her IMDB page, she seems to be have done an episode of TV every week or so for the past couple years, and felt pretty darn burnt out before doing this one. Though she maybe could have done without the amount of gross things she had to put in her mouth to spit out.
That's the start of Week Two on Wednesday the 23rd; Thursday would be
Redux Redux,
The Virgin of the Quarry Lake,
Anna Kiri, and my first go at
Transcending Dimensions. Today (Saturday the 2nd), my plans are
Foreigner, Circo Animato,
Mononoke II, and
Queens of the Dead.
The School Duel and
The Virgin of the Quarry Lake are pretty good.
"Methuselah"
* * * (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Fantasia Underground, laser DCP):
:
A poem of a short film, using striking words and imagery to how trees are both dynamic and static features of nature - always growing but persisting for centuries in some cases - and how too many have been used by humans as sites for hangings and lynchings, tainting them forever. The narration by Jordan Mullins walks a line between reverence and rage, and the images from filmmaker Nathan Sellers manage to emphasize the evil men do with these marvelous things.
A Grand Mockery
* * ½-ish (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Fantasia Underground, laser DCP)
A Grand Mockery is engrossing for as long as it feels like an 8mm pseudo-documentary, but as soon as it tries to consciously be transgressive or experimental, it starts to get a bit tiresome. The filmmakers have vision, but it's not necessarily clear.
It follows "Josie" (Sam Dixon), initially seen walking through a Brisbane cemetery, seemingly one of the few green spots in the city and a sort of postal network where folks leave messages and meet up. There's not much going in the city - things are cool with his girlfriend, the father he tends to is mostly non-responsive, and his job at a cinema involves either cleaning up the disgusting messes customers leave behind or trying to handle their obstinacy. It wears on him, both physically and in the increasingly unhinged notes from possibly-imaginary correspondents.
The wear doesn't really kick in for audiences until the film's final scenes; up until then, even the moments when it approaches the grotesque and despairing feel immediate and earnest, the portrait of a man in a place where his artistic instincts seemingly can't take him anywhere, the cemetery seemingly the only source of tranquility. There are drugs and drink accelerating it, but one mostly sees a situation where folks get ground down because there's no seeming mobility. Josie doesn't necessarily seem inclined to make a living out of his drawings and the like, but they go unshared and he seems to have no other avenue to express himself to others.
The finale, though, is just endless. The filmmakers are good at sneaking up on the audience for a while, Josie's increasingly scraggly hair hiding how some health issue is distorting his face until he winds up in a strange bar that may only bear a passing connection with reality. At that point the movie starts banging on past any point it could be making, drawing out its grotesquerie until Josie is a drunken, distorted mess. Fair enough, I guess - that's arguably where lives of quiet desperation wind up - but after a while the filmmakers have eroded a lot of the goodwill the film had earned.
It goes on a bit as he gets outside the city, and the green of the woods and swamp seems like a bookend to the cemetery at the start (8mm green seems like a very specific color), and for a bit I wondered if it was intentional, starting in a city graveyard and ending outside the city in a place dense with life, but, apparently, the decay is too strong at this point, and the film trundles on until it ends in a whimper.
Every Heavy Thing
* * ¼-ish (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Fantasia Underground, laser DCP)
Where to stream it (when available)
I'm mostly giving this a pass, because even though I didn't doze off much, I feel like I missed a lot of pieces that were important to the story.
It starts out conventionally enough, with a
Scream-style pre-credits murder before introducing the audience to Joe (Josh Fadem), who sells ads for the local alt-weekly, one of the last in the country, reluctantly accompanying a friend to a show - he and wife Lux (Tipper Newton) seem to have separate social lives - only to enjoy it more than expected, and see the singer get murdered. Killer William Shaffer (James Urbaniak) says he's going to let Joe live because it amuses him, but it will amuse him much less if Joe does anything stupid. Like helping the paper's new writer (Kaylene Snarsky) when she has leads on the disappearance William is responsible for.
The problem in a nutshell is that the story really doesn't have any place to go after William reveals himself, about ten ten minutes into the movie; Joe winds up in this holding pattern but it plays more like awkward social situations rather than walls closing in or real danger. Writer/director Mickey Reese puts in other threads - Shaffer as the vanguard of various tech companies moving their operations to the city, an old friend (Vera Drew) returning to town after her transition, various family concerns - but none of them seem ironically more urgent than the man who is murdering women and apparently disposing of the bodies very well, which isn't presented as a big deal itself versus how it puts a man in an uncomfortable situation.
Plus, the jokes are only about half as funny as the writers seem to think. It gets by on volume for a while, and Tipper Newton is maybe the film's most valuable asset as Lux, seeming to put a weird and amusing spin on just about everything. After a while, though, things just aren't that funny, and the film made in part to give Josh Fadem a lead role after a lot of character work winds up showing why he hasn't been cast in one before: He's affable and has pleasant chemistry with almost everyone else, but it highlights him as a glue guy in a cast the way Joe is in his community, but maybe not with the sort of charisma that puts him at the center of a story.
One admires the attempt that this sort of outside-of-Hollywood indie is making. Unfortunately, it seems too committed to a twist that seems inspired at first but goes nowhere.
La casa dalle finestre che ridono (The House with Laughing Windows)
* * ½-ish (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Fantasia Retro, laser DCP)
Order the old DVD at Amazon
I've probably posted some variation of this before, but I think I'm just not a giallo person. No matter the extent to which the director is regarded as a master, or how sexy the cast is, or how shocking or lurid the twists are, I just don't get drawn in, and
The House with the Laughing Walls was not an exception to this rule. Like so many things in the genre, it falls in that gap between intriguing mysteries and unnerving horror for me.
(In fairness, all the films this afternoon suffered from my sleep being interrupted the night before, so I wasn't absorbing as much as I'd like.)
It feels like it should be a little more intriguing than it is, with an art expert (Lino Capolicchio) arriving to restore a church's peculiar painting, mysterious disappearances, and secretive villagers, but the film is too arch for much of its running time. Stefano doesn't really feel like anything, drifting through the story as strange things happen around him, not particularly defining himself as an academic or artist, and there seems to be an opportunity missed in using the restoration as a thing to hand the story and investigation on, where immersing himself in this artist's life and techniques draws him closer to the man's demons. Even with a new restoration, everything feels pre-faded, like there's never been any life to the story to start with. The mystery feels too distant.
It gets crazy toward the end, even audaciously so, but maybe it's a problem of genre-awareness, where knowing something is a giallo means that one is awaiting rather than dreading the inevitable, and the finale is surprising just because it's random rather than lying in wait to blindside a viewer. Sure, okay, the sisters are messed up, but not in a way that has anything to do with what Stefano has experienced, so it's not resonating.
"Magai-Gami"
* * * ¼ (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Things That Go Bump in the East, laser DCP)
"Magai-Gami" has a pretty darn basic premise - folks in a scary place investigating an urban legend come face to face with monsters that will kill them if they look away - but it executes exceptionally well: Leads Ion Obata and Nagisa Toriumi are a fun pairing even as most of their banter is done over the phone, and the audience picks upon their dynamic very quickly even as the movie starts with them already on the ground. Mostly, the monsters are kind of great, feeling like a mix of visual effects and practical work that capture the freaky images of old illustrations while not looking more out of place next to a girl in a puffer jacket talking on a cell phone than a more modern design would.
Filmmaker Norihiro Niwatsukino doesn't have a particularly long résumé, but he seems very assured here, keeping the film moving even when it involves standing still, displaying a good handle on using what his effects team gives him, and setting up a supernatural-containment mythology in the closing minute or two that doesn't feel too much like it's trying to impress with how clever it is. The program guide describe the short as a proof-of-concept, and, yes, I'd like to see more.
"Ba Dong Yao" ("Hungry")
* * * ¼ (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Things That Go Bump in the East, laser DCP)
Taiwanese puppet fantasy adventure is one of the best bits of any Fantasia Festival that contains it - I've rearranged schedules to make it work - and it was a really delightful surprise to see it show up in the middle of what initially looked like an animated short. It's a good animated short - it's got a strong style and a story about an ailing kid and his busy father in the middle of a festival that spans the traditional and the modern - but the live-action puppets means this film zigs where one expects it to zag, making his fever dreams feel a bit more real in the moment than his actual world even as they're clearly mythic.
Oh, and bonkers, as these goddesses fight to become his mother and the puppet combat is a kick to watch, fully embracing the capabilities and limitations of what these things can do, especially with a little FX work to eliminate rods and strings. It's great fun that leads into neat music and a satisfying finale.
"Mati Adat" ("Kill Tradition")
* * * (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Things That Go Bump in the East, laser DCP)
Compared to the others, "Kill Tradition" is a nifty slow-burner of a short, keeping just what the stakes are on the horizon as it builds the relationship between Idah (Nik Waheeda), the sort of precocious kid that gets into trouble, and her recently-widowed mother Iman (Ezzar Nurzhaffira) as they prepare a meal for an upcoming ritual. Waheeda is charming, and Nurzhaffira really nails this vibe of how having this girl is wonderful yet tiring. They're highly watchable, especially Nurzhaffira, once the inevitable reveals itself.
That's when the audience sees where the title is going, in a couple of ways, and while Nurzhaffira plays up how this is more than she can take and the devastation of it, writer/director Juliana Reza and the rest of the team emphasize what sort of inertia tradition and ritual have. It's evil tradition - even with what appear to be actual supernatural entities, there's no strong justification that this is effective or necessary - and Reza highlights the callousness of it as much as the grace of those consumed by it.
"Mom, Stay Dead"
* * * (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Things That Go Bump in the East, laser DCP)
Filmmaker Lee Na-hee kicks off her short with a fun image - grieving daughter Sora (Oh Sohyeon) working her way through a book with "101 Ways to Summon the Dead", with #44 being the Ghost Summoning Dance - before coming up with a neat twist: The ghost she summons (Cho Ahra) seems to be roughly her age, having moved on from Earthly concerns, including the daughter she left behind, into her idealized form. There's maybe a fun sitcom premise in here, something about how family members would really relate if you removed the societal obligations and expectations from them.
It's maybe not far from the likes of
Back to the Future or Chinese hit
Hi, Mom - though I can't think of any that pull someone into the future rather than having their kids in the past - but aside from what Lee discussed in her Q&A about discovering what her mother could become once she was no longer worried about taking care of her daughter on a day-to-day basis, there's something intriguingly weighty here about spirituality. Sora has been using religion and magic as a way to fulfil her desires rather than really contemplating what all this implies, even as the mother recognizes innately that this girl needs something from her.
A very nifty twist on the idea of moving on that feels all the more honest because of how absurd and thought-provoking it can be simultaneously.
"Dhet!"
* * ¾ (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Things That Go Bump in the East, laser DCP)
There's a really strong theme across short films and anthologies this year of how gig work like rideshares and delivery is a sort of hell designed to be inescapable until it finally crushes a person, and I kind of worry that it will wind up staying in shorts and their equivalents in other media, because if you've got the money to make a feature, the business model behind this is kind of an abstract thing and you mostly see the convenience. It's a longer distance between classes than it used to be.
"Khet!", from Bangladesh, is a pretty decent example. The story itself is pretty basic - motorcycle-taxi guy (Ahsabul Yamin Riad) ignores a homeless man (Fozie Rabby) telling him not to take a certain turn and winds up unable to leave one of Dhaka's highways - and is perhaps ultimately more about the maddening geography of the city than the rider's circumstances. It's not a bad idea, since cities built around such highways are a topic of conversation in themselves, but it leaves writer/director Ummid Ashraf without a metaphorical offramp on top of the literal lack of one; the story kind of runs in circles without much chance of an ending that truly satisfies.
"Red Spider Lilies: The Ascension"
* * * ½ (out of four)
Seen 23 July 2025 in Salle J.A. De Sève (Fantasia Festival: Things That Go Bump in the East, laser DCP)
"Red Spider Lilies" isn't quite made just for me, but it does take a genre I tend to really like - the haunted family calling the sort of professional exorcist who carries themselves more like an exterminator than a religious fanatic - and eventually twists it into one I like even more (which would be telling). Here, that's the Aoi sisters, living in an old family house, where one night something possesses Kotoko (Tomomi Kono), leaving Nana (Tomona Hirota) to call the famed Teshigawara (Hirotaro Honda), whom younger sister Ami (Eriko Nakamura) has seen a lot on television. Once there, though, Teshigawara finds this to be much more serious than his usual situation.
It's not a new observation that exorcism stories arguably work better in East Asian environs than elsewhere is that there is a sort of formal place for ghosts and demons in local mythologies with the opposing forces less formalized (in the West, there's the rigid hierarchy of the Catholic Church and the likes of snake-handlers but not a lot in between). So there's room for Teshigawara to be a professional and a celebrity and a lot of entertainment as the Aois interact with him like that, but also to be able to go in another direction when a twist comes without a whole lot of effort. Honda sells it well and injects dry humor into the film that doesn't undercut what else is going on, but the three sisters are great fun as well: Eriko Nakamura gets attention as the very funny Ami, but Tomona Hirota and Tomomi Kono solidify their older siblings as the short goes on.
Like "Magai-Gami", this is pretty explicitly a pilot/proof of concept, and I would quite like to see more.
I Fell in Love with a Z-Grade Director in Brooklyn)
* * * ¼ (out of four)
Seen 23 July 2025 in Auditorium des diplômés de la SGWU (Fantasia Festiva, laser DCP)
Watching this film, I chuckled at a low-budget horror-film producer being named "Rusty Festerson", and the actor playing him. Are they going to get that this Larry Fessenden cameo is a joke in Japan, or is this a film made for an extremely specific audience? If it is, that niche definitely includes me, and I'm glad to see it.
It opens by introducing two folks from different worlds. Shina (Ui Mihara) grew up in Japan with things coming relatively easy: Naturally pretty and doing okay in school and sports despite not really having to work very hard at them, show business was the first time she really had to apply herself, and really take pride in succeeding. Jack grew up in Eugene, Oregon, without anything ever coming easy, diving into horror movies and heavy metal, and eventually moving to New York City to work for Festerson's company and getting frustrated when it's just a job. Shina is frustrated too, showing disdain for her work, and taking a trip to New York with boyfriend Ren (Katsunari Nakagawa) to escape the limelight. Once there, though, English-speaking Ren finds himself frustrated by her nonsense and she feels disrespected, and an argument winds up with Shina, with no money or ID, outside a bar where Jack and his friends are commiserating over the star of their movie dropping out at the last minute. When Shina has nowhere to go at closing time, Jack lets her sleep on his couch, and manages to communicate that he'll pay for a flight back home if she acts in his movie, not knowing she's a big star rather than just a pretty face.
All in all, it's a fun little movie, charming as all get-out with the filmmakers keenly aware that a romantic comedy must be that, with everything else a secondary concern. And it works; even if I don't entirely buy that this pair falls in love with each other, I do believe that they fall in love with making movies with each other, and that's nearly as good for the movie's purposes. If that's something writer/director Kenichi Ugana planned for, that's smart, giving him a fallback position in case the romance doesn't quite get over, as the "making movies with friends" energy is solid enough to believe in Shina's half of the story.
That's sort of the film's biggest issue - Shina is a lot funnier and sympathetic, with a stronger arc than Jack, and I don't think it's necessarily a matter of assuming a foreign-language preform meets a certain standard even when you'll notice the flaws in one's native tongue. Ui Mihara is given a lot of assignments and mostly pulls them off, from the celebrity who is shallow enough that one can laugh at her arrogance to the professional kind of appalled by the mess she's found herself in to smitten to hurt; all kind of tying back to her opening mission statement. Estevan Muñoz isn't quite just given one note as Jack, but he's always playing it at full volume, and I don't know that it's a matter of Ugana being more comfortable in his native language and culture. The English-speaking supporting characters are by and large fun, but Jack is not a complementary half of the movie.
Fortunately, the rest of the movie is a good time, full of deadpan humor, missed translation jokes, and the ability to walk the line between getting laughs from what a sketchy production this is for what will almost certainly be a terrible movie and earnest respect for them making it. Ugana seem genuinely fond enough of its scrappers and has the knack for getting the audience to smile at them, which not all movies rooting for underdogs manage. He and the cast make the tricky transition from Jack and company clearly exploiting Shina in an uncomfortable way to her being part of the gang, and if you can feel an ending being jammed into place, it is at least jammed solidly into place.
I do kind of wonder how well this plays at places other than Fantasia, which is in large part about this sort of love affair between Eastern and Western pop culture, as well as mixing the global mainstream and the lowbrow. Still, even it's obviously going to play like gangbusters in that specific room, I suspect it's going to really amuse the folks who would enjoy being in that room if they could.
