Fantasia 2026.05: "Pimple", Our Effed Up World, CineMapsosa '26, Beasts Clutching at Straws '26, "Best Friends with the Devil", and Penny Lane Is Dead

Back to the "de Sève in the afternoon, Hall in the evening" grind (for one of the more pleasant definitions of "grind")!

We start off with composer Freya Berkhout, actress Jess McLeod, and writer/director/producer Alice Maio Mackey for Our Effed Up World (with host Justine Smith), which feels like an interesting turn for Mackey in that the trans and nonbinary characters are supporting roles and there was a lot of wanting to see folks like herself up front in her previous films. Maybe not that big a deal, but interesting in terms of whether she's going to have a more commercial career at some point; she mentioned "an IP thing" as part of what's next at the end of the Q&A.

She mentioned that they lucked out finding a video store that could be used as a set, including the genuinely sketchy basement which apparently smelled terrible, but you don't have time or money to clean it on an indie budget. The range of influences for this one was an odd mix, more Kevin Smith and Australian soap operas than the genre elements. I must admit that it's kind of odd to hear "gen-X" as more of an aesthetic description than "the people you grew up with", and folks from Australia talking about something as CW-inspired is kind of like seeing "Black Friday" sales abroad; it feels like it should be a specifically American term since they would be connecting it to something else within their culture, right?

(Also, did Mackey have a tremor last year? She had this thing where she was swinging the microphone back and forth in front of her mouth and it wasn't quite like we could only catch the syllables where it passed in front of lips, but it was oddly distracting!)

After that, I took a meal break because I have not see Pontypool since its original release and wasn't really up for a Bruce McDonald/Steven McHattie talk (though some friends back home would have loved it). After that, it was back to de Sève for the Korean shorts block, with filmmakers Lee Chang-bee ("I Love Your Alter Ego"), Lee Min-hyun ("Wish You Were Dead"), and Park Jung-yoon ("TROPIC") between the Fantasia hosts/translators. Very fun group of shorts!

Then, across the street for Beasts Clutching at Straws and Penny Lane Is Dead, with writer/director Mia'Kate Russell and actresses Alexandra Jensen & Sophia Wright, the latter of whom create very different impressions without the costumes and hairstyles from the movie, with Wright joking that half of being able to be Kat was wearing that outfit, and also joking about how the days when it was an all-woman set were different than when men were around, even if it was just as violent and gory.

Then to bed. Tuesday wound up being Big Break, Levitating, Hayop Ka!, a good burger because I was very late to the pass line for Someone's Daughter, and Los Vampires. And, man, I can't believe this has taken me so long to finish that today's the festival's last day, where you'll likely find me at The Peril at Pincer Point, City War, The Fox, Freaks Part II, and Jim Queen. Kind of half tempted to rearrange things to see Gozu, but also trusting that it playing here means some midnight shows back home and a spiffy new disc are on the way.


"Borbulha" ("Pimple")

☆ ☆ ☆ (out of four)
Seen 20 July 2026 in Cinema de Sève (Fantasia Underground, DCP)

A pretty simple but entertaining gross-out short from Portugal with Tiago Rodrigues as a kid with a really noticeable pimple getting picked on by bullies until they decide to pop it and, man, they are not going to like what comes out.

I'm pretty sure that this isn't the first pus monster I've seen, but it's impressively gross and filmmaker Fernando Alle uses an impressive combination of gore effects, stop-motion, and puppetry to have it manifest and take out the little brats. The movie is just four minutes long, but Alle crams every beat needed from Rodrigues being sullen to the three victims having individual reactions and a funny denouement. Simple idea exceptionally well-executed!

Our Effed Up World

☆ ☆ ¼ (out of four)
Seen 20 July 2026 in Cinema de Sève (Fantasia Underground, DCP)

Alice Maio Mackay has been making micro-budget genre movies that festivals pick up even when they were very rough since she was a teenage girl, and even without the way she spoke in the Q&A after the screening, this is the first time that I find myself wondering what kind of filmmaker she's going to wind up being. She's clearly still learning and straddling the line between making a movie for a broader audience and making it for herself, but Our Effed Up World is fairly watchable.

It follows Sheri (Sara Thompson), who works in a supermarket with bestie Poppy (Annapurna Sriram), hanging out afterward with Finn (Jess McLeod) and Ash (Karis Oka) at the video store Finn's uncle left them. She's just resolved to dump boyfriend Harry (Jordan Dulieu), who doesn't take it particularly well, wandering about until he comes upon a strange and dangerous meteor - the sort of thing Sheri's astronomer father Hank (Scott Major) knows about because it's his job to watch out for such things.

A major part of the growing pains here are that, both by the amount of time spent and from what she said in the introduction, Mackay is mostly trying to make a hangout film with alien zombies to spice things up, and the latter almost feels like a crutch: The sci-fi/horror is not particularly memorable, and rather than resonating with the characters, mainly seems like an excuse to have them do something other hanging around and saying catty things. That's enjoyable enough in large part because Mackay has a more seasoned cast than usual - Sara Thompson has plenty of higher-profile credits, Scott Major is a bona fide veteran actor, and Annapurna Sriram is a natural goofy best friend - who are mostly able to slip comfortably into character rather than just recite lines on cue.

Those lines are sometimes more than a bit in need of a polish - the scene where Sheri dumps Harry especially makes her feel mean rather than frustrated or fed up - and It's kind of important to remember how young Mackay is because, although she's become a staple of festivals and other programs that want to showcase trans filmmakers, she's actually just now at the age where young filmmakers start working professionally, and only starting to actually be good. This movie still clanks, but not as often or as badly as the last one, which wasn't as rough as the one before that.

Which means I'm not sure whether I'd rather see her continuing to hone her skills or see how she does directing someone else's script, because you can really feel how this film lacks a lot of the connective tissue that ties one moment or aspect of a character to another, or does it awkwardly. Working with a more professional cast helps, but this is still very much someone learning the ropes and feels like it.


"SPEEDY!"

☆ ☆ ☆ ¼ (out of four)
Seen 20 July 2026 in Cinema de Sève (Fantasia: CineMapsosa 2026, DCP)

"Child learns the awful truth that adults lie" isn't necessarily a plot that scale to a feature-length film, but it's something that can certainly sing at the length of a short, and this one is charming as all get-out, getting a lot of great mileage from how ridiculous this speed-reading scam can seem when it's not held up by folks you should be able to trust, but, hey, Jung-min might have a bit of a crush on the teacher's prodigy son. The actress NAME turns in a really delightful performance as a bright girl who is shouldering a lot and but still feels like a kid.

The movie also hits its period marks nicely on top of being very earnest about what it can be like on a family that's striving for better but knows it might take some luck, or suddenly finding yourself complicit in something that's maybe not a crime but isn't right.

"Soulmate" '26

☆ ☆ ☆ (out of four)
Seen 20 July 2026 in Cinema de Sève (Fantasia: CineMapsosa 2026, DCP)

There may be one too many alter-egos in this movie, between Ji-eun (Jeong Ji-eun), "hot girl Ji-eun" - the persona she adopts as a young actress - and Eun-ho (Kim Mi-ran), the result of dissociative personality disorder brought on by her stepfather's abuse. I spent an embarrassing chunk of this 20 minute movie thinking it was going to be a teenage actress trying to find a way to form a friendship/relationship with the boy next door who mostly knows her screen image.

That's not what this is, though there's a bit of it; instead, it's about Ji-eun being exiled to a mental landscape based upon the spot in the middle of nowhere where her abuse took place It's got all the pieces that go with that, from the taunting internal dialog to the enabling mother, to ultimately deciding to assert oneself, and for the most part done pretty well. Writer/director Lee Chan-bee does a very nice job finding the details that drive certain points home, particularly how there's this sexualization of teenage girls that's not entirely imposed by older men even as it often caters to them, and how Ji-eun's mental prison is abstracted but not cool in any way: It's empty and undeveloped and the sort of thing a city girl like a young actress would find boring.


"Ijen jugeosseumyeon jokenne" ("Wish You Were Dead")

☆ ☆ ☆ ½ (out of four)
Seen 20 July 2026 in Cinema de Sève (Fantasia: CineMapsosa 2026, DCP)

Lee Min-hyuk and co-writer Park Kyu-eun know how to make a good short film: They kick off with a neat premise that has some resonance, kick off in media res, and build a lot of beats around jumping straight to the result of a bad move rather than playing out the bits that are going to require a lot of tricky effects work. You could probably build a feature around a funeral for the controlling patriarch that has him coming back as a zombie and continuing to destroy the family after his death, but this really reduces it to its essentials.

It's got a lot of neat little bits in it, as well: The fact that the male heirs who can deliver offspring are privileged feels annoying and arbitrary as a zombie-movie rule (down to Seo-hyun's father being vulnerable in the way her brother isn't because Dad's had a vasectomy), but it's also annoying and arbitrary in everyday life; Seo-hyun taking a Go board and using it to try and plot an exit - visually, it's a sort of Go/Clue hybrid - is fun improvisation. And Park Seo-yoon is sneakily great as Seo-hyun in part because, while she's clearly the smartest member of the clan and the one with the best chance of figuring out an exit and probably running the family business afterward, there's something a bit unsympathetic about her, like she's not that upset that the family members who treated her as less important than her dimwit brother and cowardly father are being murdered as they try to execute her plans. This isn't a woman who needs to prove herself to her family so much as one whose potential doesn't have to be linked to their approval.

There's a pretty good path to a longer feature if director Lee wants it, and I suspect a feature would look a bit different from the short, which is why this film is worth twenty minutes whether it leads to something bigger or not.


"TROPIC"

☆ ☆ ☆ (out of four)
Seen 20 July 2026 in Cinema de Sève (Fantasia: CineMapsosa 2026, DCP)

Anything can be a metaphor if you work at it enough, such as an aloha shirt, which reminds Choi Sun (Bae Min-su) of both how her sister Seou (Kim Da-a) committed suicide and how she really wanted to get to a happier, more carefree place, even if neither she nor Sun could make it happen. It kind of suggests the Swamp Thing-looking monster and headspace that Sun finds herself in as writer/director Park Jung-yoon bounces her between the present and the past, her two young actresses playing two people with no-one closer even though being together isn't easy.

I really love how Park ends the movie, with Sun wearing a shirt that is clearly faded, either from far too much detergent or repeated washings. That's probably how you have to remember a loved one who has ended her life like that, and it's a nice visual for how Sun will keep as much of Seou with her as she can, even if she can only handle part of her.


Wara Nimo Sugaru Kemonotachi (Beasts Clutching at Straws)

☆ ☆ ☆ (out of four)
Seen 20 July 2026 in Théátre Hall (Fantasia Festival, laser DCP)
Where to stream the Korean version (Prime link for Korean version), or buy the disc for the Korean version at Amazon

I must admit to being curious about both previous iterations of this story: I recall the Korean film from 2020 being entertaining but also being kind of a miserable viewing experience (the festival streaming platform used in 2020 was terrible), and there are just enough differences between the two movies to make me wonder if this Japanese adaptation of a Japanese novel is closer. Sadly, there doesn't seem to be an official English translation - more mysteries and thrillers from that country are crossing the Pacific than ever before but there are so many! - but both adaptations being pretty good suggests good things about the source material.

It starts with Kanji (Ouji Suzuka), who doesn't seem like much of a "beast"; he's trying to make it as a Vtuber without really having a hook as he works in an internet cafe with private booths and looks after his grandmother with severe dementia in the apartment above her late husband's shuttered barbershop. Things potentially change when a guy who rushed out without paying his bill leaves behind a bag of money. Elsewhere in Tokyo, Ryosuke Ebato (Hiroki Narmiya), a corrupt cop deep in debt to the Goda syndicate, has a line on a college regent who has defrauded his employer. Is that the man who dropped the bag at the internet cafe, or the one who recently started visiting sex worker Mina, who has made a new friend in femme fatale Maria. Speaking of Maria, she seems to know the drill a bit too well when Mina needs to dispose of her abusive husband's body.

There's a twist or two to this, of course, which isn't completely surprising when you get to it, although to be fair I may have had the Korean version in mind when it happened. One thing director/co-wirter Hideo Jojo does fairly well is keep Kanji just busy enough, considering that most of the other threads are more obviously connected. They're not going to collide for a while, but his various frustrations at home are worth watching and entertaining for being darkly comic in a different way than the folks less innocently connected to various crimes. It means the tone doesn't really cause whiplash but the audience doesn't get completely mired in the pure cynicism of backstabbing and threats elsewhere, and there's just enough of that lurking around the edges that it doesn't feel completely separate.

It doesn't hurt that there's a nice supporting cast of characters around the main folks; Kanji's got a cute co-worker who might be a potential partner but doesn't have to be, and his grandmother is out of it in a way that plays as chaos comedy from a remove but which is also a pure nightmare from up close. Ebato's often paired with a driver who seems to haplessly wind up deeper than he intends because he (perhaps unwisely) considers Ebato a friend and a new partner investigating the very fraud he's trying to cover up, with the Goda chief having a hulking and horrifically eccentric good on hand. Mina's got an avid younger client, and Maria's lone-wolf status is fitting but things also lock in when her other connections are revealed. It's not a huge, messy ensemble, but it's one where the "hubs" are very solid indeed and none of the folks in their orbit are entirely one-note jokes.

There's also something very pleasant about how Jojo and company often seem to have come out on the other side of trying to chase the kind of cool that many were after with their intersecting crime narratives in the wake of Pulp Fiction - Kanji's streaming is small-time enough to be kind of pathetic, and everyone bit Maria is more dork than badass, with Maria explicitly pretty awful. The repetition of a zipper splitting a black screen as a scene transition renders it cute rather than too-clever, and there's fun knowing chaos to how the opening gag is used later.

It's always an odd experience to catch a remake of something after just long enough that the original isn't fresh in one's mind and not know whether good surprises are legit or differences and need bits are not quite pulled off versus vaguely remembered. I'm leaving towards this basically being well done, a chaotic but generally fun caper.


"Best Friends with the Devil"

☆ ☆ ☆ (out of four)
Seen 20 July 2026 in Théátre Hall (Fantasia Festival, laser DCP)

Hugo de Sousa comes up with a neat idea for a short here that's really well-positioned between innocent mayhem and something sinister, as Lola (Ellyn Jameson), worried about the disappearance of her friend Amy (Kailee McGee), files a missing person report and follows her trail to David (de Sousa), the last person to see her on a hike. Maybe not wise on the face of it, but when you're starting from the premise of "unfortunate accident" rather than "foul play", not indefensible!

I like how de Sousa plays this both as writer/director and actor, not really tilting the tone into obvious danger but also recognizing that the world can be especially dangerous for women on their own and letting the audience see various red flags without actually waving them in one's face. He gives out new information in ways that recognize that this is a short and maybe shouldn't be too vague for too long, forcing the viewer to really evaluate the situation without it being a slow-down/nod-sagely beat. The end's a mess, but it's a mess from how things started out.

I also always dig when a concussion is an actual big deal.


Penny Lane Is Dead

☆ ☆ ☆ ¼ (out of four)
Seen 20 July 2026 in Théátre Hall (Fantasia Festival, laser DCP)

You've got to hand it to writer-director Mia Kate Russell for the title "Penny Lane Is Dead", because when you stand back a bit and look at the movie, it's not necessarily terribly different from others like it, but centering the title character like that sure makes the movie feel like people don't fit into the roles they're supposed to. The movie delivers impressive blood, guts, and women in peril, but feels a lot more off-center than it might.

It starts by introducing us to Penny herself (Bailey Spalding), a pretty blonde with a nice family who just graduated after being accepted into a good school and who genuinely seems to acknowledge and enjoy her good fortune without trying to exploit it. She's heading out to her grandparent's cabin for a girls' weekend with her best friends: Toni (Tahlee Fereday), a tall and sporty girl whom the Lanes took in when her own parents couldn't handle her coming out as gay, and Amy (Alexandra Jensen), mousy and maybe autistic, which is probably not something you'd use to describe an Australian girl in 1986. Not invited is Kat (Sophia Wright-Mendelsohn), Penny's cousin and a constant source of drama, but she shows up anyway, with drugged cupcakes and her boyfriend Angus (Ben O'Toole) not far behind. Angus is a bad'un, the son of a crime boss, and has two goons in tow, with Merrick (Fletcher Humphrys) and old pro who would rather deliver the drugs they have with no fuss but Rodowsky (Steve Le Marquand), like Angus, more inclined to have a little fun with Kat's cousin and her friends, whether they want it or not.

Penny's the title character and Toni's the conventional protagonist, but the movie's center of gravity is Kat, who kind of fascinates in that she's clearly a monster from the word go, but Russell and actress Sophia Wright-Mendelsohn seem to have a pretty good handle on how girls like her get like that. There's not a moment when the movie stops and she explains her sad origin story, but every time Russell finds a way to remind the attackers (and the audience) that these sexy young girls are 17 or 18, you can't help but remember that this applies to Kat as well as Penny, and she's an outcast for what she did as a teenager. Wright dives into the role with abandon, fully committed to Kat's awfulness, but there's always a streak of desperate need to her bad behavior and skimpy outfits, and there are moments when Angus treats Kat terribly and it's very clear she knows this and one wonders if this might be the time she wobbles.

It's a great performance, but doesn't push the rest off the screen; the girls especially are a strong ensemble. Tahlee Fereday and Bailey Spalding are impressive as Toni & Penny; there are early scenes where they discuss the possibility of being more than friends and while they're maybe a bit nervous about letting Amy or Penny's parents in on this, they're both likably confident in who they are and trusting in each other, even if Toni's future isn't quite so certain as Penny's seems to be. Alexandra Jensen's Amy isn't the same - she's seventeen and carries an emotional support stuffie around - but I really like how Jensen doesn't play Amy as a collection of tics and nervousness; she seems to take a second to think before speaking even if she misjudges her words. On the boys' side, Ben O'Toole is entitlement unleashed as Angus, ninety percent repugnant but with the sort of self-assurance that one can see why he might be kind of appealing to someone like Kat or go unquestioned by someone like Fletcher Humphys's Rodowsky who doesn't allow any sympathy into how he helps himself to Angus's scraps. Steve Le Marquand does really well with one of my favorite archetypes, the unrepentant criminal who nevertheless wants to be friggin' professional both for what he tells himself and because leaving a bunch of corpses around is bad for business.

And there will be corpses; it's a pretty gnarly movie where folks are likely to get maimed before being outright killed, and Russell is adept at using that to both make Angus & Kat seem more vicious and Toni's wins more satisfying. The gore team is on point throughout but Russell doesn't entirely lean on them to make the movie work: She doesn't exactly do a slow build but she tends to add momentum more than stopping for a breather, and she's crucially aware that Penny unconscious or dazed is going to create a lot more tension that the audience can grasp than various nasty injuries that much of the audience is going to read as "fun" special effects, and she's good at making sure there's really nothing sexy about it without making things more outwardly grotesque.

Indeed, I think what's kind of exciting about Penny Lane Is Dead and makes it feel noteworthy more than the setting or the quality of the gore is how the screenplay seems to reflect all the toxic forces at work in good balance: It is absolutely older guys preying on younger girls and even the surfer dudes at the local shop who are basically unproblematic don't serve as a "not all men" counterweight to that, but the engine that drives much of the violence is the jealousy and resentment among young women that is its own real thing even if Penny and her friends are great and casually supportive. Russell doesn't exactly bend things toward a definitive statement here, but she mixes these various impulses together in ways that give the movie a ring of truth even though it is, also, a revenge thriller with a ton of bloody action. It's good stuff, apt to satisfy the gorehounds but play like a real movie to those who want more.

Fantasia 2026.04: Niko, International Science-Fiction Short Film Showcase '26, You Are the Film, "175", and Attack on Paradise

Another day, another short film package at the Museum seemingly scheduled with the intent of overlapping everything else in the schedule. But first, Niko.

Director Julien Birban Levy is French, apparently spent a fair amount of his youth in New York, lives and works in Tokyo, and decided that this particular film needed to be set in Seoul. I can't necessarily say that it captures that place specifically, although I kind of understand him saying Tokyo and Paris were too "cute" for it. I suspect that even the sections of those cities that were the appropriate sort of working-class-but-not-blue-collar might be too familiar or have some sort of quirky shorthand that makes them as today rather than a vague future. Interestingly, the neighborhood they found in Seoul was kind of emptied out, which really helped the vibe of the movie, though it's kind of odd: You make a movie that's partly about how capitalism is squeezing folks to death, and the best place to shoot it is a spot where capitalist redevelopment and gentrification is getting folks out of the way.

A couple hours later, I'm at the Museum for the sci-fi shorts, with "Echoes of Time" writer Charlie Clausen & director Gemma Lee; "Soulmate" writer/director/editor Jens-Julius Dall; "Noise of Waves" writer/director Tomasz Wróbel; "Idyll" producer/co-star Mina Sundwall & writer/director Austin Cauldwell; and "Horse Fly" writer/director Alex Park & D.P Adam LaPine . I've got to admit, the block made me feel kind of cranky after the claims that it was their best package ever, because, honestly can it really be that if not even one of the seven shorts was set in outer space? I kid, a bit, but it's kind of dreary to watch one short about someone getting addicted to a virtual reality app where every incremental upgrade comes with a pop-up saying it requires an additional fee or membership, and then have the second short be about someone addicted to a virtual reality app where every incremental upgrade comes with a pop-up saying it requires an extra fee or membership.

That wasn't the subject of all seven, but few of them felt like they were opening my eyes to something rather than rehashes of what I scroll past on social media daily. These are subjects worth exploring and on filmmakers' minds, but taken as a group, it just felt like such limited imagination, a lack of dreaming big, on top of all of them being European or English-language. Even the two that weren't about that sort of subject had filmmakers saying that they wanted to do a story about human relationships first and then worked in the fantastical elements to fit, but the upshot wound up being that it's less important to solve problems than to learn to accept them. Fair when the problem is "loved ones dying", sure, but combined with the rest…

All of these things are valid uses for the genre, and I've loved many stories along those lines. Some of the shorts were really good! But as a group, it's not just that this program was a bummer, but the implication that this is what folks working in the genre should aspire to seems wrong to me, like well-intentioned analysis about how great science fiction tells us about the here and now has diminished everything else about it.

Fortunately, I had time to sit around and grab some food before settling into Hall for the rest of the night. First up was You Are the Film, which matches the broad strokes of the subnormal but was oddly different in the details. Writer/director Makoto Ueda has done the screenplays for a number of fun recent time travel/loop films from Japan, so there was a big crowd.

Last up for the day, Mitch welcomed Bob Colaers, director of Attack on Paradise, and it's a shame star Said Boumazoughe wasn't here, because a lot was short of talking about what the film meant to him second-hand. Belgium has enough Moroccan and other MENA folks that he'd been frustrated not seeing anyone like him on-screen as a hero, so he came up with a sort, collaborated on the screenplay, trained like crazy, and then shot this movie in a building either very much like the place he grew up or the actual building, only doubled a handful of times during the action. It's kind of a crazy thing to will into existence, really.

Then to bed. Monday wound up being Our Effed Up World, Beasts Clutching at Straws, and Penny Lane Is Dead. You might bump into me Saturday as I more or less camp out in Hall for Bliss, Drag, AnyMart, and The Last Temptation of Becky.


Niko

☆ ☆ ☆ (out of four)
Seen 20 July 2026 in Cinema de Sève (Fantasia Festival, DCP)

It feels a little odd to note that Niko could maybe stand to lose ten minutes or so and also suggest that it's one of the more interesting depictions of a slowly-decaying dystopia I can recall seeing, but there's pacing and what you're using that pacing to show, right? Both the title character and the odd nuances of the world she lives in are often fascinating to dig into, but there comes a point where director Julien Levy isn't really finding new things to examine, and his story doesn't quite sing as much without the thrill of discovery.

He posits that in the fairly near future, Seoul will impose a digital curfew on top of a physical one, with the internet shut off after 9pm and only 30-second analog calls permitted. Clever young Niko (Tiffany Young) has figured out a way to monetize that with "Locked Out Company Service Niko", where she'll hang out and chat while someone waits for a locksmith, or perhaps anything else where someone might otherwise be fiddling about on their phones. That's how she meets Jiyoon (Kim Soy), and while she usually doesn't develop real friendships on the job, Jiyoon's an exception. Meanwhile, her boyfriend Jeremy (Sandor Funtek) is working at a highly-specialized travel agency - only serving a Seoul to Nairobi route - as a side gig to his "one week, one photo" project. He's surprised to actually meet a potential customer, whose husband is mad to see lions, though she's initially looking to go to Addis Ababa. Neither are really making enough money to pay rent, and there doesn't seem to be much point in planning for the future.

It's hard out there for a manic pixie dream girl at the end of the world, especially when the government is out there trying to make it difficult for people to connect, lest they organize. Perhaps accidentally, Niko makes the argument that it's not the screens that are crushing our mental health, but the constant squeeze of existential dread and nobody having enough money to do anything while everything stops working around them. How often does the average person have to call a locksmith, for instance, and how far do things have to fall that doors not working is a major problem? The characters are trying to carve out niches, in ways that are often foolish because they are young and only know the problems. It's not a fun world to live in, but it's one where Levy is able to find interesting new corners and ideas without having to spend much money on effects or making its characters difficult to relate to.

It can admittedly be kind of insufferable, like when Jeremy is giving his "one week, one photo" spiel, or any other time folks are coming off as twee and arch; it's not hard to sympathize with the unnamed young woman delivering an apocalyptic newspaper and raging at the triviality of the other characters' concerns. There's rather more of people bemoaning their lot in nothing but words than needed, an occasional excess of introspection and self-importance.

A one-two punch that refreshes a few elements of eccentricity as containing at least a germ of mental illness may have one reconsider one's feelings in that respect, and I like the way Levy gets a viewer thinking along those lines before introducing a pill bottle that solidifies the direction without specifying too much unneeded detail. He treats this respectfully, not going with wry observations about how this is a reasonable response to a dying world, and the overall tenor at the end is tragic, even if not literally or immediately so - Niko may have a plan, but it's probably not a solution, and there's little that these individuals can do to make life easier for those struggling.

It makes Tiffany Young's performance as Niko grow as the film goes on. She initially seems very mannered, a K-pop idol who may be out of her depth despite that background requiring the exact sort of charisma that Niko needs to have, but when she starts to crack midway through, a lot of the same tics start to seem more in-character. It gives Sandor Funtek a little more to respond to, and also highlights how Kim Soy really becomes the glue of the film as it goes on, managing because she's maybe got a slightly more solid foundation than the others, personally messy rather than existentially so.

Seoul is an interesting place for a French filmmaker based in Japan to make a mostly English-language movie; Levy finds areas that can feel kind of overstuffed but can also be starkly empty, like the life has been sucked out but what's left has been crammed too tight. It's a recipe for despair that, nevertheless, can still make you believe that maybe there's still something for you there.


"Idyll"

☆ ☆ ¾ (out of four)
Seen 19 July 2026 in Cinema du Musée (Fantasia: International Science-Fiction Short Film Showcase, DCP)

I went off a bit up top about how movies like "Idyll" feel kind of redundant as science fiction if you're following tech in any way, and I kind of don't know who is watching short sci-fi films that isn't, but it still hits its spots pretty well: The premise makes sense, the gags about how tech companies will create an addictive experience and then squeeze people for every upgraded hit possible are both funny in their timing and anger-inducing in how they ring true, and the whole thing clings together pretty well: It's not really a movie about how these curated channels create unrealistic expectations or how something sold as social actually separates one from their other friends in favor of bots and simulacra, but it fits in. That "Our Girl" (Mina Sundwall) is cute and name-checked as such works rather than seeming like something that would work against the movie, saying no-one is immune rather than trying to convince us she's a sad sack.

Being a short rather than a feature makes the end seem more than a bit rushed, though; writer/director Austin Cauldwell seems to be skipping to the most noteworthy events in chaotic fashion rather than using related ideas to reinforce each other like in the beginning. The end's a decent sting, but maybe not quite the one that follows from the rest of the movie.


"Soulmate" '26

☆ ☆ ☆ (out of four)
Seen 19 July 2026 in Cinema du Musée (Fantasia: International Science-Fiction Short Film Showcase, DCP)

This one also gets dinged a bit for playing right after "Idyll"; it's a lot of the same jokes and themes in less clearly polished form, and which you prefer might entirely be a matter of whether you like a movie that finishes with a rug-pull or a display of growth. I do kind of dig it for how relatively low-fi it is, not out of some knee-jerk preference for analog or DIY-style filmmaking, but for how most the the VR scenes being machinima using software that's not quite state of the art emphasizes that there's no way Jalte is fooling himself into believing the VR environment is real but that these bots and online-only experiences are giving him something he wants.

That extends to how Hampus Egelund spends almost the entire movie with VR goggles over his face that aren't exactly sleek and modern-looking, and you get a lot from his body language. He does really well walking around like this is something he's got plenty of practice doing even if it's not quite a person's natural state in this particular future. I kind of like that filmmaker Jens-Julius Dall kind of avoids showing other people's faces as well, at least for a bit, to disguise whether Jalte is a truly sad case or if we're looking at the future more generally.


"Algorithm"

☆ ☆ ½ (out of four)
Seen 19 July 2026 in Cinema du Musée (Fantasia: International Science-Fiction Short Film Showcase, DCP)

…and the internet is still awful and making it difficult to connect! Who knew?

There's kind of an interesting idea here, as filmmaker Emily Charlotte Poulter plays with how many of these social media sites/publishing platforms will tempt users with potential monetization, and there's a lot of potential in Evie (Leonie Federie) and Cora (Virginia Hartmann) finding that being split up has been bad for them financially even if they recognize that they really aren't good together. It feels like a really rich vein to mine between how this sort of thing is addictive and leads to one creating a sort of curated version of oneself, but the film doesn't get into much of that.

It might just be a matter of resources being thin and this being a pilot for a feature; there are one or two sets and the apartment set is especially barebones - it looks like Evie lives in a Big Green Room without any personality, bland and generically futuristic without many of the details that would make what seems like a pretty good premise sing.


"Szum fal" ("Noise of Waves")

☆ ☆ ¾ (out of four)
Seen 19 July 2026 in Cinema du Musée (Fantasia: International Science-Fiction Short Film Showcase, DCP)

Oh, so we're off the internet being evil and on to contacting people you love from the past?

In this case, the fun is in the details - everything about the Ghost Phone is hand-crafted analog/retro, from the machine itself to the online video which looks like it was shot on VHS decades ago and maybe not uploaded recently, to how its effects are generated in-camera using a CRT and affecting the magnetic fields as you touch it. The back and forth between 13-year-old Antek (Marceli Sikora) and his father Pawel (Andrzej Konopka) is quite charming and has the right amount of melancholy while letting them feel alive. Sebastian Pawlak is fun as the inventor who mostly wants to get rid of this cursed thing while still having a glimmer in his eye.

Once it gets into the bit about how both Antek and Pawel potentially get lost trying to contact Antek's late mother, the movie dries out a bit; despite the novel mechanism, filmmaker Tomasz Wróbel feels more bound by what has to happen than going anywhere unexpected.


"Horse Fly"

☆ ☆ ¾ (out of four)
Seen 19 July 2026 in Cinema du Musée (Fantasia: International Science-Fiction Short Film Showcase, DCP)

"Horse Fly" doesn't feel like a pilot for a feature so much as a short that excised a major chunk of what might make it interesting, to wit: Who are the targets of the drone missions that Cameron (Angela Wong Carbone) and Matteo (Brian Sutherland) are monitoring? Thematically, it would certainly hit harder if it were China, but I don't believe this is ever specifically stated, and the way the last scene talks about their base moving around suggests a United States at war with itself, and the checkpoints are also weird. During the Q&A, the filmmakers talked about preserving ambiguity, but I feel like ambiguity really works against this movie: Cameron seems torn up because she has been ignoring her Chinese heritage before meeting a family who immigrated from the same reason, and their shared ties work because they are specific, but the film's lack of detail makes it a sort of free-floating guilt.

Weird, because Carbone is good, as is Janet Hsieh as the shopkeeper surprised and delighted that the mixed-ethnicity customer who has been coming in for months speaks Mandarin, and the hand-made drone bunker is a really nifty little set. The folks involved all know their stuff, and having everything front and center feels like it would solidify the whole thing.


"HappyDeal"

☆ ☆ ☆ ¼ (out of four)
Seen 19 July 2026 in Cinema du Musée (Fantasia: International Science-Fiction Short Film Showcase, DCP)

And we end back where we began, with modern internet-enabled capitalism making everybody miserable with the really nasty bit being that most of the darkly satirical elements here are barely exaggerated. Here, Emma (Marie Kauffmann) is working at not-Amazon-wink fulfilment center that has been thoroughly gamified with the reward being an apartment and being taken on as a salaried employee. She's looking good until she twists her ankle, but that leads to another opportunity.

If you've read anything about what working an Amazon warehouse or delivery route is like, there's a lot in this movie that will have you nod, thinking "yeah, that's probably the next step", and the film more or less runs on each of them seeming like they should be beyond the pale even as you can see unaccountable billionaires and corporations doing them as soon as possible. It works a lot more often than not; Kauffmann's Emma is easy to root for, and she does very well at communicating that she knows this is insane and soul-destroying but rationalizing it because she and her daughter need to eat and sleep, without a lot of laying it out plainly. Filmmakers Alexis & Jeremie Lopez do very well handling the frustrating details, as well, such as how online polls are less about gathering reactions than getting a chance to signify loyalty, or how something meant to be awful will be presented as helping veterans.

The story is kind of built to fizzle, because ending it on a riot or Emma winning the competition or losing it because someone else was more committed or anything, really, is going to be either unsatisfying or undermine the point. It probably couldn't end any other way but how it does, but it's abrupt but not quite ironic enough to be an absolute gut-punch.


You Are the Film

☆ ☆ ☆ ¼ (out of four)
Seen 19 July 2026 in Théátre Hall (Fantasia Festival, laser DCP)

You Are the Film is slight and anything-goes to the point of eventually becoming nonsense, but then, those are arguably also this movie's virtues. It's 67 minutes long and has a pair of absolutely insane final-act twists that will get some folks laughing out of sheer incredulity, but it's been meta from the start, so there's no arguing that this isn't what you signed up for.

It opens by introducing the audience to two young people in similar situations: Madoka (Marika Ito) manages and writes for a small theater troupe that mostly performs in a small pub but is on the verge of playing a large venue; Kazuma (Kai Inowaki) is the glue holding a rock band that plays in a nearby bar together. The proprietors of the establishments give them flyers for movies playing in the theater next door, but when they arrive, rather than meeting each other in person, they see their opposite numbers on the screen, and get kind of annoyed that the film appears to be interactive, before reading the synopses to each other reveals that two of Madoka's cast are about to quit and some hamsters are threatening the other members of Kazuma's band over money their guitarist stole.

From there, things mostly proceed in real time with Madoka and Kazuma rushing in and out of the theater to deal with their respective issues, occasionally returning to the theater to consult or talking over their shoulder. These challenges, by and large, aren't exactly intractable on their own, which means the crossing over is more fun chaos than the movie becoming an interconnected moebius strip of a plot. It's fairly shaggy, maybe unavoidably so given the meta nature of the story, where cinematic logic is going to be invoked rather than drawing charts.

It can go pretty far on how amiable its two leads are, though, and their performances parallel each other nicely enough for the premise to work while also feeling distinct enough that they're not repeating themselves. Marika Ito and Kai Inowaki manage the neat trick of having chemistry while spending most of the movie only seeing each other on a film screen, impressing with their commitment to their art even as they acknowledge what a mixed blessing it is to do so with their friends. Ito probably has the stronger general ensemble around her, but Inowaki plays off, the guitarist, nicely.

(This all takes place in what looks like a delightfully cozy theater surrounded by a fish & chips café, vintage shop, and rock bar; I'm envious!)

It eventually becomes chaos, and I'm kind of torn between wishing Ueda has a big budget to work with for the last act and appreciating the shoestring absurdity he goes with. There's fun in both approaches, but the one Ueda chooses shows how his reach exceeds his grasp, and for as high-energy as the last act is, you can kind of feel him flailing and maybe wish that this was a more cohesive film, more the ouroboros his previous works managed to be while still feeling like anything could happen.

This isn't quite the magic trick that Beyond the Infinite Two Minutes and River were, but it's cute, goofy, and finishes quickly rather than wearing out its welcome.


"175"

☆ ☆ ☆ ¼ (out of four)
Seen 19 July 2026 in Théátre Hall (Fantasia Festival, laser DCP)

This is an impressively nasty little short without a whole lot of overt violence, in large part because its edge is baked into its politics, with its characters' humanist goals in direct opposition to the violent, inhumane actions they will use to achieve them. The screw-turning is nice - cops in the café where those trying to prevent a vote on exclusionary immigration policy are holding a representative's son, the captors being a bunch of amateurs who aren't all sold on the plan - but what's really effective is how the filmmakers know this clearly cannot work: Good people will choke doing bad things, from taunting the cops because they've become too assured to being lax with the weapons they don't want to use. Evil will more directly beget evil.

In some ways, the ending seems a bit too abrupt and not what the rest of the film was leading to, but in others, it couldn't be otherwise: All the strong performances and nail-biting cutaways to television coverage of the vote is always going to lead to a mess, and likely one that plays as unfair and random.


Paradise (Attack on Paradise)

☆ ☆ ☆ (out of four)
Seen 19 July 2026 in Théátre Hall (Fantasia Festival, laser DCP)

There's got to be a great book in looking at the "fight your way in/out/up/down" genre, which seemingly hit its apogee in The Raid, likely the first movie people can remember to being all-in on the idea, though it likely has antecedents back to the silent era in film and a whole host of video game brawlers. The Raid hit at just the right point to be hard to top in terms of sheer action, so something like Attack on Paradise has to lean a bit more on personality, which it has in bunches even if it's often sort of messy.

It opens with Suleyman "Solo" Akhari (Saïd Boumazoughe) being pulled over on a garbage traffic violation only to have the racist cops who try to beat him discover he's got martial arts skill they don't, with one left dead or incapacitated enough that Suleyman spends seven years in prison. When he gets out and attempts to return home to Paradise Apartments, he finds a great deal has changed for the worse: Not only has his diabetic mother (Fatima Khanfour) lost her husband and other son while Suleyman was locked up, but she has been moved to a smaller unit on a lower floor because the upper two are now occupied by "Prince Hanza Haddad" (Achmed Akkabi), a gang kingpin who has decided to make the building his fortress. It's also his lousy luck that the cops have decided this is the day they're going to take the Prince, and not only are they none too concerned about the residents of the building, mostly poor immigrants, but they've severely underestimated the firepower Prince has. It's not too long before Suleyman winds up thrown together with Yasmine (Clara Cleymans), a single mother on her first mission as a member of SWAT, where the only way out appears to be fighting their way up to take the Prince down.

Attack on Paradise is a labor of love for star Saïd Boumazoughe, and while "extremely violent brawler" might be an odd dream project for someone not particularly known for action work, it clicks into place a bit when you learn that he grew up in an Antwerp high-rise much like the Paradise (if not that actual building) and seldom saw other Moroccan immigrants in this sort of role. He's certainly done the prep, getting into great shape and training to at least sell the moves he makes on-screen even when he's paired up with a much larger MMA-fighter type. Of course, part of that is that he's willing to take a beating on-screen in the way that some action specialists aren't; he's got no problem selling that he's running on fumes at points, looking sort of knowingly ambivalent when thugs praise him as a cop-killer (he's obviously not proud but not going to contradict these guys), or engaging in different sorts of amusing banter with his mom or the old friend who runs the convenience store at ground level.

He's given a fine counterpart in Clara Cleymans, who plays Yasmine as equal parts "only woman on the team who has to act extra-tough to deal with the meatheads around her" and just being like that; Yasmine and Suleyman are both Not Screwing Around in different ways but there's something very fun about how she's got the tough-guy energy and he's the put-upon partner, even if that's not their roles. It would be nice if they had adversaries who were on their level beyond selling fights; Achmed Akkabi makes the Prince ruthless but not quite intimidating, while Jamal Ben Saddik and Soroush Helali don't have much personality as his toughest enforcers. Imanuelle Grives is entertaining as the lieutenant (and Suleyman's former lover) who is there in part to serve as Yasmine's final boss, and there are some colorful opponents, but no-one who plays as much more than an obstacle to the heroes.

Which is fine; the point is to make Suleyman and Yasmine run a gauntlet, with director Bob Colaers and the action team going as hard as they can for as long as they can. Boumazoughe does a lot of his own stuntwork and I suspect that a lot of his opponents were cast for their ability to move as much as look threatening, so fights look pretty darn good for a relatively modest Belgian flick, with a few sequences feeling at least a bit inventive and unusual. Colliers and company don't stint on the blood and guts even when it might raise some eyebrows - does Belgian SWAT go straight for headshots before announcing their presence generally, or is that something reserved for immigrants, or artistic license because the filmmakers know what their audience came to see? - just blasting the hell out of everything as they throw their heroes against increasingly larger-than-life bad guys.

It's a fun stretch of no-messing-around action, and I certainty wouldn't mind seeing Boumazoughe and/or Cleymans back for round two, especially if they get some more charismatic villains.

Fantasia 2026.03: Anime no Bento '26, Break Free, and Unidentified Murder

Pardon if today seems a little more scattered than usual; I left the apartment without my little five-inch square notebook and so wasn't making notes through most of the day, and that's not great when the first couple films of the day are Japanese shorts and new releases; Japanese studios just do not update English-friendly movie databases and there's a lag on the crowd-sourcing as well. I eventually wound up hitting Pharmaprix to grab pen and paper for the last show, but wasn't quick-thinking enough to record or photograph the English credits of Break Free.

Anyway, late start because the early afternoon was filled with panels and such more than screenings, so we kick off at the Museum with the Anime no Bento package:

Five filmmakers for seven films from Japan is a pretty decent turnout, although the scheduling meant there wouldn't be time for a Q&A - these packages are soon after the "My First Fantasia" shows, and genre festival staff in a museum cinema might not exactly specialize in getting families with kids in and out - so there was little time to do more than introduce director Taka Yuki from "Don't Dodge Life", "20001 An Earth Odyssey" creator Taiki Sakurai, "Echo" filmmaker Asuka Dokai, "Foxing" director Takeru Shinokuza, and Eit Mitsufuchi, who did basically everything on "Dust of the Simulacrum".

It didn't quite run late enough to bump into Break Free, with producer Yusuke Suzuki (CHECK), star Akito Fujii, and writer/ director Yu Nakamoto on hand. It was a fun Q&A, even if it was one where you get the sense of how bizarre it must be to fly halfway around the world to show your movie to a huge room of people who speak two different languages from what you understand, standing in front of them while they chatter and a translator occasionally decides a question is for you. Fujii, in particular, often seems to be listening intently for something he could respond to and then giving a very amusing answer when he got the chance.

It was interesting, though, as I gather the film kind of grew from Fujii starting a TikTok where he did dances in character as a yakuza (his character's cover story in the movie), with the studio boys eventually calling Nakamoto in saying they wanted him to write and direct a movie about a dancing gangster, which sounds pretty old Hollywood for a movie built around social media! Fujii, though he's got the look of a gangster, has been dancing since he was young, and said it was a bit of a challenge to dance crappy in earlier scenes. Nakamoto, meanwhile, answered a question about directing action versus dance by noting that sometimes the work of choreography is similar, but with action you are often doing pieces at a time, often with doubles, and camera work very much plotted alongside motion, while dance is often longer shots, no doubles, and the camera reacting to something more spontaneous.

After that there was an hour and a half or so until Unidentified Murder back at the Museum, time to do a little shopping and grab a slice of pizza. I think it might be the only new Hong Kong film at the festival - Blades of the Guardians probably belongs more to the mainland and there are three archive prints/restorations - which seems kind of crazy.

Next up, another couple big gaps on Sunday with Niko, the International Science-Fiction Short Film Showcase, You Are the Film, and Attack on Paradise. Tuesday looks to be Big Break, Levitating, Hayop Ka!, Someone's Daughter, and either Los Vampires or Solo, depending what the release plans for the former look like.

(And here's a look at how the sausage gets made if you're without a notebook or a pen but know you're not going to remember who is who the next day!)

"Echo"

☆ ☆ ☆ (out of four)
Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

One from the "cute fantastical representation" school of animated shorts, "Echo" has a pair of twin children traversing a strange landscape, having crashed there in unusual escape pods of sorts, eager to meet their mother, with one more daring and apparently boasting greater stamina than the other. The twist is that they are as yet unborn, and in the outside world, their mother is not doing well, having lost her husband not long after discovering she was pregnant.

It's a lovely movie to look at, with cute designs that walk up to the border of perhaps overly whimsical without quite crossing it. I'm kind of torn on how directly I'd like weekdays happening with the twins to represent what's going on with the mother - they feel very disconnected here, but link them closer and suddenly there are implications best not examined!


"Future Kid Takara Episode 1: The Child From the Future"

☆ ☆ ☆ (out of four)
Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

This is very clearly built for children, which is no bad thing, but it can be kind of hard to parse as an adult as a result. It's bright and earnest and full of entertaining designs and transformations, but is it too simplistic? Tough to judge, as an adult, especially without seeing more of the series. Little kids do need introductions to the idea of climate change, though, and they might as well be plain-spoken.

This one looks pretty cute, like it will combine fun adventure with good information, and I kind of love that the girl Takara meets in the past/our present looks like she might be an over-enthusiastic chaos source. The opening has a really nice vibe that feels a bit like it's trying be a bit of a spoof of the sort of thing parents thought was fun as a kid while also trying to be that thing for a new generation.


"20001 An Earth Odyssey"

☆ ☆ ☆ ¼ (out of four)
Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

I am here for the joke about "it must have been used for religious rituals" in any form, which is good, because it basically does three of them as a family of alien archeologists examine a playground on an earth where humans have died out. It's a very fine example of how, if a joke is solid enough and you can tweak the execution just enough, there's a lot to work with.

The style of it is admittedly a bit after my time; in American terms it looks like NickToons from the 1990s or so. I suspect that it hits a sweet spot for kids and adults younger than me, even if the main 2001 reference is kind of corny.


"Don't Dodge Life"

☆ ☆ ¾ (out of four)
Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

This one's a visually interesting bit of animation, although it probably makes a bit more effort reaching for profundity than it can really manage. Making the abstract concept of life a character can't help but oversimplify something that the other protagonist and potentially the viewer is really struggling with, and filmmaker Taka Yuki seems to struggle with what to do with the idea to make this a story.


"Ambivalent Garden"

Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

Two days later, I don't recall anything about this one at all, despite the description and images on the site's pages being striking! Did I nap?


"Foxing: Kitsuné-tsuki"

☆ ☆ ☆ (out of four)
Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

Write-what-you-know shorts can be dangerous, because they often reveal just how much young artists are pouring into their art to the exclusion of everything else. That's a bit of a weight on "Foxing" for a while, as filmmaker Takeru Shinozuka's avatar Shinano mopes about her work as an animator and how she feels unworthy in a way that's both familiar and also kind of tough to swallow for animation-lovers. We've seen young artists work themselves into and out of funks before, especially with some well-placed encouragement.

Still, the execution is really nice, especially once we meet her kitsune doodle come to life, Koyami. The expected metaphor reveal doesn't have quite so much pressure on it because Shinano has already commented on how much she's like a kitsune in some ways, but I really like the way Koyami is both pure ego and merciless criticism; She's obviously going to be an aspect of Shinano when the mask comes off, but I really like how Shinozuka doesn't separate these traits out into dueling avatars, because not only are both necessary for creating art, but they are more intertwined than usually presented.


"Dust of the Simulacrum"

☆ ☆ ¾ (out of four)
Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

Filmmaker Eit Mitsufuchi pitched "Dust of the Simulacrum" as, among other things, an argument for working in the 3D CGI medium when the animation industry in Japan is still very much focused on a traditional style, but kind of seems a little too meta about it at times? It's not ReBoot or anything, but it's a lost video game character trying to dodge "bugs" that are overrunning a blank landscape, and I don't know if it ever gets beyond being too on-the-nose.

Oddly enough, it's a case where the human characters look nice enough but the bugs look like they could use a little refinement (although, potentially, to look jankier rather than more realistic), and it's another one where what's going on doesn't quite carry the ambition the filmmakers are trying to project.


Odore! Yakuza (Break Free)

☆ ☆ ¾ (out of four)
Seen 18 July 2026 in Théátre Hall (Fantasia Festival, laser DCP)

Break Free opens with text about how Japan's crackdown on organized crime has more or less crippled the yakuza as a force in Japanese life, and if it goes further, one wonders what the effect will be on pop culture. There will be movies like this, chronicling the fall in ways both serious and comic, but will there eventually be nostalgia for it? As much as filmmaker Yu Nakamoto has a great deal of sympathy for his characters, that doesn't extend to bolstering the institution, which is probably a part of what makes it work.

In it, Kunio (Akito Fujii) is 38 and has been a yakuza for twenty years, but the business of organized crime is not great - he's working as a food delivery driver and longtime comrades are struggling as mascots and trying to catfish - beyond how everybody is filming everything these days and it's very easy to get caught doing violence in public. Insulted by a lack of respect by a civilian, he improvises a sort of dance thing where he doesn't quite hit the guy, and it racks up millions of views. The gang decides to monetize this - an odd scheme where Kunio will present himself online as an influencer who is just cosplaying as a gangster, though the intimidation going on in the background is real - but he'll need some better moves, which means taking classes with former background dancer Marie. She, of course, is very cute, and Kunio starts to wonder if he wants more than a life of crime, even as a less organized but more vicious gang makes a play for their territory.

There's a song and dance man inside every tough guy actor - they weren't doing film noir and kung fu in high school drama class - but I don't know that anyone since James Cagney has really had the chance to be both, no matter how much Hugh Jackman wants to. It's treated as a bit of a joke when they do, and both Break Free and the TikTok channel of star Akito Fujii which inspired the film are playing on the incongruity of a guy who looks like Fujii dancing, but the joke hits so well at its best. Fujii's muscles are not quite bulky but he's not exactly wiry, and even when Kunio cleans up, he kind of looks and sounds like a schlub, so it's genuinely entertaining to see him suddenly move with seeming abandon (though I'm not sure he ever becomes quite so competitive in the dance battles as the plot requires him to be), or have the film suddenly double back and remind you of the gangster life he's trying to hide.

Not that I'd dream of spoiling those moments, especially when the best are a couple layers of absurdity deep, but they bring forth an explosion of laughter, enough to get past how a lot of the movie around them isn't quite so brilliant, coasting a lot on how good the high concept is rather than how any of the details fit together. At their best, though, the filmmakers are great at sending up how goofy something is and then doing a quick pivot to this other very silly thing, catching someone who is just making fun of the one element off guard as the thing they like better isn't spared.

And, underneath it all, this all works because it feels true that the violence of the yakuza is a dead end, even without the steps that the government is taking so that gangsters can't participate in legitimate society. The organization is dying and success requires one to either be completely monstrous (true or not, the yakuza often tried to present themselves as a useful part of society) or otherwise make oneself miserable. Being the kind of gangster Kunio and his friends see themselves as is not manly in the way it once was. Dance isn't either, but there's joy in it if not money or glory, and that's got more value than posturing like a gangster.

The movie fizzles a bit at times, Nakamoto may show violence as ultimately ineffective and obsolete, but he can't quite create the triumphant dance moment that the film needs at or near its climax. It's great fun to watch Fujii play against apparent type, though, enough for the best moments to carry the rest.


Unidentified Murder

☆ ☆ ☆ ¼ (out of four)
Seen 18 July 2026 in Cinema du Musée (Fantasia: Anime no Bento, DCP)

There's a fun bit at the end of Unidentified Murder where a newscaster is trying to recap what has come before and seems to feel that relating this idiocy is below her dignity, and she's kind of right, but the trick of the film is that, for all we the audience knows what was going on is screwy, it's not quite something that can be dismissed until the movie has finished walking right up to the line.

25 years ago, three kids went out to play and only two came back, saying their friend had been abducted by a UFO. 25 years ago Mark (Ling Man-Lung) and Kit (Ronald Lam) are going on some internet UFO programs to talk about how their friend Ho vanished, laughing dismissively at a host (Kenny Wong) bringing up how it was rumored they killed him. Mark's girlfriend Lau Man (Renci Yeung), who does YouTube pranks on Mark regularly, decides to hire an actor, Kim Chi-Fei, (Peter Chan) to pretend to be Ho and meet them at the site of the disappearance on the 25th anniversary, but, uh, why did Mark and Kit bring shovels - were they going to dig something up?

Suffice it to say, the film has a few more chances to bounce back in time to show what was really going on, adding more layers to its deceptions as it goes. The key, though, is that while Kim is in the middle of all this an explicitly hired to fake something, he is absolutely the most open and earnest character in the group, trying to come up with motivations for his character with three lines as he invested himself completely into something that Man has apparently put about seven seconds of thought into. He's a simple character but never really dumb; Peter Chan does an exceptional job of giving this oddball the right human frustrations.

The whole cast is like that, and it's impressive how, even as the film gleefully reveals how the audience doesn't have the whole story and things aren't as they seem, nobody in the cast has to completely switch things up and say that you were lied to. These folks are, by and large, pretty simple young folks and content creators who haven't grown into something more substantial, but even Renci Yeung's shallow YouTuber makes sense as a person and garners affection beyond not deserving to be murdered.

By the time it's finished, the screenplay has piled a lot of "here's something I didn't tell you before but which changes everything!" on, with some chips investigating the scene besides, but it remains clear and surprisingly linear, dishing out the new information at just the right time to not have to do a lot of sleight-of-hand to keep things out of the audience's sight. The chases and reveals go quick enough to keep things moving without there ever being much risk of missing anything, whether joke or information.

Filmmakers Kwok Ka-Hei and Jack Lee Chun-Kit have a good handle on how to thrive at this scale; the film sort of feels knowingly small, with roughly three or four locations, and doesn't try to trick the audience into it feeling bigger. The movie seems to speak the language of both classic farce and modern media-savvy internet video well, and gets good laughs from each of its about faces.

Fantasia 2025.08: "Methuselah", A Grand Mockery, Every Heavy Thing, The House with Laughing Windows, "Things That Go Bump in the East", and I Fell in Love with a Z-Grade Director in Brooklyn

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.