Spirits Rise, Screams Fill the Theater, and a Dead Body Finds a New Home - The Super Spook Show Spectacular 2023

 Things have been a little quiet on the blog front but that's only due to things being anything but quiet on the life front. It's October which means I'm watching at least 31 horror movies (and contributing to Horror Gives Back), there are no shortage of seasonal spooky activities, and we decided to finally make the pilgrimage to Salem which is essentially the Halloween capital of the US and therefore the Halloween capital of the universe (we had an amazing time). Increasingly, October is also the season for horror movie marathons. There are some legendary ones like the Exhumed Films 24 Horror-Thon in Pennsylvania, The Music Box of Horrors in Chicago, and even our very own Trylon Cinema Horrorthon - now in its seventh year. I love the excitement that these events generate but I confess that the long/overnight nature of them has held me at arm's length for the most part. I'm a veteran of many a double or triple feature and my keister has proven itself up to twelve hours of movie marathon-ing, but I just can't deal with overnights. So I was thrilled to learn that Tim and Cinema of the Macabre were holding a shorter event with four secret films and assorted surprises, swag, and giveaways. 

I had the sense from CotM's social media posts that The Super Spook Show Spectacular was definitely leaning into the Midnight Ghost Show/Spook Show/Monster Show vibes for this event and that was evident as soon as I arrived at the theater. Some spooky decorations adorned the outside and inside and I was greeted by a friendly nurse and given a promotional vomit bag filled with fun stuff including a fright insurance certificate. It was not a sold out show but I bought tickets late enough that I had to park myself either in the first or second row. Luckily Emagine Willow Creek has fully reclinable seats (positively luxurious compared to some of the creaky theater seats I've endured for longer events) and I would be closer to the spook show action once things kicked off. There was already some fun, thematic stuff playing on the screen that I think was from one of the Something Weird discs, essentially advertising classic Ghost/Spook Show offerings like the monsters loosed on the audience or decapitation of the staff. Eventually Tim took the floor as the afternoon's Ghostmaster and we launched into the first movie. 

Tourist Trap (1979) - I had a fleeting moment of dread when I saw the Full Moon Productions logo flash on the screen but that gave way to audible enthusiasm from the crowd when we realized we were going back to an early Charles Band production. I adore Tourist Trap and it had been a few years since I'd last watched it. Chuck Conner's unhinged performance is what I always remember most about it but I was struck at both how unhurried the pacing is for such a bonkers movie and how fantastic Pino Donaggio's score really is. I don't tend to find psychic psychopaths terribly scary but the roadside wax museum (courtesy of Texas Chainsaw art director Robert. A. Burns) is such an intensely weird and creepy setting and director David Schmoeller allows for time to let the space and that creepiness permeate everything. In a clue that felt tailor made for me, internet nightmare fuel Tara the Android made a brief cameo appearance in the pre-show and I referenced her specifically in my Tourist Trap Letterboxd review from a few years back.

The Black Cat (1989) - I new exactly what we were in for when Tim mentioned that this film would be more nonsensical than the first and it was ostensibly based on a work by Edgar Allen Poe. Speaking of the American master of the macabre, he was invoked and joined us for a moment to address the fidelity of Luigi Cozzi's adaptation. This was my favorite bit from the event and I could listen to Poe expound on the virtues of Taylor Swift all night. Cozzi's Black Cat is a piece of dream programming for me. It may be the apex of 80s Italian nonsense filmmaking and 80s Italian nonsense sequel-ization. It is somehow a spiritual sequel to Suspiria/Inferno, an actual entry into the legendarily convoluted Demons series, as well as (not really) interpreting Edgar Allen Poe's The Black Cat. It offers a phantasmagoric mess of primary colors, slimes, exploding torsos, lasers, Bang Tango jams, and a few nice shots of cats. A friend of mine in attendance had actually seen Bang Tango perform and we were all terribly jealous.

Spider Baby (1967) - Have I seen Spider Baby many times before? Yes. Have I seen Spider Baby in a theater in October before? Also yes. Does this in any way diminish my appreciation for it? Hell no. It's just too damn good. The opening song is amazing, Lon Chaney Jr. is so wonderful and gives this genuinely humane performance, and the kids - played by baby Sid Haig, Beverly Washburn, and Jill Banner are both incredibly fun and tragic. Also, Jack Hill can shoot the hell out of a movie with very little budget to work with. This was a perfect choice for the spook show vibe and also led to a bit where mad descendants of the Merrye family ransacked the theater in the dark. Great stuff.

 

Slumber Party Massacre II (1987) - The final entry opened with some audience participation as an impromptu screaming contest was held. I get very nervous in front of crowds and am not much of a screamer so I very much commend the brave souls who went for it (and they got cool stuff!). The final film of the day was one I had never seen before which made me happy. I went in completely blind and Slumber Party Massacre II not only had me questioning my own sanity but also my recollection of Slumber Party Massacre which I watched both on late night cable and revisited some years back. I don't love it when a sequel plays the greatest hits from the previous entry to set up the action, but SPMII makes the baller decision to play back events before the movie that definitely did not happen in the first entry. Instead of a more pedestrian maniac killer with a drill, SPMII introduces a quasi-Krueger rockabilly maniac with a drill guitar who appears seemingly at will and terrorizes a new group of kids. There are some excellent physical gore effects, an abundance of 80s meets 50s rock n' roll numbers, conspicuous product placement, and no rules that I could comprehend to any of it. I probably never would have picked a movie like this to watch on my own and that's the joy (and occasionally suffering) of these secret screenings.

Everything wrapped up with a raffle and some seriously cool stuff was given away. The number adjacent to mine was called and I experienced momentary heartbreak, but I was also really stoked for the winners. As advertised, someone did leave with a dead body. I'll keep some mystery around the details but know that The Super Spook Show Spectacular delivers on its promises. I thought this was a terrific event. It ran smoothly, the programming was excellent, and the crowd was into it. Huge thanks to everyone who helped put this together. The Emagine theater is very comfortable and you got TEN glorious minutes between each film so there was considerably less panic to hit the bathroom, get a drink, say hi to people, grab a smoke, etc. I very much appreciate the horror movie events that focus on all-film formats or extra-spooky venues, but this event was truly highlighting fun and it showed. I do not know if this will happen next year, but I will prioritize attending if it does and would absolutely encourage you to do the same. I always tell people how ridiculous the cinema scene is in the Twin Cities compared to the size of the metro and I hope we just added a new tradition we can look forward to.

Wish You Were There - Tokyo Pop (1988)

 Tonight at the venerable Trylon Cinema, I was able to make it out to a one-off screening of Tokyo Pop (1988) as part of the monthly Sound Unseen screenings. Directed and co-written by Fran Rubel Kuzui (known better in this corner of the world for directing Buffy the Vampire Slayer), Tokyo Pop is the story of a New York rocker, Wendy, who makes off with her bandmate boyfriend's rent money to seek her musical fortune in Japan when it's clear he'll never elevate her star past backup singer. While she flounders at first, Wendy is able to begin to find her footing - especially after meeting Hiro, a young Japanese musician, who is also seeking success while hoping to maintain his personal and artistic integrity along the way. While Tokyo Pop received critical praise upon release it had fallen into relative obscurity and was only recently restored and re-released thanks in part to contributions from Dolly Parton, The Jane Fonda Women Directors' Fund, and Carol Burnett (mother to Carrie Hamilton who played Wendy in the film). 

I suppose the first thing to tackle is the music: there is lots of it and it wasn't always to my taste. Diamond Yukai (who plays Hiro) and Carrie Hamilton perform all of their songs themselves and while both are very capable singers, that doesn't save the somewhat saccharine covers of American pop and rock songs. However, pop music didn't prevent me from being swept up by the romantic energy of the film and in fairness to the characters - they both yearn to perform their own music and resist their newfound success as "not rock n' roll." Both Hamilton and Yukai are incredibly charming, have truly fantastic wardrobes, and I thought their chemistry together worked rather well despite any language barriers. Hamilton gives a standout performance and her physicality - tall with short-cropped peroxide blonde hair - cuts a striking figure against the Tokyo streetscape. Speaking of which, the 99 minute runtime is virtually all spectacular location footage of 80s Japan: arcades, marketplaces, train stations, shrines, love hotels, nightclubs, fishing docks, restaurants, and more are all immaculately captured (Rubel Kuzui was a Tokyo transplant herself and it shows). I have nothing to compare it to, but the restoration looked amazing to my eyes. There's also an element of cultural time-capsule to Tokyo Pop. Though they sadly do not perform - X Japan appears a couple of times in the film. The incident that initially sparks Wendy and Hiro's success takes place behind the scenes at an All Japan Women's wrestling event that features rising stars Bull Nakano and Aja Kong. I also have to make a special note of the appearance of Tetsurô Tamba as agent/record producer Mr. Dota. Though he doesn't have a huge part in the film, his onscreen charisma shines through. Clearly evidence of a massive career starring in everything from historical epics, to pinky violence, to You Only Live Twice (the Trylon will be screening Three Outlaw Samurai which features Tamba early next week). 

Kino Lorber Repertory is handling distribution for this restoration of Tokyo Pop and I would highly recommend catching it theatrically if you can. I am also very hopeful that this will see a physical release and find its way to streaming. While this isn't necessarily the kind of film I usually obsess over, I would be genuinely interested in a physical copy - particularly with some robust special features. I found it to be very sweet and I think it serves as a remarkable cultural document. Maybe I could lure unsuspecting friends to a double feature with the somewhat more lurid Death Ride to Osaka or even Lost in Translation  which also contains and Diamond Yukai appearance. 

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Lumières Françaises 2023

 

Every year around Bastille Day the MSP Film Society hosts their Lumières Françaises Festival du Cinema - it's a showcase for French and francophone films focusing largely on newer releases with the occasional rep feature. I've caught a screening here and there during previous festivals but this year I wanted to make it out for a more significant chunk of the fest. Some of that is driven by my enthusiasm for what's going down at the Main Cinema these days but the film selections were also intriguing. I managed to catch five movies over the weekend and wanted to do some write ups for anyone interested. Most importantly, the festival is through July 19th, so if you're local to the Twin Cities you absolutely still have a chance to head out and get your French film fix. Whether you're interested in romance, zombies, or the greatest film of all time - there's something of interest for just about anyone this year.

Freestyle (2022) - I was very impressed with Marina Foïs' performance in The Beasts which I saw during MSPIFF back in April. I didn't have much other than that and a brief plot synopsis to go on but that was sufficient to get me to check out Freestyle. The feature debut of director Didier Barcelo has Foïs playing a woman suddenly and acutely possessed by a neurosis that keeps her from leaving her automobile. Stuck in a carpark after running out of gas, the situation gets more complicated when a thief (Benjamin Voisin) attempts to steal the car with Foïs still inside. The two initially struggle against each other but eventually become unlikely allies in a bizarre cross-country journey. Freestyle is frequently funny, touching, occasionally melancholy, and primarily a solid platform for Voisin and Foïs. Being trapped in a car for even 89 minutes is a personal nightmare, but the charm and chemistry between the two leads was enough to keep me invested even if things do start to meander a bit towards the end. Recommended for some solid character work and one of the best scenes of backseat psychoanalysis at gunpoint I've witnessed.

The Innocent (2022) - I wrote about The Innocent back in May when I picked it as one of my favorite new-to-me films of the month. I liked it well enough that I jumped at the chance to see it theatrically. It's become an impossibly easy recommendation to make to people due to its earnest, entertaining blend of heist and romantic comedy genre elements. It doesn't hurt that the soundtrack is overflowing with cool needle drops from a combination of movie soundtracks and 80s/90s europop. Louis Garrel and Noémie Merlant are excellent together and the supporting cast are terrific. Definitely catch this either in the theater (Stelvio Cipriani and Gianna Nannini jams via surround sound are where it's at!) or check it out on Criterion.

Scarlet (2022) - A lush, fable-like story set in post WWI France. Scarlet features some gorgeous compositions, stylistic flourishes, and what appears to be restored/colored footage from the period. Pretty pictures aside, I found Raphael Thierry's performance as a wounded vet returning from war only to learn that he's both a father and a widower to be worth the price of admission alone. It's hard not to make comparisons to Michel Simon and though the films are very different I couldn't help but be reminded a little of Panique. Juliette Jouan acquits herself well and I was happy to see more of Louis Garrel, but honestly missed Thierry's presence when he wasn't on the screen. I'm going to have to hunt down more of his work. The plot trajectory gets a bit murky in the final third or so but there's enough intrigue and magic to make Scarlet worthwhile if you can appreciate something closer to a fairy tale than a realistic drama.

La Syndacaliste (2022) - For fans of realistic dramas, La Syndicaliste is based on actual events. Isabelle Huppert stars as a hardnosed union rep for a nuclear power conglomerate in France. She discovers some clandestine dealings with China that could put the careers of her fellows in jeopardy and starts making waves. I don't want to give away too much of the plot as I truly found myself on a journey while watching this, unsure which way the film was headed. It's a bit of political intrigue, true crime procedural, and genre thriller. Huppert is naturally superb and she gets to share some screentime with Marina Foïs which I enjoyed tremendously. 

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975) - I'm certain that in a fit of hyperbole I've said something to the effect that I'd gladly watch Delphine Seyrig peel potatoes. Thanks to Chantal Akerman's most famous film, you can experience the joy of Seyrig preparing spuds, mixing meatloaf, and washing dishes along with a myriad of other daily rituals. I've seen Dielman before but never theatrically and I felt that amongst the other dedicated souls who turned up for an 11am screening that I must be among my people. It is a fascinating, engrossing, intimate, frustrating, and somehow still surprising work. I don't know that I could successfully watch it at home again so being forced to sit with it in the dark, with no pauses or smartphones available to me was a genuine treasure. It's not going to be for everyone but if you have an inkling to see it, I can't recommend it enough. I'm half tempted to take some time off of work to see it again on Wednesday.

MSPIFF - Part 2

This is the second part of my reviews of films featured at the MSP International Film Festival as organized by the MSP Film Society. If you enjoy looking through these, please go check out the first part for more of an introduction to the festival and more capsule reviews. I knew that my day job and other obligations were going to start interfering with my ability to attend screenings, but I think I made a decent effort. As in the first part of this coverage, I'm providing reviews of everything I saw rather than focus on favorites to hopefully give you an idea of the sheer scope of what's on offer. Also, I'd like to thank the MSPIFF and MSP Film Society for providing me with a press pass which made attending more films possible (and for organizing a terrific festival)

Somewhere in Queens (2022) - Ray Romano's directorial debut does not offer much in the way of surprises - Romano plays a husband and father with a large Italian-American family that argues relentlessly and sticks by each other with equal fervor. A significant helping of sports movie cliches (and references to Rocky) added to the family drama framework did not imbue the film with real originality, but it's all done with enough charm and heart that I found myself largely along for the ride. I like New York movies, I like ensemble pieces, I like character actors, and these are places where Somewhere in Queens succeeds. I was hoping that Laurie Metcalf would get more of an opportunity to shine in this - the accent wasn't doing her any favors - but the Russo family manages admirably in the multiple large dinner and party sequences. There are a few gags where Romano tunelessly sings radio hits and I couldn't help but be reminded of the old Pete Holmes bit, "Romano Sings!" I don't think you can rip off another comedian's bit if that bit was an impression of you in the first place - it's funny either way.

The Night of the 12th (2022) - Dominik Moll's latest thriller isn't exactly deconstructed - it employs familiar beats from the opening with a statement regarding unsolved cases that could be from the latest Law and Order spinoff - but it is very aware of its milieu. The plot of The Night of the 12th largely follows the investigation of the brutal murder of a young woman, the film also investigates a society in which women are in harm's way as well as why our systems fail both to protect us or bring guilty parties to justice. It's an unsubtle film both in its messaging and visual metaphors but it avoids  simplistic answers to the questions it raises which adds some depth to the overall project. I thought both Bastien Bouillon and Bouli Lanners were excellent as flawed investigators with good intentions who have to come to grips with some classically French existential issues. It's not the most engaging police procedural (by design) but it is stylish and willing to look at some of the more troubling aspects of a society obsessed with violence - particularly violence towards women.

Birth/Rebirth (2023) - I feel like I haven't included much about horror movies in the blog lately so I absolutely made sure I had a chance to see Laura Moss' medical horror riff on Frankenstein (produced in partnership with Shudder, no less). I wasn't aware at the time that the director would be in attendance, so I'm even happier I was able to make it out. The scares in Birth/Rebirth are somewhat subdued but there's a deeply unsentimental streak in the film regarding the human body, reproduction, and ultimately motherhood that achieves a properly dark tone for what is otherwise a compelling portrait of two women who find themselves with more in common that one would think. Marin Ireland is terrific as Rose, a pathologist turned resurrectionist who's commitment to her work also presents a barrier when connecting to other people. Judy Reyes manages to balance the empathy of a grieving mother with a pragmatism that lends some believability to her eventual collaboration with Rose. I confess I'm not always enthusiastic about new horror films, but Birth/Rebirth looked great, had some fantastic music, and I thought the principal characters were genuinely interesting. Admittedly, it could have gone harder (I do like things to get aggressively weird) but then again that restraint might be part of why I came away from this with such a positive impression. I know that this one will be more widely released this year and eventually make its way to streaming so I would keep an eye out for it.

Next Sohee (2022) - Another compelling drama in the thriller milieu, this time from Korean director: July Jung. The structure of Next Sohee is split between an introduction to the teenaged Sohee (Kim Si-eun) and the investigation into her untimely death by Yu-Jin (Bae Doona). Jung pulls no punches in detailing the machinery of the Korean education apparatus and how it hurls young people into the uncompromising world of exploitative corporations. Sohee is hardworking but also demonstrates a spirited nature that is inherently at odds with the dehumanizing systems she is increasingly subjected to. Yu-Jin's investigation reveals the complicity of different individuals serving the various functions of these systems but also illustrates how bureaucracy allows those individuals to absolve themselves of responsibility. It's important that the real beneficiaries of capitalist excess are never shown - the focus is kept on the middle managers or the lower level supervisors and never the CEOs. The head exploiters remain faceless while everyone points hopelessly at the metrics that determine their less than humane actions. Next Sohee does run a bit long at 135 minutes, but I felt it was earned through the characterizations and the investigative details. I also appreciated that Jung didn't feel compelled to make this a mash up of several genres and just executes the drama and the police procedural with skill.

Medusa Deluxe (2022) - I was genuinely prepared to love Thomas Hardiman's debut film about a murder mystery during a hairdressing competition and I think this film will ultimately find its audience - but I'm afraid I was a bit underwhelmed. No small part of that is the "one shot" structure which I've never found terribly interesting and am only further perplexed by its persistence. If you like scenes of people walking through hallways or up and down stairwells - Medusa Deluxe more than delivers on that front. There are some terrific moments and performances, particularly from Clare Perkins, but this never came together for me as a whole.

Four Little Adults (2023) - Selma Vilhunen's distinctly Nordic, but relatable (I think) exploration of polyamory. Juulia is an up and coming liberal politician who discovers that her husband, Matias, is having an affair with a woman he also loves. Rather than issue an ultimatum of divorce or ending the affair, Juulia proposes she and Matias proceed with an open relationship so long as they are honest with each other. It's not long afterwards that Juulia meets and falls for a performer, Miska, and the two begin a romance even though Miska has another partner. I can picture a version of this story that focuses on jealousy or anger and Vilhunen doesn't shy away from those topics completely, but it's only a part of how these intertwining lives become complicated. There is almost as much attention paid to time management (very Nordic) and the impact of how other people perceive Juulia and Matias. I'll admit that I'm probably missing some important cultural and political context to this, but Matias is a practicing priest and it's made absolutely clear from both his father (also a priest) and his predecessor that an open marriage is a career ending event should anyone decide to make a complaint about it. Juulia's career ascent and personal discovery paints and interesting picture as well as even though she is a member of a progressive political party, she feels the need to be delicate about what she discloses. It's a thoughtful film and while it's not personally revelatory or shocking in any way, I can't help but recognize how regressive American public life is compared to what's being depicted here.

Love Life (2022) - As I sat down for Koji Fukada's family drama, I had to ask myself whether the title was a noun or an instruction. I think it works either way but by the end I was feeling more aligned with the latter. It's hard to talk too much about some of the plot points without spoiling anything, but it's a film very much dealing with grief and how we cope with or process profound loss. I think you could be forgiven if you find the film slow or visually disinteresting but I truly loved the pacing and even though this largely takes place in a suburban apartment complex - I thought Fukada composed some beautiful shots. I'm a little embarrassed to write this, but one of the more compelling elements of Love Life is that there's a major character with a disability (deafness) and that character possesses the same if not more complexity as the rest of the ensemble. He is neither pitiable nor is he heroic and he isn't even portrayed very sympathetically all of the time. There's a deep humanity on display here and it's extended to everyone on screen. I think that's something that shouldn't seem as exceptional as it does, but well worth applauding in this case.

L'immensita (2022) - It's funny, of all the films I watched during the MSPIFF, L'immensita is the one I keep coming back to. It's not because of the complexity of the themes - though they are present - rather it's because there are all of these cultural touchpoints in the depiction of 70s Italy that I wasn't already familiar with. I find myself listening to the music featured in the film or trying to find some of the television performances that the characters watch - it's been interesting. Luana Giuliani performs admirably as Adri/Andrea, a young teenager coming to terms with how to express their gender identity in a time and culture that was not well equipped to do so. Unsurprisingly, Penelope Cruz brings much of the on-screen charisma as Andrea's mother who has significant struggles of her own. After seeing their mother cat-called on the streets of Rome, Andrea exclaims "They're all assholes and you're too beautiful, could you try not to be so beautiful?" Of course, this isn't possible for Cruz and her glamour serves her well when L'immensita occasionally breaks reality for a musical number. Unfortunately, the stylization of the film is less successful when conveying the depth of drama I think is meant to be invoked. For a story tackling gender dysphoria, unhappy marriage, and mental illness - L'immensita comes off as a breezy affair. Still, I'm susceptible to style and characters who lean into pop culture fantasies to help transcend their realities will forever be relatable to me. 

Sadly, I had to truncate my time spent at this year's fest due to travel but I had a wonderful time and got to see a nice variety of films from different countries and perspectives. The fest was run beautifully and all the staff and volunteers I talked to were terrific. Having so much of the festival concentrated at the Main Cinema and the St. Anthony Main area is tremendous - I was able to use public transportation primarily and take walks along the river during downtime as well as being nearby to some excellent food (and coffee!). Hopefully next year I'll be able to take some time off from work so that I can attend more of the festival be it screenings, events, or just time spent with fellow film enthusiasts. 

MSPIFF - Part One

Now in its 42nd year, Minneapolis is host to the MSP International Film Festival as organized by the MSP Film Society. For 2023 the festival is featuring 190+ films and events from at least 70 different countries and also includes special guests throughout. I've attended many MSPIFF screenings during my time in Minneapolis but when all of our theaters were shuttered, I made myself a promise to attend more festivals and show up for more films. This year, I threw my hat into the arena and was beyond stoked to receive a press pass to MSPIFF. The pass enables me to truly dig into the films and I really can't thank the MSP Film Society and MSPIFF enough for the chance to do so. Outside of my day job responsibilities, I have been doing my level best to hurl myself into as many of the festival offerings as I can ( primarily at the Main Cinema in Minneapolis). This blog space generally follows whatever whims have been striking me, but I would say that the overall trend is towards older films and more genre films than what's represented at MSPIFF. The festival films are newer releases and frequently ones that have really only seen the festival circuit so far - be it TIFF, Venice, Sundance, or others. It's an interesting contrast for me and I'm enjoying seeing, engaging with, and ultimately writing about movies outside of my usual beat. I had considered doing a "best of" collection of capsule reviews, but in the end I've decided to write about everything I see during the festival. I think this better captures the depth and variety of the programming and because the fest goes until the 27th - maybe it will better encourage local readers to come down and check it out.

Day One

Tori and Lokita (2022) - The latest film from Luc and Jean-Pierre Dardenne and Palme d'Or nominee is the story of two young people who have formed an intense bond following their journey to Belgium from Africa. Masquerading as siblings in an attempt to improve Lokita's chances of gaining permanent asylum, they are partners in life (and in crime) facing obstacles from the Belgian immigration authorities, the petty crook/restaurant chef they hustle for, and the smuggling ring who helped bring them into the country. I haven't seen as much of the Dardenne's expansive filmography as I'd like, but the naturalistic tone and camerawork were expected and very much appreciated. What I did not anticipate was how much Tori and Lokita leaned into the crime aspects of the story. The feeling of threat and dread is palpable - exacerbated due to the youth of the protagonists - and while I would not begin to describe this as a genre piece, the suspense was genuinely effective. The Dardenne's have made an angry film and a heartbreaking one - the resolution is both disturbing and perhaps inevitable. It was quite a start to my festival experience.

Dreamin' Wild (2022) - Bill Pohlad's latest feature was the "official" festival opener and there was a bit of fanfare associated with it. There was an opening reception, free snacks and drinks, and introductions from both MSP Film Society folks and the director himself. The film was a return to the music biopic for Pohlad (Love & Mercy), this time focusing on the rediscovery of the Emerson Brothers whose independently produced 1979 album, Dreamin' Wild, became something of a sensation after being rereleased by Light in the Attic records in 2012. Casey Affleck gives a fine performance as Donnie Emerson and I can appreciate Pohlad's continued narrative deconstruction - flashing the story backwards, forwards, and even overlapping in time and memory - but I ultimately didn't find the hook for the film. It seemed underwritten to me and while Affleck brings credible anguish to his portrayal - the reasons for that tension aren't well developed. The rest of the cast make for a good ensemble but their characters lacked depth - essentially being perfectly patient and supportive while Affleck lashes out around him. 

Day Two

Nayola (2022) - On the second day I had planned to start with a different film, but life intervened. I enjoy animation and am tangentially familiar with Angolan history so I decided to give Nayola a shot - and I'm so glad that I did. It's an absolutely gorgeous feature that alternates between a more painterly animation for events taking place during the Angolan Civil War and a cell-shaded animation for the more modern sequences. Nayola is in no way an attempt at a strict history of the war but offers impressions of both the war and its aftermath through anecdotal episodes of the three women it focuses on. I expected it to get fairly grim, but I'm not sure I understood how surreal it would become - towards the end there are sequences that (if anything) recall early Lynch or the darker moments of Miyazaki's work. I thought it lost a little narrative thrust somewhere in the middle but it never stops being a joy to look at. One of the things you have to love about festivals is taking a chance on something you know so little about and this is one I'll definitely be recommending to people.

Showing Up (2022) - Kelly Reichardt's latest was one of the tickets I prioritized when planning my fest. I've long admired Reichardt's work even if I'm not a total devotee. I appreciate the elegance of her unhurried, naturalistic compositions though I'm not always deeply affected by them. Showing Up managed to hit me squarely in the funny, sad, neurotic sweet spot and I was totally taken with it. Michelle Williams works again with Reichardt playing an anxious, sometimes prickly, intense artist, Lizzy,  who is working on sculptures for her next show. Lizzy also works at a private art college (and for her mother) while renting an apartment from a fellow artist and school alumni (Hong Chau). There is an immaculate sense of place and community established in Showing Up that is certainly due to the incredible ensemble but is also deeply indebted to the location work - especially the former campus of the Oregon School of Art and Craft. Reichardt's caring familiarity with these oddballs allows her to find the humor in them but never with derision and her patient attention reveals both the frustration and the triumphs of the creative process. The finale nearly lands in screwball comedy territory - which I loved - but Reichardt reels it in to strike a more reflective tone very much in concert with her previous films. Showing Up is probably a movie you don't need me to nudge you towards, but I offer the nudge all the same.

Kokomo City (2023) - Essentially a talking heads documentary focusing on black transgender women who also happen to be sex workers. There's an earnest attempt at a more energetic style of documentary here, but I honestly thought the interviews with the women were more than enough to sell this picture. They are all excellent raconteurs with a great deal of insight not only into their own lives, but the community around them. I think first time filmmaker D. Smith's choice to feature women from at least a couple of different cities was a good one and helps broaden the perspectives on offer. There are also several interviews with men and while I see the larger point in doing so - I found them much less successful. Kokomo City is crammed with an eclectic selection of music and I have to give a shout out to the Stelvio Cipriani track showing up out of nowhere.

Day Three

The Beasts (2022) - A beautifully performed slow burner that is evocative of other rural/urban conflict films but never fully indulges in some of the more well-trod tropes. Denis Ménochet shines as Antoine - a relative newcomer from France to a remote Galician village where he and his wife (the also excellent Marina Foïs) are attempting to live off the land. The film opens with existing tension between Antoine and his neighbors over whether they should sell their properties to developers looking to build wind turbines where the village stands - and things only escalate from there. Antoine's primary antagonist is his closest neighbor Xan, who is played to such chilling effect by Luis Zahera that I continually expected things to get far uglier than they do. Despite this restraint, the sense of dread is pervasive and the threat is impactful when it does ratchet up. There is a significant structural shift later in the film that may or may not succeed with everyone and definitely contributes to the 137 minute runtime - this didn't bother me at all but I was hoping for a more emphatic finale. Going in, I did not realize that The Beasts was loosely based on actual events in Galicia and I can also recommend the 2016 documentary Santoalla as a follow up if you're curious.

I Like Movies (2022) - Very funny, uncomfortably relatable coming-of-age tale set in the Toronto suburbs in the early 00s. I Like Movies is centered on a film-obsessed, socially awkward teenager - Lawrence brought to life by Isiah Lehtinen - who is navigating his last year in high school and harboring dreams of attending NYU film school. After multiple attempts, Lawrence is finally able to get a job at his local video store where he forms a kind of friendship with his older manager, played by Romino D'Ugo. I Like Movies is very much a comedy but writer/director Chandler Levack is not afraid to get dark and Lawrence says some absolutely brutal things to the people around him in the way only teenagers can (and garners some brutal responses as a result). I was not Lawrence as a 17 year old and I came of age in a different time and place but it's hard not to find pieces of this that relate to my own experience. My understanding is that Levack transposed parts of her own life onto Lawrence and perhaps that will help a wider swath of audiences recognize themselves in the character. Of all the films I've seen so far at MSPIFF, this is the one that I think will demand an immediate re-watch from me just to catch more of the movie references that every scene is bursting with. I loved seeing the employee picks wall covered in Vinegar Syndrome releases including Beyond the Door III, Olivia, Dominique, and others. 

The Origin of Evil (2022) - I have sadly not seen Sébastien Marnier's previous feature but the comparisons to Chabrol and Bong Joon-Ho Origin of Evil was already garnering were more than sufficient to draw me to it. The comparisons are apt - it's a sumptuously shot, well performed, twist laden, and (naturally) class conscious thriller that definitely recalls both auteurs. I would also say that I caught some restrained De Palma vibes beginning with the Carrie-esque opening locker room scene to Marnier's use of split screens. There's a lot to like here and while I don't think Origin climbs the heights of something like Parasite or La Cérémonie - it's still incredibly entertaining and kept my tired brain engaged despite the late hour. Laure Calamy is excellent as a working class woman ostensibly looking to reconnect with her estranged, fabulously wealthy father only to find him surrounded by other influential women with their own agendas. In the end, I felt like some of the character motivations were unclear to me, but I still had a blast watching those motivations and machinations unfold. I'll certainly be tracking down his earlier work, but Marnier is officially on my radar as a creator of sophisticated, thoughtful genre pieces and that's something I could definitely do with more of.

Day Four

My Sailor, My Love (2022) - By Sunday, I was winding down a bit and decided to just go for a quick double feature beginning with this Finnish/Irish co-production. I confess a weakness for virtually any film shot in the coastal regions of Ireland and My Sailor is no exception. It features stunning photography of Achill Island, multiple rich golden hour moments, and aerial footage that manages to dispense with that overly-floaty drone feel that often makes modern films look like YouTube videos. My Sailor is also a solid family drama tackling the complexities of grown children and their (frequently) unresolved issues with aging parents. Veterans James Cosmo and Brid Brennan deliver admirable performances as two people finding each other later in life and the film is anchored by Catherine Walker who plays Cosmo's long suffering daughter. I'd only previously seen Walker in the very different film - A Dark Song - which I thought she was also excellent in. My Sailor does lean into the sentimental and I felt like the script was easily the weakest aspect, but everything else was done so competently that I couldn't help but appreciate it.

Mamacruz (2022) - Another Sunday matinee confronting the challenges of aging. While Mamacruz also deals somewhat in unresolved issues between parents and children, it's primarily about unsatiated sexual desire. Prolific actress and Almodovar collaborater, Kiti Mánver, plays the role of Cruz - a devoutly catholic grandmother who is coming to grips with her inner passions. She manages to accidently stumble across some internet porn and (rather conveniently) a therapy group for women looking for increased sexual satisfaction. These experiences help her put words and actions towards what she's feeling as she comes more into herself as a sexual being despite her deep religious convictions. Mamacruz isn't coy about its subject matter and yet it felt rather chaste to me for a film featuring genitalia covered in chocolate sauce or emitting glowing auras. I found it light and charming and particularly enjoyed the support group ensemble. 

I think that's more than enough for a part 1 of festival coverage, but I will be continuing to see more films throughout the week and will have at least a second part forthcoming.

Ex-Fest 2022!

During the darkest of COVID times when movie theaters were closed and their future was uncertain, I made a promise to myself that if the world came to life again I would endeavor to make it to a film festival and particularly to a movie marathon. In the slightly less uncertain but still dark times of a Minnesota winter I purchased tickets to Ex-Fest in Phoenixville, Pennsylvania hoping I wouldn’t be sick and planes would be flying. Admittedly it wasn't the highest bar to set in the world but I was stoked when Erin and I were finally able to board that plane to Philly.

In fairness there have been movie marathons closer to home that I could have attended but they tend to sell out quickly, be entirely horror focused, and run a full 24 hours. Ex-Fest being a 7 movie, 12 hour affair was enticing and since the theme is classic exploitation and grindhouse films — you have the promise of a variety of movie genres as you go from film to film. The organizers — Exhumed Films — hold fantastic repertory screenings all over the Philadelphia area and are committed to exhibiting everything on film so I knew the selections would be solid. The festival was also being held at the historic Colonial Theater which is the theater featured in The Blob and is where they host Blobfest every year. As a fan of classic movie houses — I was certainly interested in visiting. What really put Ex-Fest on my radar and sold me on the idea was the Twitch of the Death Nerve podcast crew singing its praises during one of their episodes. Those folks know their shit and if they say an event is one of their favorites — I’m bound to listen.

Those of you that know me personally are probably aware of my general abhorrence towards cars and driving and that was the only logistic hurdle that we had to overcome in getting to Phoenixville. Despite being a mere 45 minutes outside of Philadelphia and being in possession of some lovely old railroad infrastructure — it’s a real pain to get there without a car. When I crunched the numbers it looked like hiring a cab was going to be cheaper and easier than renting a car. I’m not going to say it was cheap but it was easy. Phoenixville itself offers a historic small town downtown strip and we stayed at the one hotel in town. It’s not 100 percent my scene but they do close the main drag to car traffic on summer weekends which strikes a chord in my pedestrian heart. Once you’re there you can walk to everything — the hotel, the theater, restaurants, coffee, bars, etc. It’s in sharp contrast to the kinds of conventions held at isolated suburban hotels bound by freeways.

We landed the night before the fest and mostly wandered around eating and drinking. We had a chance to say "hi" to some folks and I got to meet/chat with Jon from TotDN and Erica from Unsung Horrors. I’m not the best at introducing myself normally and have gotten rustier in the last couple of years but I found a lot of the attendees easy to converse with randomly throughout the weekend. The festival opened at 10am the next day and there was already a line to get in an hour before that! We were a little slower to get going — we stopped for massive breakfast burritos to properly fuel beforehand — but had no problem getting some decent seats adjacent to the people we sort-of knew. The theater was great with reasonably comfortable seats and a balcony — my years served at the historic Uptown Theater in Minneapolis have made me a main floor guy but I admit that balconies are cool. There were a couple of merch tables so I naturally grabbed a t-shirt and picked up a copy of Vigilante from Jesse/DiabolikDVD which I’ve been meaning to buy for a long time.

There was a rough schedule/line up with some clues about what the movies were going to be and I overheard some wild conjecture regarding those. We buckled in an prepared for a day of cheap thrills.

Film #1 - High Risk (1981) - Not the Jet Li spin on Die Hard but a star-studded action/comedy from Stewart Raffill — the man behind such classics as Ice Pirates and Tammy and the T-Rex. It’s the story of a group of laid off auto workers who — under the leadership of James Brolin — travel to Colombia to rip off a drug lord played by James Coburn. It has some hangout vibes, some Deliverance elements, and some positively bonkers moments. Ernest Borgnine and Anthony Quinn turn up as total scene-stealers as an arms dealer and revolutionary turned bandit. High Risk got a huge reaction from the audience and was a great way to kick things off.

Film #2 - The Ladies Club (1986) - I knew this was going to be a rape/revenge flick going in so wasn’t sure how much of a downer it would be. I was genuinely surprised by how little this dwells on the former — while treating it honestly and with gravity — and how well it delivers on the latter. It’s the story of a group of women who have had their lives affected by rape in one way or another and formulate a scheme to abduct serial rapists and castrate them. It does have a bit of a Lifetime movie feel to it, but I found the cast terrific and the overall film well executed. 

Film #3 - Deadlier than the Male (1967) - Swinging 60s spy story that keeps things fun without moving into parody. I am not the biggest James Bond fan in the universe but I do love jet-set crime flicks from the same era. I found Deadlier than the Male had enough of that energy to hold my attention. The fact that it featured Elke Sommer, Sylvia Koscina, and an epic dummy drop from a London high-rise didn’t hurt. It loses some steam towards the end of the film but thankfully it's a breezy affair under the two hour mark.

Film #4 - Kill or be Killed (1976) - Somewhat surreal South African karate cult classic. This had been on my watchlist for a long time so this was probably the ideal way to check it out. Diamonds, Nazis, a dwarf named Chico, and lots of serviceable karate action. I didn’t quite know what the hell was happening in parts but I’m an easy sell when it comes to the “eccentric villain holds a martial arts tournament for reasons” genre of film. I especially loved all the exterior shots of what was definitely a toy model of a castle. There are so many of them.

Film #5 - Crimson Bat, the Blind Swordswoman (1969) - Sadly, this is where we had to tap out for a minute. After a full shift of movies we were ready for a break and some food that wasn’t popcorn. Luckily that was easily obtained across the street and after a bowl of pasta and a negroni we were back in time to catch the final showdown. I can’t really speak to Crimson Bat other than it’s a riff on a Zatoichi style narrative with a female protagonist. It’s definitely on my watchlist now.

Film #6 - High Crime (1973) - The only film in the lineup I had seen previously but I was thrilled to see again in a theater on 35mm. A high octane, desperately pessimistic poliziotteschi from the legendary Enzo G. Castellari starring the peerless Franco Nero. Castellari is such a fantastic action director and there are some terrific sequences throughout High Crime. The violence is cranked pretty high in this one and it was a real joy to hear the audience reactions throughout. Fernando Rey and James Whitmore are both in excellent supporting roles and the music is by the De Angelis brothers. I need more non-horror Italian genre theatrical screenings in my life!

Film #7 - Killer’s Romance (1990) - To wrap up the festival, we were treated to a loose, Hong Kong adaptation of the Crying Freeman manga featuring Simon Lam looking both lovely and sad in a variety of autumn fashions. The titular romance between Lam and Joey Wong was not setting my world on fire but there definitely moments of inspired violence that would startle me back to consciousness. I was reaching my limit at this point and Killer’s Romance wasn’t quite the thrill ride I needed but we stuck it out to the end and immediately marched back to our hotel to crash.

This was such a fun experience and I’m so glad we made the trip. The film selection was terrific and delivered on the variety we hoped for. The facilities were excellent and being able to reach everything we need on foot was something that not every fest/marathon can offer. The crowd was great! Everyone had a lot of respect for what was happening — lots of audience engagement that was totally appropriate and nobody was trying out their MST3K material. My favorite movie of the bunch is still High Crime but if I had to pick a favorite viewing of the day it has to be High Risk. There is a moment towards the end that had the entire audience roaring in laughter and applause. I imagine there are some music rights issues with releasing it, but absolutely catch it at a rep screening if you have the chance. I don’t know if schedules and finances will allow for us to make the trip out to Ex-Fest every year — but having made the journey we’re definitely going to have to consider it.