“Darkness and evil”
Few things are as scary as genuine life in those days, but for those looking for more refined emotions and emotions, this year’s Fantasia International Film Festival continues to offer the most productive “genre” entertainment.Although the nickname “genre” is broad enough to get photographs of everything from slasher movies to kung fu epics, the annual Canadian festival has constantly expanded the concept to encompass all sorts of quirky features that go beyond the norm.
This year’s lineup is no different, adding not only terrifying horror videos and wild martial arts actions, but also real stories about exclusive people, unforeseen romantic dramas and even a close-up look at how a cute cartoon frog has a symbol of hate.it’s strange or crazy, it may well land in Fantasia.
This year’s festival runs from August 20 to September 2, but is only available online to Canadian audiences.The program offers a combination of “live” virtual projections and donations on demand, as well as special events.full program here, as well as the festival’s falsified FAQs.
Here are a dozen videos to watch, even if you can’t log in.
It’s been more than 18 years since Angela Bettis lit up in the fashion horror firmaments with her uniquely crazy functionality as modern dr.Frankenstein in Lucky McKee’s “May,” and to this day his presence in a film still promises the kind of imbalance (still ineffable human) swings the fences that make up Fantasia at its finest.His frantic and fearless functionality as an Arkansas drug addict on Brea Grant’s “12-hour shift” helps keep that promise and more.
Set in the late 1990s, the quiet dawn of America’s opioid crisis, Grant’s perfectly learned horror comedy follows Nurse Mandy through a double passage that begins with the foot and becomes uncontrollable from hence while her heroine tries to juggle her patients, her own wishes. and his looks are pushed like an organ harvester without any of those demands. Needless to say, it’s not going very well. Diving into the center of darkness that will have you giggling in horror all the time, “12 Hour Shift” is one of the few films deranged enough to make sense of the American system of fitness care. – OF
Shimomura Yuji’s “Crazy Samurai Musashi” could be based on undeniable contraption, but it’s a clever trick: legendary 16th-century swordsman Miyamoto Musashi (played here through “Versus” star Sakaguchi Tak) confronts 588 enemies in the area of a 77 single.minute-long No cuts, but masses of slices. Written through the wonderful Sion Sono, who probably produced the script on a bachelor afternoon, the film begins with a little superfluous desktop before the hunched ronin arrives and starts hacking other people.The choreography is a little redundant (you’ll temporarily lose count of how many other people Miyamoto hits on the head with his sword) and the camera paintings never aspire to make up for a small budget with wonderful art, however, “Crazy Samurai Musashi” is hard to beat as a real feat of cinematic resistance.Watch Sakaguchi run out of strength, dig deeply to locate the strength he has left, and then send a circle of enemies…it’s a captivating drama in itself.—DE
Presented through Fantasia Brass as “one of the most disturbing films we’ve noticed this year,” which says a lot, the newer sounds of filmmaker “The Strangers” Bryan Bertino look precisely like the kind of mind-blowing mental terror display it is.so skilled at creation. Located in another kind of haunted space than its 2008 suburban nightmare, “The Dark
It’s hard enough, but his expensive father also lives in a space imbued with “palpably horrible” energies.As the characters of Ireland and Abbott attempt to fight the emotional tension exerted on them (and their grieving mother) through their circle of familiar problems, the walls begin to close around them and some other kind of horror story unfolds.Filmed on the spot in bertino’s relative farm circle, the mix of the film of natural horror and deep pain seems like an intelligent combination with this year’s “Relic”, which has exploited similar territory to provoke wonderful emotions.A big difference: “The Dark
It took thousands of years for others to pervert the ancient Eurasian figure of the swastika (often used to symbolize good luck) in the highest notorious representation of hatred in the world, and even the German nationalists who first adopted it as an expression.of Aryan power, had to wait several decades before being officially followed by the Nazi Party.But it only took about 10 years for an innocent frog named Pepe to become radicalized in the default word for Internet nihilistic evil, and his real transition from benign meme to right-choice icon.’occurs much faster than that. And the sweet San Francisco designer who designed Pepe must have sat there and watched it happen.
On the surface, Arthur Jones’ “Feels Good Man” is the sympathetic portrait of a guy who created a monster, then (finally) took care of retrieving Pepe the Frog as an emblem of peace and love and urinating with your pants around your But beneath the lucid virtual etymology that Jones vigorously hits from a billion pieces of garbage , and the warm fragments of original animation he uses to show Pepe and his animal friends in a softer way, is a much larger documentary than Matt Furie that he threatens to swallow everything.—
Basically, “Jumbo” through Zoe Wittock is a traditional European comedy about a single mother (the wonderful Emmanuelle Bercot) who struggles to settle for the woman her daughter has become.However, on the surface, this first pleasantly delusional feature film tells the fable tale of Jeanne, a lonely young woman (escaped from the “Portrait of a Lady on Fire” Noémie Merlant) who develops a deep psychosexual charm to whirlwind.at the ramshackle Belgian amusement park where he works. At this point, she has an orgasm at the idea that black jais oil sprouts from her steel portions and wraps her naked body like the symbiote of “Venom”.
Making the difference between “Terms of Endearment” and “Crash” through David Cronenberg in a gentle and surreal (but never sinister) way, Wittock necessarily assumes an ultra-familiar premise and wraps it with the canned shell of anything you’ve never seen before.It’s a lovely trick for other people with bad temper for other types of driving.
Noah Hutton’s first feature film is set in a “parallel present,” but nothing in the ingenious sci-fi drama “Lapsis” is extra from the new global world.It cleverly combines problems of corporate greed, a brazen substitute for Bitcoin and social justice.problems that are not bewildered only by being “opportunistic,” considerations of “Lapsis,” but both the tightly constructed global that Hutton has created.Your audience lives inside.
Schlubby’s main character Ray (Dean Imperial), a supporting character who accuses him of having a “70s gangster vibe, and it’s not too far off,” serves as a window into the globalization of “Lapsis.” A normal Joe dressed in aviator glasses and polyester shirts, Ray works as a laborer in Queens and knows the world is starting to get over him, but his reluctance to replace him kept him stuck until non-public upheavals forced him to embrace a technological revolution. . A new generation of encryption called quantum has rocked the inventory market and is beginning to have many other applications. The structure of Hutton’s global takeoff once Ray embraces a new career that forces hard physical labor on a population suffering from no-profit independent contractors, launching himself into a brave (and very boring) new stranger and revealing a clever mystery as he does. – KE
It’s the kind of thing you might never expect to place in a movie (well, maybe): the story of a desperate housewife who, disappointed by her life’s trajectory, plans to finish everything, to place salvation at the peak of life.places, expected.This is the story of “Morgana”, who takes this concept to new crazy (and finally satisfying) endings, with a twist or two along the way.
According to her official synopsis, the film follows Morgana Muses who, “after 20 years as a faithful housewife trapped in a marriage without love or sex …Tired of her sad life, desperate and hungry for privacy, she reserves a male companion for A Great Hurrah before finishing it all.Her last night took an unforeseen turn when her date with the escort opened up a new world of sexual and non-public freedom.Instead of committing suicide, Morgana made an award-winning porn movie on her date, moved from the Australian suburbs to Berlin and has become a prominent director and star of feminist porn.
All this is also true, and “Morgana” is a documentary about a remarkable woman, a woman who chose to embrace life on her terms, locating a bond and acceptance in an misunderstood network.The film combines interviews, truthful elements, homemade miniatures, animations, file photographs and Morgana’s own erotic films to tell the story of her exclusive life.— KE
A middle-aged riff in “The Karate Kid” featuring the entire raw center and circular kicks from a Shaw Brothers classic, “The Paper Tigers” is an incredibly affectionate martial arts film about 3 lifelong friends (Mykel Shannon Jenkins, Alain Uy, and “Mulan” actor Ron Yuan) who reconnect after 30 years to avenge the murder of the teacher who trained them as teenagers.They are, as the saying goes, too old for this shit, yet Jim, Danny and Hing are going to let a few painful joints or a circle of family obligations stop them from kicking each other and rediscovering the strength of their deceased’s feelings.Master.
On a small but incredibly friendly budget, “The Paper Tigers” oozes the charm of old-school kung fu (the choreography is strong and the sound effects are not maintained), and lands almost as many fake jokes as blows to the solar plexus.first feature film through Washington-born director Bao Tran, however, spent time educating with Hong Kong film icon Corey Yuen (who on screen and off-screen credits the diversity of Yuen Woo-ping’s “Dance of the Drunk Mantis” in 1979 to Jason “The Transporter” by hamStat) left him well prepared to pass the camera.—
Julia Fox caught the eye with her huge role as Howie Ratner’s unwavering girlfriend in “Uncut Gems” last year, but even after independent celebrity, no one so cool was going to become the mainstream.even deeper into the New York independent art scene, while her film role discovers her as a leather-clad cam woman in Ben Hozie’s “PVT Chat,” a fashionable fairy tale about an exciting exhaustion that is obsessed with online blackjack (Peter VaArrayck a clown) and the dominant tamer she encounters on the Internet and masturbates during web calls 1 : 1 each night.
It sounds ridiculous, and it’s never going to go away, but Hozie is interested in the twisted fabric of the connection to the virtual age; in the way that sex has been too commodified to retain its value, allowing true intimacy to become the Holy Grail.Flirting with inspirations as remote as “Amélie”, “Eyes Wide Shut” and even some of the bleak bragging of the Safdie brothers (Buddy Duress does his thing in a supporting role), “PVT Chat” explores what other people fear in a world where everything is exposed.—
Twenty years ago, David Arquette took a risk that he would possibly have ruined his career: in an unfortunate attempt to announce “Ready to Rumble”, Arquette has become a component of the existing Championship Wrestling stages and eventually emerged as her world championship.Core enthusiasts were off: it’s one thing to see muscular cartoon men fighting under scripted cases, but letting the scream franchise fool dominate the arena too far.
Needless to say, the flashback sent Arquette into a downward spiral of addiction and depression from which she never fully recovered.David Darg and Price James’ documentary follows Arquette as she anticipates a dubious return to the ring.A bewildering exploration of fame by a black comedian., dependence and non-public responsibility, this cunning portrait of Arquette’s unrthodox return suggests the unexpected love of “Sunset Boulevard” and “The Wrestler”.As the name suggests, it is about to turn the resistance of its star into a total The film has not yet appeared in the programming of other festivals, but there is no doubt that the public will be eager to notice the new rebel chapter of Arquette’s story.— EK
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