Fantasia Fest 2021 - THE UNKNOWN MAN OF SHANDIGOR (1967)

The Unknown Man of Shandigor (1967)

Directed by Jean-Louis Roy

Written by Roy, Gabriel Arout, and Pierre Koralnik

Starring Daniel Emilfork, Marie-France Boyer, Jacques Dufilho, Howard Vernon, Serge Gainsbourg

Running time 1 hour, 30 minutes

Currently unrated but contains Avant-garde imagery and language, ennui, and instances of spycraft-related death

The Unknown Man of Shandigor is without a doubt the best and most excellent Avant-garde take on the spy genre that I’ve ever seen. Yes, that’s a very specific group of qualifiers, but I’m serious. Gorgeously shot in black & white, with shots composed like an art film (or like one of those especially grandiose perfume commercials popular in the late ‘80s or early ‘90s), director and co-writer Jean-Louis Roy has made an espionage film that’s as visually arresting as it is narratively nebulous. That’s not a criticism either, because it’s not trying to tell a tightly-scripted and intricate spy thriller, instead using that framework to riff on the genre’s conventions from a satirical POV.

It all starts with a gentle inversion of the usual spy movie tropes: instead of an eccentric megalomaniac with some MacGuffin that puts the entire globe in danger, Daniel Emilfork plays Von Krantz an eccentric regular-maniac who has developed the Canceler, a device which could end atomic warfare worldwide. He’s still a scenery-chewing lunatic with an albino assistant (Marcel Imhoff), a beautiful daughter who never leaves their estate (Marie-France Boyer), and even a “Beast” that lives in their swimming pool! In other words a pretty typical entourage in these types of stories.

Von Krantz himself even ostensibly resembles the ranting mad scientist character. He’s prone to dramatic monologues that would make Ernst Blofeld or Hank Scorpio envious, with lines like “Fear can be shaped” and when asked by a reporter in the film’s cold open whom he admires most, he responds “Dracula”. More often than not though, his monologues are about existential dread and general ennui; loneliness and isolation. Sure, he puts a man to death using radioactive gas that liquifies the intruder but that dude (co-writer Gabriel Arout) shouldn’t have been lurking about!

The agent played by Arout is one representative of the many international espionage agencies interested in the Canceler. They’re the French contingent: five equally bald men in black turtlenecks who are trained (by Spymaster Serge Gainsbourg!) to be masters of disguise. Gainsbourg also performs a farewell song as Arout’s spy’s remains are disposed of called “Bye Bye Mister Spy”, which I guess is the The Unknown Man of Shandigor’s version of Bond song. Not gonna lie; it’s unsurprisingly pretty good.

In addition to the French agents there’s a corps of Russian spies (directed by Jacques Dufilho), American agent Bobby Gun (Howard Vernon) who’s an inversion of the womanizing James Bond archetype: he goes into expansive detail about being in love with a woman named Esther (Jacqueline Danno) and, a late addition to the film the Black Sun-Orient organization. Their agent, The Man with the Platinum Ring (Pierre Chan) arrives out of a misty ocean in a frogman suit and gets into a technologically advanced Jaguar to go snoop on Von Krantz’s assistant Yvan (Imhoff).

One strange thing about The Unknown Man of Shandigor is that so much of it feels like it’s referencing The Prisoner (the equally avant-garde British miniseries about an intelligence agent) but I’m skeptical to make that connection since they both debuted in 1967. Perhaps they were both referencing some other bit of culture that I’m unaware of, or maybe there was just something in the air at that time? Firstly there’s a certain aloofness to the logic of some of the gadgetry. In horror there’s the phrase “non-Euclidean geometry”, which specifically refers to the concept of places whose existence does not make physical sense or obey the normal rules. Whatever the equivalent of “non-Euclidean logic” would be, I think it would apply to smoke that opens electronic doors, or a light beam that allows you to eavesdrop on a conversation.

Then there’s daughter Sylvaine’s (Boyer’s) story. After spotting some spies lurking on the edge of the property in a very non covert manner, she uses their presence as distraction enough to escape the grounds, only to be picked up by the French contingent. She is interrogated, gassed and wakes up back at Shandigor which, it turns out, is a location. Who knew! But it seems like some kind of tropic, semi-isolated resort island; it’s beautiful. There she finds Manuel (Ben Carruthers), a man with whom she’d had a brief fling years ago that she’s never gotten over, and he seems to be the only other person. How convenient. Perhaps too convenient?

These touches of surreality (How did she get to Shandigor? And where exactly is it?), combined with details like the fact that the smoke that opens doors is just a fire extinguisher, or that Von Krantz’s “Beast” is just dry ice discs causing the surface to bubble, add to the casually chaotic atmosphere. That DIY, makeshift attitude acts as a further twist on the usual approach to this genre, which is usually very polished and measured. But beyond even that, I just genuinely loved that creativity and the offhandedness of it all.

There are some aspects of the story - of the ways in which various characters relate to each other and what their respective goals are - that don’t quite make sense to me, but y’know what? The same goes for Quantum of Solace from 2008; a film which A) is in a language I speak and B) I have seen more than just once. At least in the case of The Unknown Man of Shandigor, I think it was intentional.

The Unknown Man of Shandigoor has stuck with me since I watched it, kicking around in my head, growing in my esteem and in lieu of keeping it a secret, I am actively spilling the beans. If you like spies, or art films, or Serge Gainsbourg: seek this film out! Find that Man!

The Unknown Man of Shandigor screened as part of Fantasia Fest 2021. The restoration was handled by Cinematheque Suisse.

Fantasia Fest 2021 - YAKUZA PRINCESS (2021)

Fantasia Fest 2021

Yakuza Princess

Directed by Vicente Amorim

Written by Amorim, Kimi Lee, Tubaldini Shelling, Fernando Toste

Based on the graphic novel by Danilo Beyruth

Starring MASUMI, Jonathan Rhys Meyers, Tsuyoshi Ihara

Running time 1 hour, 51 minutes

MPAA Rated R for strong bloody violence, some language and graphic nudity

By Hunter Bush

“The past catches up with us.

Sometimes a past we forgot, sometimes a past that doesn’t belong to us.”

This is my second year covering Fantasia Fest for MovieJawn. Obviously last year was an outlier, having to be completely digital due to the state of the world, and even though I knew that, I was not prepared for the scope of this year’s fest. With a 20 day schedule chock full of screenings, both in-person and digital, and many films only being available for a limited window, it’s easy for things to get lost in the shuffle. I’m very glad that Vicente Amorim’s Yakuza Princess wasn’t one of them. Based on a graphic novel - that I’m honestly having some trouble finding information on but which seems to originally be either in Spanish or more likely Portuguese - called Samurai Shirô, Yakuza Princess is a kind of origin story that I’d be very interested in following along with as the story continues.

Akemi (MASUMI) lives in a Japanese diaspora in São Paulo, Brazil and is about to turn 21 when a whole lot of her past comes crashing into her life unbidden, along with a battle-scarred man (Jonathan Rhys Meyers) and a sword that’s the lynchpin to the whole thing. The story isn’t going to blow your hair back if you’re a fan of yakuza-adjacent flicks, but for those who maybe don’t know: the yakuza are the organized crime families of Japan, so if it helps, you can think of this as a mafia movie but with more focus on honor and more decapitations than cement shoes. Turns out that unbeknownst to her, Akemi is the heir to a powerful family thought wiped out 20 years previously, so she’ll have to figure out who she can trust if she wants to survive.

The direction here is largely very good, with a focus on strong images and saturated neon colored locations that all look amazing, but the fight scenes are a bit choppy for my taste. This is an issue I’ve had with a few recent fight-choreography-heavy action movies, and is entirely a personal taste issue, but I prefer being able to see an entire sequence of moves play out clearly, rather than cutting every few seconds to a cool image/angle/POV that’s then gone before it really has time to leave an impact. Beyond that another small quibble I have is the presence and overabundance of CGI blood spray and CGI bullet impacts. They just never look good to me, what can I say?

MASUMI is very good here with room to grow as both a character and a performer if the film should be sequelized and her interactions with the amnesiac soldier played by Jonathan Rhys Meyers are interesting, especially as Akemi begins to feel her power more as the film rolls along. There's also a fascinating dynamic between the two of them and Takeshi (Tsuyoshi Ihara), a man neither of them trust (with good reason) who is nonetheless motivated by honor into playing his part in events.

As Akemi is forced further and further from what she thought her life was going to be, and she uncovers more of the history that was hidden from her, she begins to learn that your past doesn’t define you. Yakuza Princess ends with the set-up that there could be further adventures and as I said at the top, I’m fully onboard for more. I genuinely like the characters, I just hope that in a cinematic landscape full of talent, any future installments learn to let the choreo shine through a bit more.

Yakuza Princess is screening digitally on August 18th and 20th as part of Fantasia Fest 2021, and receives a wider released from Magnet Releasing on September 3rd.

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Fantasia Fest 2021 - INDEMNITY (2021)

Fantasia Fest 2021
Indemnity (2021)
Written and directed by Travis Taute
Starring Jerrid Geduld, Gail Mabalane, Andre Jacobs
Running time 2 hours, 4 minutes
Currently unrated by contains scenes of tension and violent action, also they reveal that the tooth fairy isn’t real

By Hunter Bush

At first glance, Indemnity reminded me of the 1990s, the kind of mid-level thriller that would inevitably end up in a near-constant rotation on some channel like TNT. My youth was overstuffed with these kinds of flicks, which I think of as “briefcase/gun movies”, where no matter which item you expected the movie to have, it would invariably have more of the other than you were expecting. The Firm for instance seems like it’s gonna be all board meetings and characters yelling at each other across expensive wooden tables, then all of the sudden Gary Busey is being gunned down like a 3rd rate Alex Murphy! Indemnity looked like a classic briefcase/gun movie: lots of dialogue alluding to corporate intrigue, and some exciting-looking action beats. Ultimately it’s balanced more on the Action side of things, but still feels like the ‘90s.

We’re thrown into the plot right off the bat with a lot of good corporate espionage and raised stakes as Sam (Abduragman Adams) receives secret info from a dead drop taped underneath a public bench which leads to him narrowly avoiding being murdered by some mercenaries. Sam has access to a list from a company called M Tech but doesn’t know what they have in common besides that they’re turning up dead one by one. The next name on the list is our main character Theo (Jerrid Geduld), a Cape Town Fire & Rescue firefighter recently on forced leave after a failed rescue attempt left him with Post-Traumatic Stress Disorder.

Theo is an inherently interesting choice as a character to anchor your film around because he’s unlikeable, though sympathetic. The PTSD and his resistance to seek help for it, is ruining his life. His only coping mechanism is drinking, making him increasingly more withdrawn and violent towards his wife Angela (Nicole Fortuin) and son Wesley (Qaeed Patel). When Sam reaches out to contact Theo he gets Angela who happens to be a reporter, but their meet-up puts Angela and Theo on the mysterious bad guys’ radar and the next thing you know Theo wakes up next to his dead wife with cops at the door. As Theo is forced to go on the run to clear his name, and to find out why he was framed in the first place, the bodies start to pile up and things really settle nicely into that ‘90s action movie groove.

Turns out however, that’s a bit of a double-edged sword. For all the sort of fun potboiler-y/wronged-man thrills Indemnity lifts from the era of grunge music and Crystal Pepsi, writer/director Travis Taute just can’t make them jibe with the more modern action movie elements. Modern action flicks have a greater focus on fight choreography and Geduld doesn’t move like an action star. He’s a bit on the small side for starters. Not a dealbreaker obviously - Tom Cruise, the most bankable action star of all time, is only 5’7”, but what Cruise brings to a fight scene that Geduld doesn’t show here is physical intensity. To be fair, Cruise’s action characters usually have a combat background, which Theo doesn’t necessarily have, but the choice to make Theo more of a grappler/brawler (if it is a choice) makes the fight scenes underwhelming.

My other big issue with Indemnity is the run time. This could easily have been done in a lean 90 minutes if the flick wasn’t so divided into either “plot scenes” or “action scenes”. The fact that there’s a sequence at a hotel that is actually both proves that Taute knows it can be done and just chose mostly not to do it. The result then, is a saggy middle focused on the underwhelming fight scenes or scenes where one character restates the plot outline to another character, but adds no new information meaning the audience is left checking their watches (or twitter). The latter problem is baffling because the final 20-25 minutes of the movie is one plot-heavy parlor scene that should be the finale after another. One of these would feel appropriately disorienting and twisty, which Taute is going for, but this gets exhausting. My one note actually says “This movie knows it’s allowed to end, right?”

The movie ultimately has a message about PTSD and allowing yourself to get help, which is definitely worthwhile, but the route we take to get there is a little meandering.

Indemnity screened as part of Fantasia Fest 2021. Check for availability.
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Fantasia Fest 2021 - ALL THE MOONS (2021)

Fantasia Fest 2021

All the Moons

Directed by Igor Legarreta

Written by Legarreta and Jon Sagalá

Starring Haizea Carneros, Josean Bengoetxea, Itziar Ituño

Running time 1 hour, 42 minutes

Currently unrated but contains depictions of violence, war, death and undeath

By Hunter Bush

If you’ve been wondering when someone would make a vampire movie that feels like something you haven’t seen many times before, Igor Legarreta’s All the Moons might be what you’ve been searching for. Melancholy and beautiful, it treads familiar ground analyzing the emotional toll that eternal life would take on a person’s emotional growth, but with a patience and gentleness mostly unheard of in vampire cinema. More a tragedy than a horror movie, All the Moons is not to be missed.

I don’t mean to make All the Moons out to sound miserable - it absolutely isn’t. It’s a lovely film about wanting to live and to be a part of the world seen through the eyes of a young girl (Haizea Carneros) given a second chance at life when she’s rescued from a fatal injury by a mysterious woman (Itziar Ituño).

An aspect of the movie’s appeal to me is that its setting, when combined with director Legaretta’s lyrical imagery gives the movie the feeling of a fairy tale or a fable. The film takes place in the 1870s in northern Spain, giving the movie the bucolic setting that’s traditionally part and parcel with the phrase “Once upon a time…”. Another fascinating aspect of the location is that the cast are speaking Basque, a language only spoken along the Pyrenees mountain range between northern Spain and southern France and that unusual sounding dialect actually adds to the magical, otherworldly feeling of the picture.

The young girl, who eventually comes by the name Amaia, ends up in a small religious town, in the care of a man named Candido (Joseann Bengoetxea) whose family had passed away some time before and, inverting everything you associate with vampire lore, instead of taking a life, she restores it. Metaphorically of course, and it’s beautiful.

The story unfolds more in a world of emotions than logic, so occasionally things just happen and you have no choice but to roll with them and see where they lead but even that adds to the magical, dreamlike spell the movie casts. Ultimately All the Moons tells a story whose moral is that suffering is an unfortunate part of life, but a necessary one. Would you appreciate the good times without the bad ones for contrast? Of course, like all fables this is probably open to your own interpretation.

All the Moons screens at the Cinéma Impérial on August 19th and digitally on the 20th. Check the Fantasia Fest 2021 site for ticket information.

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Fantasia Fest 2021 - GHOSTING GLORIA (2021)

Fantasia Fest 2021
Ghosting Gloria
Directed by Marcela Matta and Mauro Sarser
Written by Mauro Sarser
Starring Stefania Tortorella, Mauro Sarser, Nenan Pelenur, Federico Guerra
Running time 1 hour and 53 minutes
Currently unrated but contains frank sexual discussions and language, supernatural sexual acts, and adult situations

By Hunter Bush

Not unlike what drew me to another Fantasia Fest pick, Indemnity (insert article link HERE), I thought that something about Ghosting Gloria seemed very much like a movie that should have been released in the 1990s. Something about the romcom-meets-supernatural angle of the premise seemed to me like it would have starred someone like Andie MacDowell. I would have seen it dozens of times on basic cable and it would pop up occasionally on listicles of that decade’s cinematic obsession with the supernatural somewhere between Practical Magic and Phenomenon.

Gloria (Stefania Tortorella) works in a bookstore with her best pal, party gal Sandra (Nenan Pelenur), but she’s been having some trouble sleeping because her amorous upstairs neighbors are a bit too loud with the dirty talk a bit too late. When nothing else works, she sublets her apartment and begins staying in a recently depopulated bungalow which she unknowingly shares with the ghost of the former inhabitant, and he’s ...horny!

His otherworldly affections awaken Gloria’s long-dormant libido and encourage her to finally really live life. Think of it as How Stella Got Her Groove Back ...from Beyond the Grave! Written by Mauro Sarser who plays stuffy bookstore boss Gustavo, Ghosting Gloria is tightly written, quirky, and much of the humor works despite the language gap because it’s all either inherently relatable (annoying customers) or largely visual (book cover gags). The direction, by Marcela Matta as well as Sarser, walks that horror/comedy/romcom line extremely well. It’s not really very “horror” - it has more in common with Defending Your Life than, say, Paranormal Activity - but it’s still lensed that way, which actually really works. Most of the movie has a smokey, gauzy light that, depending on the scene, reads as either “romantic” or “spooky” which I think is an inspired choice. The editing deserves no small acclaim (Agustín Fagetti, credited as “assistant editor” is the only person I could find listed to praise), tipping moments that could be either “spooky” or “funny” firmly into the latter category, letting the audience know we’re supposed to be having fun here.

There’s a creative streak that runs through Ghosting Gloria that’s just entirely charming. The way Gloria and her b/f (boo-friend) interact is sweet and clever - she uses his spectral energies to power her juicer in the morning for instance - and the larger way the afterlife is handled is just delightfully unique! The cast overall is slim but, in a decision that earned the movie brownie points with me, every person with a speaking part gets their own solo credit with a clip of their performance, all underneath a spanish language cover of the Them song “Gloria”!

It’s just so fun and knows just how far to push things. There’s depictions of sex acts with the ghost including a cunnilingus scene (more brownie points) with some perfectly utilized special effects of invisible fingers pressing against Gloria’s inner thighs! That’s just the right amount of dirty-yet-also-creepy! Small content warning - there is some business involving suicide as the film goes on and while it isn’t exactly glossed over, it isn’t capital-D Dealt With, much the same way issues of consent aren’t when Gloria initially encounters the ghost. I don’t think these are a failing of the film or the filmmakers so much as a stylistic or tonal decision. They’ve managed to craft a very delicately-balanced film in Ghosting Gloria and fully addressing these issues with the weight they would warrant in a real-life discussion would upset that balance dramatically and potentially irrevocably.

Ultimately Ghosting Gloria is incredibly sweet and cute, a perfect date movie if you and your date are fans of things like So I Married An Axe Murderer. I’m really loving seeing these echoes of 1990s film in this year’s Fantasia Fest offerings and seeing what elements these other countries’ filmmakers are latching on to from that era is genuinely fascinating

Ghosting Gloria is screening as part of Fantasia Fest 2021. Check for availability.
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Fantasia Fest 2021 - TOMBS OF THE BLIND DEAD (1972)

Fantasia Fest 2021
Tombs of the Blind Dead
Directed by Amando de Ossorio
Written by Jesús Navarro Carrión and Amando de Ossorio
Starring Lone Fleming, César Burner, María Elena Arpón
Running time 1 hour 41 minutes
Currently technically unrated but contains nudity and violence (including sexual assault)

By Hunter Bush

Tombs of the Blind Dead is... not a new movie. The first Italian horror film released in color in 1972 (1973 in the US, where it was edited to achieve a PG rating), it spawned a series of increasingly confusingly titled sequels: Return of the Blind Dead (1973), The Ghost Galleon (1974), and Night of the Seagulls (1975). The version playing at this year's Fantasia Fest is a restoration from Synapse Film, who plan to release a Blu-ray later this year with the original Italian/Spanish version, the edited US version and a third hybrid version that seems weird.

This restoration is absolutely gorgeous! I looked up some clips from the assorted earlier transfers and they look about what you'd expect for an unrestored horror flick released in 1972: washed out and grainy, while the audio sounded just as poor: tinny and decayed. The Synapse release, by contrast, has colors that are bright without seeming artificial, and sound that, with very few moments aside, is clear as a bell. So for those familiar with the flick, but maybe looking to upgrade whatever version they may have, I can't recommend this enough. If you've never seen Tombs however, rest assured that it's (largely) a really fun time.

When Virginia (María Elena Arpón) and Roger (César Burner) bump into Betty (Lone Fleming), an old friend of Virginia's, Roger invites her to join them on vacation. Roger's infatuation upsets Virginia since she and Betty previously had an experimental fling in school and Virginia sets off to hike alone and clear her head, spending the night in the church that happens to be the final resting place of the Blind Dead! As you may expect, things don't go great for her, but that's actually quite good for us watching!

The Blind Dead are very fun movie monsters. Depicted in a slight slow motion, their tattered robes flapping as they gallop on horseback, they're mostly silent and always underscored with a very light echo effect that adds a supernatural eeriness to them in a simple but highly effective way. They also have little desiccated skeletal t-rex arms which is pretty funny (also I'm pretty sure I saw one in the finale wearing what looked like a metallic oven mitt, lol).

The performances are fun, the gore is measured and the nudity is mostly very playful. There's a brief flashback to Virginia and Betty's dorm room fling that is, yes unnecessary cheap titillation, but ultimately very sweet? Is that weird to say? There's also obviously someone off camera simply blowing cigarette smoke past the lens to give the flashback a dreamlike, recollective quality and I found that a charming detail. Later when Virginia strips down before bed in the churchyard, she's filmed from the far side of her campfire, the flames obstructing our view of her Coppertone pale buns. Like I said, playful.

The movie loses me about 2/3 of the way through however. Virginia's ultimate fate is wrapped up (no spoilers here except to say that it takes place in a mannequin factory !!! and that rules) and, seemingly lacking direction, the film introduces two new characters as an excuse to explain some backstory. They also beef up the body count a bit, as any horrorhound would expect. Unfortunately they're also the catalyst for a sexual assault that serves no real purpose besides exploitation, which I understand - that was the name of the game at the time, but I just don't need it.

I'm not averse to that time of violence in a film If. It. Serves. A. Purpose. But this just doesn't. By comparison, Wes Craven's The Last House on the Left, released the same year, is a much more brutal viewing experience, but the act ultimately bothers me less because it matters and the film deals with it. In Tombs, the perpetrator isn't expressly punished and dies no more horrible a death than anyone else.

The film wraps up in a satisfying fashion - I'll never fail to enjoy filmmakers dripping blood on a cowering child - and with a banger of a sequel hook, but if you're interested in checking it off of some cinematic watchlist I just want you to be aware of what's in store for you. If you're still down, you could a lot worse than watching this restoration.

Tombs of the Blind Dead is screening at Fantasia Fest. Check showtimes HERE.

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Fantasia Fest 2021 - KING KNIGHT (2021)

Fantasia Fest 2021:

King Knight (2021)
Written & directed by Richard Bates Jr.
Starring Matthew Gray Gubler, Angela Sarafyan, Andy Milonakis
Running time 1 hour and 18 minutes
Currently unrated but contains sexual language, drug use, murder of one's ego

by Hunter Bush

"Sometimes the most beautiful flowers grow out of the biggest piles of shit"

I'm familiar with writer/director Richard Bates Jr.'s reputation but this is actually the first film of his that I've seen and I've gotta say I'm more than merely intrigued. King Knight is a charming, odd little film, full of heart, about accepting yourself for who you are and learning how to measure success.

Matthew Gray Gubler is perfectly cast and used here as Thorn the patriarch of a modern coven of witches - alongside his partner Willow (Angela Sarafyan) - who has to reckon with a part of his past that he though he'd left far behind: high school. It turns out that introspective, emotionally present Thorn was once Thornton the 311 listening prom king / class president voted most likely to succeed. The revelation that he has not always been the moody and sensitive outsider with the cool name sends shockwaves through the coven, with none so deeply affected as Thorn himself.

Gubler has a kind of sleepy intensity that just works alongside Sarafyan's warmth and measured nonchalance, the two of them conveying the kind of spiritually anchored thoughtfulness that makes them believable as the keystone couple of the coven; the ones whom everyone else comes to with their problems. But once he sets out on a walkabout, essentially going on a vision quest back to his hometown to confront the specters of his past, it's that same sleepy intensity that makes him seem vulnerable.

This isn't a violent or especially frightening film, but you find yourself worrying about Thorn's well-being. He's a gentle soul who just wanted to reinvent himself and while there's nothing wrong with that, what Thorn needs to learn is that you can't truly be who you want to be until you accept who you were.

With King Knight, Richard Bates Jr. delivers a version of Napoleon Dynamite viewed through a Wiccan crystal prism and the end result is endlessly empathetic where no one is the butt of the joke.

King Knight is screening at Fantasia Fest. Check showtimes HERE.

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