Welcome to the 10th annual Fantastic Fest film festival here in Austin, Texas. This is my daily recap which over the next week will primarily recap the film experiences I have has as well as touch on the mental and physical status of the Festival-going folk, myself included. My entertainment is guaranteed but please, pray for my well being. Let chaos reign!
FUTURE SHOCK! THE STORY OF 2000ADThe 70s in Britain were a bleak time. The Punk scene was in full swing, rallying against the establishment, discontent emanated from the streets and the public cried out for change. The comic book industry was stuck in a childish rut. Pat Mills tried to shake up the industry to reflect social unrest through his editorial work on Action Comics but it was soon banned for its inflammatory content. After that he founded 2000AD, the scifi angle of the comic allowing for subversive content to be presented with a more acceptable fantasy edge. For over 35 years the comic has delivered subversive satirical commentary. Future Shock! The Story of 2000 AD covers the history of this comic, the highs and lows, drawing from creators, writers, artists and fans alike to show its importance and influence within the comic industry.
Judge Dredd is the character from 2000AD that will be familiar to most but the documentary touches on many of the comics other characters and influential stories as well as the huge number of artists and writers involved, many of which will be familiar to US audiences. This is largely due to the US industry poaching talent, names such as Alan Moore, Dave Gibbons, Jock and Neil Gaiman. We get insights into the how disenchanted some became with issues of copyright, pay and creative control and editorial politics. Often these aligned to produce some incredible output and sometimes, particularly in the 90s they did not, leading the comic close to cancellation.
For those unaware of 2000AD, the documentary places it into appropriate context not only as a cultural force in the UK but a something that stirred up the American market. A safe, comfortable market with appeasing output, the influx of talent from 2000AD shook up storylines and characters helping shape DC and Marvel into what they are today, it is believed that Vertigo comics wouldn’t even exist without 2000AD.
The film may be a little thin on the origins and details of specific strips and contributors but gives a decent overview of the comics inception and purpose as well as highlights its influence on other brands. something worthy of checking out by 2000AD and comic fans alike.
THE TRIBEI recounted to a friend who asked me what I’d just seen on this day, “a two and a half hour Ukranian film, entirely in sign language and with no subtitles…and it was incredible”. This is a film where the trailer and synopsis will likely put off many, it sounds like not just difficult viewing but something that will actually take effort to understand let alone appreciate. This is somewhat true, but while that is the case it is an experience I do not hesitate to recommend.
The film follows the arrival of Sergey (Grigoriy Fesenko) at a boarding school for the deaf. After an initial hazing he is drawn into a group of students, the “tribe” of the title, placed at the bottom of the pecking order and gradually making his way up the ranks through his abilities and the unfortunate death of another member. The group activities range from petty theft to mugging, a smuggling operation and, in concert with a woodwork teacher, an organized student prostitution ring. Sergey begins a relationship with Anna (Yana Novikova) one of these female students when he becomes her pimp and his feelings for her cause complications when it becomes apparent their teacher is setting up a mail order bride operation and has plans to send her to Italy. This relationship and his protestations go against Tribe rules and the group begins to assert its own code against one of its own.
Ukrainian filmmaker Myroslav Slaboshpytskiy has crafted a film with a communist feel, weirdly removed and cold portrayal of some horrific scenes that only seems to enhance their impact. The cast is made up of young, deaf actors with no subtitles or dialogue, a high concept idea that is executed with precision. The loss of hearing is reflected in the camera work, with sight being a heightened sense, long takes and tracking shots are used, the camera lingers on scenes long after you want to look away. This is a grim and harrowing look into a bleak existence, the approach heightening the impact of every slap and punch.
The majority of the audience will have little comprehension of sign language but the narrative is not overly complex. One scene may confound but the following one offers clarity. It is immersive viewing as you try to interpret the scene, the film building slowly to a traumatic conclusion, punctuated by visceral scenes of sex and violence. Personally, some some scenes played a little long but in conversation with friends some took a while longer to interpret what was unfolding. Extra time seems to be allowed to ensure the sudience is on the same page but some may be frustrated at times in the pacing.
Watching The Tribe is a powerful experience, one perhaps reminiscent of the impact films first had back in the silent era. An audacious and harrowing piece of cinema that will linger long in the memory.
DANGER 5: Series 2The crew is back…kind of. Some legal issues are halting the release of the show, notably in its home country of Australia so Fantastic Fest was host to the premiere of the first three episodes of season 2. The show tells of a alternate reality where Hitler, having survived WW2, continues his quest for world domination. An International Unit of operatives, Danger 5, is assembled to foil his dastardly plans. Season 1 was set in the 60s, we revisit them here in the 70s.
Season 2 picks up the crazy approach of the first where Danger 5 had to foil plots such as Hitler stealing world monuments to construct a massive robot or a scheme to resurrect dinosaurs to use in combat or his most nefarious scheme, creating Werewolf Nazis. Yes, this is an over the top effort embracing the low budget, pulp approach. An outlandish mashup of the TV series Archer and Thunderbirds with James Bond.
These first three episodes showed the crazy approach to have been dialed up a notch, but a change has been made to the narrative structure. In the first season each episode was formulaic in Hitler having a diabolical scheme and Danger 5 being assigned to stop him, ultimately saving the day and Hitler escaping by jumping through a window. (Every. Time.)
Season 2 looks at a more arching plotline with the episodes being more intimate and seemingly building towards a big event. Certainly enough here to provide some laughs and make me look forward to the day the whole damn season of insanity is released.
* Footage from the Q&A where Tilman Vogler adopts his Colonel Chestbridge voice.
NIGHTCRAWLERThe closing night movie was the upcoming directorial debut from Dan Gilroy, scriptwriter on The Fall, Real Steel and The Bourne Legacy. Some readers may be familiar with the teaser/viral video released which showcases Jake Gyllenhaal as Lou Bloom.
As that video might suggest, Nightcrawler is a platform for an incredibly memorable performance, but is also a damn good film in its own right. Lou Bloom is a vulture, preying on opportunity and weakness. We meet him eking out his existence stealing scrap metal but rather than be content with that, he takes an opportunity to haggle with the scrap yard owner and pushes him to try and attain a job, then an internship. There is a relentlessness to his polite manner, a personal sales pitch more than normal dialogue. One evening he sees a car crash on the side of the freeway, pulling over to observe, he is quickly joined by a camera crew, freelances who race around town capturing crime/accident footage and selling it to the highest bidding network, Nightcrawlers. Sensing another business opportunity, Lou commits a another quick theft and a trade in a pawn shop lands him a camcorder and police scanner and so begins his new career. Bloom’s uncompromising approach to working his way onto accident and crime scenes ensure he gets the most gripping footage and he soon partners with Nina (Rene Russo), a director on the lowest rated local network. Soon the demand for more footage as well as his own desire to be the best pushes them both into darker territory.
Nightcrawler is voyeuristic cinema, showing the darker side of both a city and its people. Notably those involved in the media. A minority being killed is not “news”, but a rich white person, well that sparks fear, interest and ratings. The film has a polished feel, an $8million budget goes far, but maintains a gritty sleazy vibe due to the subject matter. Gilroy does well in his debut, channeling something from the Michael Mann back catalog. The intensity of the drama plays out well and is balanced with some great humorous moments and a great supporting cast in Rene Russo and Bill Paxton. Riz Ahmed is also great as his intern, an audience surrogate who initially shows disbelief at the events but gradually falls under the seduction of career advancement and money.
While an interesting premise already, the material is elevated by Jake Gyllenhaal’s performance as Bloom. It was mentioned by Gilroy in the Q&A his performances was intended to mimic the coyote, a scavenger frequently seen in LA coming down from the hills at night to prey on the vulnerable.
A sociopath, without morals and a manifestation of unbridled capitalism. A cinematic creation on a par with Travis Bickle. But you cannot help but afford a begrudging respect for how remorseless and aspirational he is in his career and his frankness in all matters. You don’t get too many films of this ilk anymore. Story and character driven. Polished but still retaining a grittiness. Very much worthy of your attention when it gets its national release in October.
