Anna and the Apocalypse,
Directed by John McPhail,
Starring Ella Hunt, Malcolm Cumming, Sarah Swire, Christopher Leveaux, Ben Wiggins, Marli Siu
High school. Zombies. Hard to tell sometimes which is more horrific. Add Christmas concert, overbearingly strict new headmaster, boyfriend troubles, arguments with parents, worrying about what you’ll do with your future plus a zombie apocalypse and set much of it to music and you have Anna and the Apocalypse.
I’m sure I’m not alone in loving Once More, With Feeling, the musical episode of Joss Whedon’s Buffy the Vampire Slayer; it was one of those episodes that, on paper, sounded like a terrible idea that would fall flat, but actually it was enormous fun and also moved on the story arc and character developments. There’s a lot of Once More, With Feeling in Anna’s DNA, and a touch of those wickedly satirical musical episodes of South Park too, I think (indeed the opening credits are animated and have a slight similarity to South Park’s style). Here, while the young cast (sensibly) play it all straight, it’s also clear the film-makers are having a huge amount of fun taking the American style high school musical, populated by teens with whiter than white teeth who love in sunny, Californian towns and royally taking the mickey out of them.
The sight of a bunch of Scottish school kids and staff in a wee town near Glasgow bursting into this very US style (complete with teachers and even the dinner ladies dancing) is side-splitting, while lyrics like “not a Hollywood ending” further satirise the American musicals and teen comedies Anna riffs on (although not in a nasty way, you get the impression they like laughing at them but still like them). And as one character comments when the action starts, this sort of thing happens in other countries, not in a wee town in Scotland, and that is part of the fun here.
We have the Usual Suspects – Anna (Ella Hunt) is a gifted, smart, intelligent girl, approaching the end of school and scared to tell her father she’s going travelling before she applies to university (he is over protective after losing his wife), her friends John (Malcolm Canning), Steph (Sarah Swire), Chris (Christopher Leveaux), Nick (Ben Wiggins) and Lisa (Marli Siu). The kooky, daft but loveable one, the “best friend” who is so obviously totally in love with her, the geeky one, the obsessive, intense one, the trying to be a hard-man jock but masking inner feelings one, and naturally a nasty headmaster (Paul Kaye) who would probably have enjoyed teaching at Sunnydale High, the sort of headmaster who clearly hates kids and resents that they may grow up to have a happier life than he has had.
Anna and the Apocalypse takes all of these generic elements but filters them through a small, west-coast Scottish town sensibility, and that’s funny in itself seeing such very American stylings done in a wee Scots school as they prepare for the annual Christmas concert (especially slightly ditzy but delightful Lisa, who plans a somewhat more risque number than she told the headmaster she’d perform). And then, wouldn’t you know it, the zombie apocalypse happens. And at first Anna, John and the others don’t quite notice. Heading out of her house, walking down the rainy winter street Anna is singing and dancing, earphones plugged in, while behind her neighbours flee from their homes pursued by the undead, fires burn, cars lie crashed and she’s oblivious with her phone, singing and dancing away, until she bumps into John dancing and singing his way to school, they duet and, of course, that is the moment a zombie in a snowman costume attacks them (hey, we’ve all been there).
After that it is the quest for survival, Anna and John finding some other friends along the way, trying to sneak across their town to school to find their other friends and families, and because authorities have issued emergency alerts saying the school will be the evacuation point for the town. And as with all such films, it’s a guessing game as to which characters are going to make it, which are going to end up becoming finger food for the ravenous undead who are rapidly over-running their town. And again while this takes the well-known generic tropes, it does so with such a knowing nod and wink – these people are fans and they are in on the joke, they know we are in on the joke and, to be honest, the young cast are so damned likeable that you buy into it happily. Of course the flipside of that is that you know not all the characters you come to love are going to make it. But they may go out with a song!
(a very happy director: John McPhail talking to the late night film festival audience before Anna and the Apocalypse screened in the Edinburgh Filmhouse)
This was my final movie of the 2018 Edinburgh International Film Festival, part of the late night strand the EIFF does each year (and don’t horrors suit the late night slot?). Director John McPhail and many of the cast and crew were at the screening, and clearly extremely excited and buzzed to bring their Indy Scottish film to the country’s most famous film festival. As a very delighted John McPhail told the audience, this is their home-town showing, screening to a Scottish audience, and the pleasure and excitement he and the others showed in being allowed to make this film then get to screen it at a packed festival showing was infectious. The festival audience didn’t just laugh at the humour or wince at the (deliberately) OTT violence (very cartoony), the whooped and hollered and clapped along to the musical numbers, it was almost like being at a Rocky Horror screening, and that made it ten times more fun (the festival crowd was also treated to a special sing-a-long segment after the screening).
This is gleeful film-making, loving but also happy to play with the generic tropes of horror, teen drama and musicals, and has future cult film written all over it. Best seen with a group of friends.
I always make a special point of attending the two McLaren short animation strands at the Edinburgh International Film Festival each year. BBC2 and Channel 4 used to have animation seasons, but that’s something that seems to have fallen mostly by the wayside these days (despite each now having multiple digital channels) and the days of a wee short before the feature film in cinemas is long gone, which, for me anyway, makes it more important to support and celebrate when we get to see short animation being highlighted, especially when it is being shown on a cinema screen. We have some remarkable young animation talent in the UK, and this and other festivals are a chance for them to shine, to effectively show their portfolio in order to try and secure more work (be it with an animation house on a film or the bread and butter of music videos, ads etc which help pay the bills) or compete for scarce funding.
Each year the McLarens always impress me with the range of material on offer, both in terms of method (from slick CG animation to traditional hand-drawn or stop-motion work and all sorts in-between), and subject matter (some are funny, some are political, some are biographical, some bring a lump to the throat). This year was no exception. Given the two screenings took in over twenty short works I am not going to go into each and everyone that was shown, but I will pick out some of those that made an impact on me, personally.
Sam Gainsborough’s Facing It was a pretty unusual-looking piece, mixing live action actors with claymation faces overlayed on their heads, producing a strong visual style for the piece. A young man waits for others at a table in a busy pub; he clearly wishes to reach out and be a part of the buzz of vibrant, lively conversation and life goign on all around him, some even invite him to join them, but his crippling shyness halts him, his claymation face morphing, a hand literally growing out of it to clamp around his mouth as he tries to speak to a stranger, while flashbacks show childhood events with his parents which shaped this isolation and nervousness. While most of us don’t suffer from such an extreme I think we have all had moments where we need to interact with strangers or a group and have that anxiety moment before we do. The plasticine animated faces over the live actors works very well, allowing for a range of emotional expression way beyond what even the most facially gifted actor could give; it’s a lovely example of one of those things animation can do so well, using a few simple visual signifiers to show the internal emotions of a character so clearly.
Ian Bruce’s Double Portrait splits the screen into two hand-painted images, changing and coming to life before our eyes, telling the story of a woman, Geraldine, and her first love, of how it all seems so straightforward to them when younger, but how life changed them, parted them, brought them together again. It’s beautifully illustrated with Bruce’s painting, giving a warm feel as we move through their lives across the decades. Jonathan Hodgson’s Roughhouse, a traditionally-drawn animation, tells of a group of pals, friends since childhood, marked by a moment of rough play with a pet that ended badly, later growing up, going away to college, meeting a new flat-mate and settling into student life (complete with messy flat). It’s actually quite a brave film, I think – Hodgson gives us characters who are often not very likeable, and the roughest of them all, the one who never pitches in for the rent but can always pay for drink, seems the least likeable of the group, but Hodgson carefully shows us that under laddish, unthinking jokes and “banter” and bravado there are feelings and even the seemingly strongest and toughest can suddenly crack. It’s a good reminder that under it all everyone is human.
Maryam Mohajer’s Red Dress, No Straps draws on some of her Iranian background, with a very young girl living during the era of the Iranian revolution and the awful Iran-Iraq war which lead to scenes reminiscent of the First World War. At home with her grandparents, grandma indulging her beloved grand-daughter by making her a dress like her favourite US pop star seen in a magazine (that has to be hidden from the religious authorities who are busy teaching her and other kids to shout “death to America” each day at school). A red dress, strapless. Meanwhile they have to worry about bombing raids on civilian targets during the war, but she tells us Saddam is not very good at this and they are all okay. It’s a lovely, warm piece evoking a strong feeling of family that any of us can identify with, but despite what she says, everything is not okay, and this is a film that left me with a lump in my throat.
Lucia Bulgheroni’s Inanimate proved to be my favourite from all the films shown in both McLaren screenings. I love all form of animation, but I have a special soft spot for traditional stop-motion animation. There’s something for me that is truly magical about knowing that everything you see on the screen there has been built by hand, from the characters and their clothes to the tiny sets, furniture, right down to coffee cups, then, through a painstaking alchemy, enchanted into life, one frame at a time, hours, sometimes days to capture a few brief seconds of movement. In Inanimate Katrine is leading her normal life – work, home, shopping, boyfriend. And then things seem to go wrong, to be disconnected, she is doing one thing and suddenly, woosh, she’s rushed from home and finds herself at work with no in-between, then somewhere else and somewhere else. She panics, is she losing her mind, having blackouts?
And then see starts to see the world around her differently, it starts to seem unreal to her, and soon so do the people and then, most terrifyingly, her own body. Her skin looks fake, it peels back and she sees the metal armature of a stop-motion puppet below. She isn’t real. Around her she is suddenly aware of huge figure, flickering at a speed that leaves them almost invisible, changing things around her world and other little worlds nearby. She’s a puppet who has somehow become aware, seen behind the scenes of her little reality, seen the strings and the puppet master. It’s both a story about how we all invent our own little realities to cope, to understand, to get through life, but are often aware there is more, just beyond the edge of our vision, and at the same time it is an ode to the laborious art of stop-motion, those long, long hours to create tiny moments of life in inanimate objects are, from her point of view, fleetingly fast.
It reminded me of Tom Moody at the McLarens a couple of years back, talking about working with found objects which he turns into characters, then brings to life with stop-motion. Tom he talked about the sadness which went with the joy of animation, joy at making something, but the sadness that after all the care to bring these creations to life they only had those few, brief moments of that life, then they would go on the shelves with older creations, never to move again, a rapid, Mayfly experience of the world. I suppose there’s probably a lesson about life in there, somewhere.
Space doesn’t really permit me to go into all the other works, but I must mention Sinem Vardarli and Luca Schenato’s (very long-titled!) The Brave Heart or (The Day we Enabled the Sleepwalking Protocol), which, like the old Numbskulls Brit comic or Pixar’s Inside Out it took us inside the body, with various organs such as the Heart and Brain, carrying out their tasks (or not), in the face of a booze, smoking and fast food blow out (very clever, very funny and rather dirty, especially when this all leads to an emergency “blockage” which I shall not describe here!). Stephanie Hunt’s Marfa took us around an odd wee Texas town, from local bands to local characters and gave a lovely flavour of life in a remote small town.
Ben Steer’s Mamoon had a mother and child, shadow figures projected onto polystyrene buildings, pursued by dark shadows – as the light fades so too do the shadows which it projects, which means doom, and the shadow figure mother desperately tries to save her child, while Daniel Prince’s Invaders uses very polished CG animation to bring to life three tiny flying saucers, exploring a human home on Christmas Eve, the smaller one unsure of his place with the larger two, trying to prove himself. There was a strong 80s vibe to Invaders, I thought, and Prince confirmed this in the subsequent Q&A, noting 80s Spielberg and most notably Batteries Not Included as influences. Simon P Biggs’ Widdershins was a delightful tale of a Steampunk, quasi-Victorian future of clockwork and steam automata making everything so perfect our character can’t stand it anymore, and falls for a daring young woman who challenges the system. I also loved it because “widdershins” is such a lovely word and we rarely get to use it…
In the post-screening Q&As with a number of the animators one of the subjects raised was trying to get funding for short film work, and how much harder it had become. Adding to that, as to many other projects, was the looming spectre of Brexit. The animation director for the festival spoke about manning the British stall at the famous Annecy animation festival and remarked it was “tumbleweed” for them. With so much uncertainty nobody wanted to invest in UK productions or take on distribution. In fact he commented that those from outside Europe were being more actively courted by European partners than the UK team. Jonathan Hodgson told us how he could not get any funding from any UK company or arts organisation, but eventually a French one did agree to help, and he, like others, wondered if that avenue was now being closed to them, a question many in various arts disciplines (and science and business) are asking? This is not the place for a political discussion, of course, but equally it would be remiss not to note the worry of film-makers and others about how opportunities for co-operation, distribution and funding for their future work will be affected, and at the moment none of them have any real answers as to how they will be affected, and I’m sure that is a worry being discussed across the UK film industry.
(some of the animators doing Q&A sessions in the Filmhouse, post screening of this year’s McLaren Animation strands at the Edinburgh International Film Festival, pics from my Flickr)
It was another great crop of inventive, often emotional, sometimes funny, sometimes touching short film-making by all sorts of different women and men working in different methods and styles to bring still objects and art into flickering life. Often I will see some of the McLaren animators figure months later in the short animation categories for BAFTA and Oscar, and fingers crossed some from this year’s crop will have that success too. Props again to the film festival for continuing to support the McLarens (named for iconic Scots-Canadian animator Norman McLaren, an alumni of the famous Glasgow School of Art which was in the news for the saddest of reasons recently), because it is a chance for these film-makers to have their work seen by an audience (and it is the audience who comes along to support them who get to vote on the award) and by the wider industry, a chance for them to be noticed by possible future employers and collaborators, and we need that kind of encouragement and celebration of creative work in all levels of our film-making if we still want to have such creators in years to come.
Charlie and Hannah’s Grand Night Out,
Directed by Bert Scholiers,
Starring Evelien Bosmans, Daphne Wellens, , Frances Lefebure, Patrick Vervueren
I don’t know Bert Scholiers or the starts of his Belgian film, but sometimes I just get a vibe from a film or book and know I am likely to enjoy it even before I start. Charlie and Hannah’s Grand Night Out was another of those that I just had that feeling about as soon as I spotted it going through the Edinburgh International Film Festival programme. I am happy to say that gut instinct was on target, and that this was a film which had me smiling throughout.
Shot mostly in black and white (save for a short segment in strong, almost lurid colours), the basic premise – two girls, best friends, Hannah (Daphne Wellens) and Charlie (Evelien Bosmans) head out on the town for a night out with friends – doesn’t really do this justice. What starts as a pair of slightly kooky but charming young women, joking and laughing as they try to have a nice night out while figuring out their place in the world and why they are as they are (jobs, boyfriends, work, life, the same things we all think about), soon starts to bend off into a more unusual track, starting with some fourth wall breaking as they occasionally talk to the audience, then slowly starts to feed some fantastical elements in (after the pair have swallowed some magic candies which, they explain with a smile are certainly not drugs, they’re “homeopathic”).
Starting small – at a small party with friends Hannah’s breasts start talking (strangely in male voices for some reason), offering advice, bickering with her and each other (one breast complains that it has to get up early tomorrow to work on an opera libretto). Charlie goes out into the garden for a smoke, hears what sounds like someone having some sexual fun in the bushes and yes, indeed there is, it’s Catherine the Great (a horse can be glimpsed in the background, playing on the old myth) and naturally she bums a smoke from Charlie before offering some advice on not sleeping with some famous Russian historical figures. Soon, however, it goes off onto an increasingly surreal bent.
The pair talk about testing their friend Fons (Patrick Vervueren), making him perform odd tasks such as finding a “mummy in denial” (the bandage-wrapped Egyptian style mummy, not the maternal type), their friends produce a picture book of Hannah’s life to explain things, then flip to later pages to show what’s just about to happen next. As the evening wears on with the inevitable “I should go home” moments from the various friends, Charlie and Hannah go off on their own routes, each with a different man, but their evenings still revolve around each other as even apart they talk to their male friends about one another (the men are, well, not exactly superfluous, they have a role, indeed there are many men in this, but this is very much a film about the two women).
The evening – or now early hours of the morning – become increasingly fantastical, travelling to strange places, transformations, a magical mystery tour that takes in talking buildings and haunted houses and bordellos staffed by famous literary characters (fancy a Jane Austen foursome?). Imagine mid to late 70s era Woody Allen, if the films were more female-oriented, mixed with a dash of a more light-hearted Francis Ha, and fantastical flights of early Jean-Pierre Jeunet (and a friend suggested to me perhaps a touch of Mighty Boosh). Fun, funny, silly, sweet, touching, surreal and totally charming and smile-inducing. Loved it.
The Most Assassinated Woman in the World,
Directed by Franck Ribière,
Starring Anna Mouglalis, Niels Schneider, Jean-Michel Balthazar, Julie Recoing, Michel Fau, André Wilms
Another evening at the Edinburgh International Film Festival and another intriguing film, this time from French director Franck Ribière, this partakes of elements of murder-thriller, period piece and delightfully lurid horror. Set in the famous/infamous Le Théâtre du Grand-Guignol in the Pigalle district of Paris during the 1920s, The Most Assassinated Woman in the World takes real-life settings and historical characters – most notably the theatre’s great scream-queen, Marie-Thérèse Beau, better known by her stage name of Paula Maxa, played by Mouglalis, an actress who was slaughtered in thousands of violent and gorey ways every night on the tiny stage of the theatre. It’s claimed she was “killed” some ten thousand times, and early on her character lists many of the ways, from strangling to stabbing, slashing, burning, boiling, decapitation, being pulverised. And yet, she shrugs, here I still am…
In some ways this listing of nightly horrors enacted on the stage of this notorious theatre (which only closed in the 1960s) and the fact that Paula “survives” it all and keeps going is part of the central theme here: we were told in the post screening Q&A with the film-makers that they were not aware of a violent assault Paula had endured in her younger years, and yet they had written such a scene in affecting her and a sibling, in an uncanny art imitating life moment. They were exploring the nature of horror and violence, how it affects people, even the pretend violence of the horror on stage or in the movies, both those who watch and those who act it out (imagine being an actor having to be killed in inventively gruesome manners every single night). Experimental psychologist Alfred Binet, another real-life character involved with the actual theatre, is also, appropriately, a figure here, helping owner De Lorde construct not just physically awful torments and demises for Paula, but mentally brutal as well, pushing, pushing, pushing, aided by the giant figure of Paul, the special effects wizard (another real life character, apparently his stage blood formula is still used to this day).
Mixed into these factual elements are more fictional dramatic ones – a young journalist from Le Petit Journal, Jean (Niels Schneider), investigating both the moral brigade demanding the theatre should be closed for indecency (forerunners of later “we should control what everyone can see, for their own good” types that burned rock and roll records or the Mary Whitehouse mob) but also a series of disappearances and murders around the Pigalle and Montmartre areas (loved by tourists today, but rather rougher back then). Is the murdered inspired by what he sees on stage, is it driving his fantasies to act them out for real? Who are the figures haunting Paula? Does her work help her excise her own demons or is it all pushing her to brink – and do those in control of the theatre even care or are they happy to push beyond the limit?
The film is set in mid 1920s Paris, but the cobbled back streets, the heels clicking on them through foggy nights, the evening capes, they could all come from a Victorian-set Hammer film, and the gallons of luridly red “Kensington Gore” as the blood flows scarlet stands out against the dark, mostly nocturnal scenes, as vivid a claret as ever flowed in a Hammer film. Interestingly they film-makers told the festival audience that originally this was to be an English language film, set in New York, but as they explored it more, found the historical Paula Maxa, it became clear they really needed it to be a French film, set in Paris. They struggled for funding, but a Belgian film fund stepped up, as did Netflix, who they thought would ask for it to revert to the original English language premise, but instead were quite happy for it to be a period French piece.
In fact Franck Ribière commented on the “Netflix issue” which has come up at quite a number of film festivals around the world, most notably at Cannes, where some are glad of the new stream of funding and distribution while many others are horrified and say it is killing cinema with movies going straight to television streaming and bypassing cinemas. I can see arguments on both sides, but that’s a debate for another article, not a review. I will note that Franck Ribière explained he didn’t see the problem, it was another welcome source of funding for film-makers, and nobody makes a director or writer work with Netflix, it is up to them to approach them about partnerships, and that he is happy to be able to watch films as he wants, in cinemas, on TV, on his phone. Many other directors, I am sure, disagree, but it was interesting to hear him comment.
(Director Franck Ribière in dark shirt on the right and his colleagues at the post-festival screening Q&A with the audience)
No news on a UK release for this one yet, but as it is co-funded by Netflix I assume it won’t be long before it appears online, so those of you who don’t have a film festival or arthouse cinema nearby will be able to see it too. All in all I really enjoyed this, it offered both the over-the-top horror the Grand Guignol was famed for (and which it has given its name to as a general term in horror now) mixed with a more psychological aspect, and layers of “plays within plays” as we see fictional and real elements of Paula’s life mixed with pretend versions for the film and more pretend but almost real versions on the stage, until we’re left wondering what elements are real, what scenes are what they seem to be and which are theatrical artifice, all shot in a beautifully sensual manner. One of the smarter, classier horrors I’ve seen recently, and yet one which happily plays with elements of classic horror too.
Directed by Owen Egerton,
Starring Robbie Kay, Seychelle Gabriel, Jacob Batalon, Barbara Dunkelman, Tate Donovan, Zachary Levi
It will surprise no-one who is a fan of fun, punk-ethos Indy studio Rooster Teeth their latest live-action film is a supercharged, gleefully genre-mashing and referencing outing with as many laughs as it has splatter (and even the odd quiet, emotional, character moment). Owen Egerton writes, directs and indeed stars as the leering, bloodthirsty showman (I could imagine Alice Cooper playing this role when younger) who orchestrates the eponymous Blood Fest, a festival for horror fans. Within the large, walled grounds (actually a re-dressed Renaissance Fest location in Texas, we were told at the post-show Q&A) there are multiple locations based on horror genre tropes – the high school prowled by a serial killer, the circus with evil clowns, vampire girls seducing drunken lads, zombies and more.
In a film which revels in multiple, loving references and homages both to other Rooster Teeth creations and many horror movies (even the title is a nod to the famous/infamous Blood Feast), Blood Fest opens, rather nicely for an old horror fan like me, with a nod to Carpenter’s Halloween, zooming in on the suburban American neighbourhood on Halloween, and a young boy watching classic Universal horrors with his mum. Until a shadowy figure is glimpsed when she goes to the kitchen for snacks (a scene telegraphed by the tell-tale sign of the room light refusing to come on, a deliberate take on a generic device in slashers). Fast forward and that young boy, Dax (Robbie Kay) is now a young man, and one who has embraced the horror genre as a coping method for dealing with his fears and his horrible experience of seeing his mother murdered in front of him, before being rescued by his father. His father who is a famous psychologist and who blames the entire horror genre for creating the urge for violence that killed his wife (carefully ignoring his own culpability – the murderer was one of his own patients).
Needless to say the father is not going to allow his son to go off with his friends, Sam (Seychelle Gabriel) and Krill (Spider-Man Homecoming’s Jacob Batalon) to the largest, splatterest horror gathering ever, and equally needless to say our plucky teens find a way around dear old dad, who is busy telling network television how horror is to blame for everything bad in society while the kids sneak off to indulge their love of the genre. And I doubt it will surprise any horror fans that (bit of a spoiler alert!) that Blood Fest is not exactly what it seems. When the showman takes the stage for the opening ceremony (Egerton again) and bemoans how stale the genre has become, how mainstream (“we put Freddy on a lunchbox!”) then cries out to his baying crowd that they want to make horror scary again, I think most genre fans will suspect what is coming (and if not the bouncers standing between the crowd and stage, clad in pig-head masks also telegraph trouble in advance). The blood here is not fake, the fans are trapped inside this compound as the showman makes his own demented horror to end all horrors by filming them as they are slaughtered in a variety of horror tropes (this includes zombies with Go-Pro cameras strapped to them to record the carnage!).
I don’t think that’s much of a spoiler though, as this happens very early on in the film and is pretty much the basis of it – also, as I said I think serious horror fans (who are the main audience for this, after all) will guess what is coming, at least for that part. After that reveal and the commencement of the carnage it becomes a battle of survival for our young friends who have to cross the various themed horror locations to try and escape. Along the way Egerton packs in so many references to a multitude of horror films, but this is done in a fast-paced, loving and hugely fun manner – this is the film-makers letting us know they too are fans and winking to us, we’re all in on this together. Who is going to make it, who is going to die, how are they going to die? Egerton and his team take us on a well-paced rollercoaster, gleefully throwing in slapstick as well as splatter, and sometimes both at the same time, as well as delighting in doing a little genre-mashing.
For all the well-paced fun and loving references to the genre’s history, however, there are some serious elements in here; not for the first time horror, that genre often much-maligned by certain groups in society, holds up a distorting mirror to that society. The reactionary elements blame the genre for everything bad in the world – this is not unlike the idiotic Wertham “Seduction of the Innocent” which blamed comics, especially horror comics, for a perceived growth in societal ills. In recent decades is has been horror movies, rock music, rap music, video games and others that are easy to blame rather than turn attention to what is really wrong, what really causes violence in society, and, without giving too much away, there is a later element in this frantic fight for survival where Egerton makes clear that there are other forces in society that we should be far more worried about than horror-inspired slashers, killer clowns and monsters.
It’s clever, fun, well-paced, packed with multiple references for fans to pick up on, laced with dark humour and even a few gentle character moments and emotional elements, it’s pretty much ideal for most horror fans, I think, I can easily see this becoming a future cult horror flick. Egerton and a bunch of the Rooster Teeth family were at the Edinburgh Film Festival UK premiere of Blood Fest, and Egerton especially was on terrific form, full of energy, talking up the crowd both before and after the showing like a delightfully demented horror version of PT Barnum. There was a group of Rooster Teeth fans in the audience and the interaction between them and the film crew, and the other audience members (some of whom were new to RT productions but clearly looking forward to seeing more), was terrific, there was just such a huge, positive, good-natured vibe at this late night festival screening, and Egerton et al seemed more than happy to be invited to such a prestigious film festival and join their long-running roster of late-night horror delights.
One of the Rooster Teeth producers was asked when the film would be getting a UK release; he replied they couldn’t say just yet, but that they would be making an announcement very soon, so keep an eye on the RT site and twitter for more, because this is one horror hounds are going to lap up.
Directed by Tommy Haines, Andrew Sherburne,
Starring Mike Zahs
Saving Brinton is one of the movies that leapt out at me when I was busy circling the movies I most wanted to try and get tickets for at this year’s Edinburgh International Film Festival: a documentary about a man, Mike Zahs, in a tiny Iowa farm town, who just happened to have collected, protected and shared some gems from the very, very earliest days of cinematic history. It’s an irresistible subject for those of us who love film.
William Franklin Brinton was an itinerant showman, he and his wife travelled up and down the United States in the late 1800s and early 1900s, from Texas to Minnesota, with shows which included music, gadgets (some of the existing music boxes are preserved in the collection as well as film), attempts at heavier than air flight (several years before the Wright Brothers managed several seconds in the air), some truly enchanting magic lantern slides and, always a sharp showman with one eye on getting those bums on seats, but another eye always on technological innovation, which fascinated this intelligent, curious man, he was an early adopter of the new miracle of the Victorian era: moving pictures. Some, even innovators like Edison who would contribute to the development of the medium, saw film as a passing fad. To be fair, he was not alone, few could have predicted film would grow to be one of the great art forms and mediums of the following century and into the next, let alone that it would become so entangled with our own lives, our dreams, fears, aspirations and hopes.
Brinton saw more in this infant medium, and in a later, more settled part of his career he managed the Graham Opera House in the small town of Washington, Iowa, which has been showing film pretty much since the birth of the medium, and has now been recognised by Guinness World Records as the oldest continually operating cinema on the planet. There is something rather pleasing that such an accolade goes not to some historic old cinema in Paris, or London or New York, but a wee town in the middle of the great farming fields of Iowa, right in the heart of the vast American continent. Once every town had such palaces of delights, but most are long gone in the US, as here, long since converted to other uses or ripped down and built over. Here though, a slice of entertainment history still lives, still serves its community, and for around three decades it has also seen some of the rarest early film works from the Brinton collection projected on its venerable screen.
Zahs, an incredibly genial, modest and charming man with a mighty beard (he looks like Gandalf crossed with Father Christmas, perhaps), a teacher, historian and collector, has been saving and documenting this collection for years, trying to interest the wider world in these treasures. There is a delicious irony that the small community here has been watching films, some of which cinema historians had, for years, lamented as lost, totally unaware of Mike’s collection. But eventually perseverance pays off, local academics from the University of Iowa work with Mike, and as academics do, they bring in other experts, including the Library of Congress. It’s soon recognised that the collection has remarkable works, such as rare moving images of Teddy Roosevelt, the first known film from Burma (how astonishing and exotic would that have seemed to an 1890s audience in an era before television, internet and easy international travel?), absolute gold: works by the first true genius of our beloved cinematic medium, Georges Méliès. Actually scratch that, Georges Méliès is not so much a genius as a wizard.
(above, Brinton projecting one of his shows, image from University of Iowa’s Brinton collection; below, Mike Zahs and the film-makers at the Edinburgh International Film Festival, pics from my Flickr)
All of this “lost” cinematic history being rediscovered as academics finally take notice, increasingly enthusiastically, of what Mike has been trying to show them for years, would be fascinating enough, and the triumph, from only local folks watching to international recognition of the importance of this collection (complete with showbills, photographs, glass slides for the magic lanterns, projectors and more along with the actual nitrate films) is satisfying: Mike goes from showing the works to his local friends and community to an outdoor film festival screening in an ancient square in Bologna, and the international film festival circuit. But there is much more to Saving Brinton than the rare works saved from vanishing into history: this is a film which is as much about people and about community as anything else.
It’s to the credit of the film-makers that they spend quite a bit of the running time on Saving Britnon exploring this small local community, and Mike is their way into this small farming town. As well as putting on shows with Brinton’s films, magic lantern slides (some very sophisticated, allowing for overlaps and dissolves which are still gorgeous looking even to modern eyes used to CGI wonders), we see Mike planting peach trees on the family farm close to others that go back generation in his family, Mike delighting young kids at the local school showing them all sorts of odd-looking historical artifacts from his collection and engaging them into learning without even realising it (always a good trick to play on kids to enthuse them), even giving a talk to some of the local Amish families on local history. As Mike said himself at the Edinburgh screening, the most important part of the world “history” is “story”, and stories are about people. And Saving Brinton shows how that remarkable collection is more than preserved celluloid frames and ephemera, it has been woven into the local communities since 1895 when Brinton took it from town to town.
At the Edinburgh Film Festival screening we were lucky enough to have the film-makers Tommy Haines and Andrew Sherbune present, as well as Mike himself, who seemed utterly delighted to be showing this work at the world’s oldest continually running film festival (quite an appropriate venue for such a subject, surely), and in person he was as delightful and fascinating as he was to watch in the film. As a bonus, after the film and a Q&A we were treated to ten minutes of these very short works – works that, as is said in the film, were made when the people we now think of as the stars of the silent era, the Chaplins, the Keatons, would still have been children, they are that early. These included the “flying machines” which many in the UK will recognise (created by Brinton’s contemporary Sir Hiram Maxim, still flying at Blackpool today), some truly glorious early 1900s colour film (each frame painstakingly hand-tinted to produce the effect, which still looks magical), and treasure upon treasure, a Georges Méliès film which was thought lost for most of the last century, and here Mike and his small town had been enjoying watching it for the last thirty years…
This is just an utterly enchanting, beautiful film about shared history, community, art, lives. Mike and his wife have donated the collection to the University of Iowa Libraries, where it is being carefully examined, conserved and digitally copied so it can be shared. There is a dedicated site for the Brinton Collection run by the university, which I highly recommend visiting for more information and also to find links to watch some of these incredibly early films online, such as the hand-coloured Serpentine Dance and other little gems that were so nearly lost forever, and the official Saving Brinton site has more information. This is an absolutely magical, warm, smile-inducing documentary that is a must-see for anyone with a passion for film.
The Secret of Marrowbone,
Directed by Sergio G Sánchez,
Starring George MacKay, Anya Taylor-Joy, Charlie Heaton, Mia Goth, Matthew Stagg, Nicola Harrison
My first movie at the world’s longest continually running film festival, the Edinburgh International Film Festival, and it is one I have been eagerly anticipating, arriving with some good word of mouth. It marks the directorial debut of Sergio G Sánchez, who also wrote the story; although this is his first time as a director many film-lovers will know his name from writing the likes of the superbly creepy The Orphanage.
Marrowbone itself is the name of an old, semi-derelict, sprawling house in an isolated rural part of America, the family home of the mother (Nicola Harrison). She returns here after decades away, bringing her young family, fleeing some horrible catastrophe which has left a trauma on them all, some terrible event way back across the ocean in Britian. She draws a line in the dusty floor and declares to all of them that when they cross it and join her they leave their past and memories behind, and even their family name, for now they will take the surname of their home estate and be the Marrowbones, starting a new life, a free life, a new beginning.
Brave words and at first it seems they are starting a new chapter, the youngsters coming out from that dark cloud, almost literally as Sánchez has them exploring the nearby countryside and beach in glorious summer sunlight, meeting Allie (the remarkable Anya Taylor-Joy from The Witch) at a skull-shaped rock where she is one of the few to get to know the withdrawn, secretive family, to become close to them. For a few scenes it seems they have turned that corner, playing with delight in the sun with their new friend, smiles, laughter.
But the family has run away from a terrible past and harbours a horrible secret, and the past never really releases us, no matter how we try to move on. Their mother knows she is dying and fears what will happen – Jack, her eldest, must reach his 21st birthday to claim his inheritance and to be legal guardian to his siblings. She makes him promise to always keep the family together, even though it means concealing her death until his birthday allows him to legally take over. He vows to keep his family together, but it is not going to be easy.
Their lawyer is suspicious of this family which rarely leaves their dilapidated home, keeps itself to itself, he is jealous too of Allie’s obvious attraction to Jack, and he wonders why their mother is always too ill to see him to sign important papers. He also hints ominously to Allie about the dark secret the family is running from, that their father was a monstrous figures who was eventually brought to justice back in Britain for his crimes but later escaped. Jack tells her he was indeed a monster, hence their flight to Marrowbone, to changing their name, trying to keep a low profile, but he also adds that their father is dead.
If he is dead, though, what are they hiding from? And what is the ghost that young Sam talks about hearing in the middle of the night. Why are all the mirrors in the home taken down and shoved into one room they never enter, save for a couple too large to move, instead covered up, including a huge one on the staircase, which seems to drop its dustcover by itself? What are those many noises? The soundscape here is exploited well, Sánchez mines the old, wooden country home location for maximum effect, every creaking floorboard, and sigh of wind through gaps in windows serves to immerse the viewer into the film, building layer upon tense layer, crafting an atmosphere of wrongness, a sense of something unnatural, disturbed.
Even when nothing obvious threatens the chill of fear and menace is palpable. And there are questions outside the family – their lawyer wonders why the mother is always too ill to see him, and he is increasingly jealous of the obvious love growing between Allie and Jack. He knows a little of their secret, but not all of it, there are layers here, to be excavated like an archaeological dig; the past does not let go with a simple act of starting again, but neither does it give up its secrets easily or quickly…
Sánchez avoids the cheap “jump scares” too many modern horror film-makers use to get a quick scare (I don’t count those as real scares, it’s just reflex, real scares are when they storyteller plants unsettling ideas right into your mind). Instead this film takes its time to patiently build that disturbing atmosphere, giving more hints at the secrets the family is hiding from, slowly cranking it up, trusting the viewers to invest into it until they too are permeated with that atmosphere and almost feel like they too are in that old, creaking house, slowly building to a climax, which I will not ruin here save to say it was, refreshingly, not what I expected and again show trust in the audience to interpret much themselves.
Sánchez and some of his young cast were at the festival screening last night, and he commented that he never set out to be a screenwriter (I am glad that he did though!), and that he and his regular film-making partner had been looking for something just like this to be his first directing gig, and what a wonderfully disturbing, chilling debut it is, moving from the sunny moments of friendship at the start (reminiscent of some old Enid Blyton tale of children’s adventures away from the adults) to the increasingly shadow-laden, creaking sound infested house and a feeling of the past closing like a noose around them and a secret that just cannot be contained. There is a timeless quality to the film, it feels like it could be set in 1860 as easily as the modern day for much of the running, until we see a 1960s wall calendar in one scene and 60s cars on a rare trip into the small town nearby.
Sánchez praised his young cast saying how lucky he was to have them for his debut, and indeed they were superb, despite their youth. It is a lot for such young actors to carry most of a film, but they do it so well, not least the youngest, wee Matthew Stagg, who takes little Sam from wide-eyed childish joy playing with Allie or his big brother Jack showing him how to send Allie morse code signals by light at night to her nearby farmhouse, to wide-eyed fear at this “ghost” and the sounds and movements in the old house, and grief at the loss of his mother. This is a slow-burn film, trusting the audience to wait, to slowly let themselves be immersed into that ever more disturbing atmosphere, leaving you wondering how much is true, is there a supernatural element here or is it all in their traumatised imaginations? What is the secret they must contain, what causes those noises, why does the top staircase end in a bricked up doorway? This is a delicious chiller that draws you into film beautifully. It is on general release in mid July.
Another of my slate of screenings at the recent Edinburgh International Film Festival was this gem of a science documentary from Irish director Emer Reynolds, on one of the greatest feats of exploration – the Voyager missions. I’ve been a space geek for as long as I’ve been a science fiction fan, the two interests often cross-feeding one another (the great Arthur C Clarke incorporated new knowledge gleaned from Voyager and other missions into some of his science fiction writing). And I grew up with Voyager, launched in 1977 when I was just a kid, I followed the missions, in those long ago, pre-internet days through the old fashioned media of documentaries on the BBC, the Sky at Night and journals like New Scientist, right through to my teens and early adulthood as this long, long mission progressed, taking us on a “grand tour” of the outer planets and showing sights no human had ever seen before.
The history and the science will be familiar to many who have an interest in space exploration, but this is a story that is well worth revisiting, because it is a magnificent triumph of ideas made real by clever engineering, and that human urge to explore pushing us further than ever before; our ancestors, be they European seaman or the great Polynesian navigators on wood and reed rafts, sailed vast oceans of the Earth, exploring, and with Voyager we sailed a sea of stars to the distant planets… And then beyond.
The two Voyagers took in giant worlds, including a couple we didn’t even know existed until a couple of centuries ago and revealed more complexity and wonder than anyone dared hope for, from the searing radiation around mighty Jupiter and its moons, those wonderful rings around Saturn, those cold, remote outer giants of Neptune and Uranus. It showed us volcanic eruptions on a world other than our own for the first time, and these probes traveled billions of miles from our home, reprogrammed from the increasingly distant Earth for each mission, clever maths taking them on a course not just to worlds, but using the gravity of those worlds to “slingshot” onto their next trajectory (receiving a speed boost into the process). Kepler and Newtown would have approved. All this with 1970s technology…
NASA and JPL opened their archives to the film-makers, and while anyone with an interest will have seen some of this, there is much here that has rarely, or never, been shown. A small amount of CG compliments the real Voyager footage to give us views of the craft themselves, but the images Voyagers 1 and 2 brought us are the main visual focus here; a beautiful scene shows a time-lapse montage of a planetary approach by Voyager, from its perspective, from distant disc to close-up details, even clouds. The clouds scudding across the skies of another world. Astonishing.
But the real heart here – as with The Last Man on the Moon, which I reviewed here last year – is the human element. The people who worked on Voyager. The engineers who designed them, the scientists who worked on the missions, the people who conceived of and executed the famous Gold Disc both craft carry, with two hours of music from different eras and cultures on Earth, and greetings in many languages, including one by a young Nick Sagan, Carl Sagan’s wee boy: “hello from the children of Planet Earth”. A message in a bottle, afloat on a galactic sea. Coming through all of this film, Emer Reynolds draws out the science team, and brings genuine emotion to the film. There’s huge pride at what they accomplished, taking advantage of a rare alignment of the planets for this astounding mission, and how they made new discoveries and saw things for the very first time that no human had even known about, let alone seen.
There’s even a lovely bit of archive footage of a party after the final fly-by, when a special guest arrives to play music to the team – Chuck Berry. Of course he played Johnny B Goode, which is on the Gold Disc, and there among the celebrating science team is dear Carl Sagan, dancing happily to Chuck Berry. It’s unlikely any alien intelligence will ever find Voyager and get to play that disc, but as one scientist noted, it’s not impossible. And the very inclusion of it was a mark of enormous optimism, a reaching out, here we are, we’re just learning our first steps out of the cradle, but look what we have achieved already, please contact us. If it isn’t discovered by some other species in the future, the craft will continue on, possibly outlasting the Earth itself, a slice of human culture preserved among the stars.
And as the film notes, these remarkable wee craft are still working, forty years after launch. Their last encounter with the planets was long ago, but they still send daily data back home – one engineer commented that when they were launched back in 1977 the technology to receive signals from such a distant source didn’t exist, they made it while the probes flew on, to listen into a whisper in the cosmos. After the remarkable planetary encounters there was still science and wonder to be had, from the Sagan-inspired “family portrait” of the solar system (when he argued for turning the cameras back towards Earth, now not even a pixel wide to Voyager’s lenses, the “pale blue dot”), to seeking out the heliopause, the point where the influence of our sun ends, marking the boundary of the solar system. In 2012 Voyager 1, the fastest moving of the pair, finally detected the end of this influence; it officially crossed the boundary, leaving our solar system, the first human-created object into interstellar deep space. No wonder those scientists were so proud of what they accomplished.
(director Emer Reynolds and editor Tony Cranstoun talking about The Farthest at the Edinburgh International Film Festival, pic from my Flickr)
And one day, when the power finally fades, and those last reports dwindle into static, Voyagers will still have one mission as they continue on to the stars: the gold disc, humanity’s message in a bottle, that wonderful optimism that permeated the Voyager missions, that Reynolds brings out in her interviews with the science team in the film, will power that final mission, perhaps forever. This is a remarkable documentary, celebrating the ingenuity, the science, glorying in the wonders discovered, but above all it is about the people behind it, who built a dream and sailed it across the worlds. For anyone interested in science and space exploration this is unmissable.
This review was originally penned for the Forbidden Planet Blog; The Farthest will be released in Irish cinemas on July 28th
Starring Kiki Sugino , Munetaka Aoki, Mayu Yamaguchi
Another of the films I caught during the recent Edinburgh International Film Festival was Kiki Sugino’s hauntingly beautiful film from Japan, Snow Woman. Drawing on an ancient folkloric tradition of the Yuki-onna, a spirit, almost ghostly being who, like the vampire, has had many variations in the telling and re-telling of her tale across the year. Here director Sugino takes the eponymous role, first appearing in an opening prologue, shot in a silvery black and white as a pair of hunters struggle through heavy snow on the mountains around Hiroshima, the elder male clearly losing the struggle, his young companion aiding him into the relative shelter of an old hunting cabin.
Awoken in the middle of the night, the younger man, Minokichi, is frozen by terror as much as the bitter cold, for their rough shelter has been invaded silently by a pale woman with piercing eyes and long, dark hair, crouched over his companion, and as her chill breath passes over his face the older man dies. Turning her attention to Minokichi the Snow Woman looks as if she is about to do the same to him, but then she tells him she will take pity on him because of his youth, and spare his life, on the condition he never tell another person what happened (a detail nicely lifted from one of the more popular versions of the many stories of the Snow Woman in Japan).
Moving to colour, it is now much later, the winters have departed the mountains, and Minokichi is returning from a hunting trip when he finds a beautiful woman alone on one of the paths. She asks the way to the ferry, and he takes her, inviting her to spend the night in the home of he and his elderly mother. The woman, Yuki, is beautiful but quiet and mysterious – she seems not to know where she came from, or of any family, but she is pleasant and both Minokichi and his mother are happy for her simply to stay with them, Minokichi slowly falling in love with her and asking her to become his wife. And for many years they are quite happy – Minokichi is curious about his strange wife, but as they live and love together and even have a child – a girl, Ume – he swallows this curiosity and seems content to live his life with wife and daughter in their small, barely changing village.
Of course it can’t last – Yuki has a familiar look to her and it is clear Minokichi has wondered if she is related to the Snow Woman he encountered (but if so how can she be here living as a human wife outside of her winter season?). He bites back his curiosity, partly perhaps because the Snow Woman warned him never to mention what happened on pain of death, but mostly, one feels, because he loves her and his daughter. But as the years pass – Yuki looks no older than the day she arrived – and their daughter starts to grow up, events start to happen around the village and mountain, strange deaths, the victims frozen…
This is such a beautifully crafted film – despite the supernatural elements and the folklore it is based on, it avoids the route of J-horror, instead creating a more chilling atmosphere in some places (no pun intended), like a Victorian ghost tale, perhaps. But mostly this is less a tale of strange spirits and more a tale of love and people and men and women, and how they can love one another truly but still sometimes simply cannot share a life, or at least not always, and sometimws can’t even communicate properly to one another (“husbands and wives are strangers to each other” Minokichi’s mother once tells him), a theme of Sugino’s other works too – she explained in a Q&A after the film that as a Korean-Japanese the idea of the outsider and not quite understanding one another is one she is very familiar with, while the tale itself reminds me of elements of the Selkie wife from my own country’s folklore tradition.
Snow Woman is a work of beauty though, the slow pacing and the almost timeless setting (a few items, like electric lights, hint at mid-20th century, but the village and clothing could be almost any time in the last few hundred years) allowing the audience to sink into the pace with the nature the villagers live closely to, and there is a real feeling of the turning of the seasons here (appropriately enough as some versions of the Yuki-onna associate her with seasonal spirits), the feeling of the village life in the shadow of the mountains and forest, the closeness of the natural world (and the supernatural Other World), told in some luscious cinematography and clever, precise use of soundscape until it feels less like watching a film and more like walking slowly through a dream. I can see why Sugino is making a name for herself in Asian cinema.
(Kiki Sugino talking after the film festival screening of Snow Woman)
This review was originally penned for the Forbidden Planet Blog
I’ve been pretty busy watching lots of different types of movies during the Edinburgh International Film Festival over the last few days and it hasn’t left me much free time to pen some reviews, so apologies in advance for bundling one of the feature length animated films with a quick selection from some of the short animation programmes.
My Entire High School Sinking into the Sea,
Directed by Dash Shaw
Starring Jason Schwartzman, Lena Dunham, Reggie Watts, Maya Rudolph, Susan Sarandon
When I saw this appear in this year’s Edinburgh International Film Festival programme I must confess I was minded to book it just on the strength of that title alone – I mean, come on, how could I resist a film with a title like that? Then I found out it was from US comics creator Dash Shaw, so I was doubly determined to go and see it while I had the chance.
Dash and Assaf are best friends at school – in fact the don’t really have any other friends, although Dash, now growing out of his teen acne years, is trying to be more positive about the start of their sophomore year and with big plans for what he and Assaf will do on the school paper. Except Dash is a terrible writer and happy to make up screeds of nonsense flavoured with liberal amounts of purple prose. When the school paper’s editor Verti assigns Assaf a solo writing job it becomes clear that, in that ancient rights-of-teen-passage, two best friends are about to be parted by a woman coming into the lives of one of them, and Dash isn’t happy about it.
In fact Dash is so angry he concocts another of his fake news stories, but this time full of accusations about Assaf, hurtful and quite nasty stuff, which not only hurts their friendship, it earns Dash a visit to the office of Principal Grimm and a note on his permanent record. Still hurt and petulant, Dash sneaks into the archives – a rat-infested basement of cardboard boxes full of school records and confiscated cellphones – to grab his records, but when he does so he also finds some hidden documents about the new senior school auditorium which is about to open on the top floor of Tides High. And among them he finds paperwork from the state surveyor saying the building is already structurally unsound and the new addition will add to that, especially as the school sits above a fault line, right on a cliff by the ocean. Given the location and the film’s title (it really does do what it says on the tin!), I think you can see where this is going…
Dash finds that the principal has forged papers saying the building is sound – finally he actually has a real, important, powerful news story for the school paper. But in classic boy who cried wolf mode, nobody believes him even though this time he has a real story and even the documentary evidence. But events are about to prove him right, although too late for many, and crunch and splash, the school is indeed in the sea, and it is sinking. Cue survival time as former friends and mis-matched students and staff – including the formidable Lunch Lady Lorraine (played by Susan Sarandon, no less!) – choose their paths, some leading to watery death, some a possible, desperate way out.
This was huge fun – sure the animation is pretty basic, guessing executed on a really small budget, it’s kind of Daria-level animation, but Shaw and company don’t let that hinder then, in fact they seem to glory in it, delighting in using odd combinations of colours and perspectives so that, although fairly basic animation, visually it all works nicely, keeping the eyes interested while the story hooks the brain. And yes, the story is essentially mashing a bunch of 1980s high school movies mashed up with The Poseidon Adventure, but it really doesn’t matter, it’s just a great ride as the kids have to make hard decisions and work together to try and survive, all handled with some out-there artwork and perspectives. Inept teachers, a cool lunch lady, lost juniors, jock-like seniors, gruesome deaths, sinking high school and even sharks, plus friendship and romance and comedy, I mean what else do you need??
The McLaren Animation Awards
I always make a point of going to the annual McLaren Animation strands at the Edinburgh International Film Festival – there are so many interesting short animation works being produced and yet we so rarely get to see them properly, on the big screen in a cinema, so I usually try to get to both strands of the McLaren, which celebrates and promotes new and emerging UK-based animation talent, and, rather pleasingly I think, the awards are voted on by the actual audiences, so it is the people who came along to watch, enjoy and support the works who get to cast the votes which determine the winner.
This year’s McLaren Award for British Animation went to Paloma Baeza for Poles Apart, which was a lovely piece of stop-motion work in which a back-packing grizzly bear arrives in the Arctic, and meets a starving polar bear. Using humour and friendship this short story gently raises the increasingly dire spectre of climate change and the human impact on the natural world, without getting on a soap box – in fact at at Q&A after the screening Paloma noted she wanted to say something about this global problem, but not in a way that may put people off or come across as lecturing, and she succeeded admirably in this (and also raised smiles into the bargain, it is a lovely wee work),and kudos to her for getting a major actor like Helen Bonham Carter to voice the polar bear:
There are a good couple of dozen short animation works shown across the two annual McLaren screenings at the film fest, and there isn’t really space or time for me to mention each of them, and, as with any collection of quite different works (very different approaches in subject matter, style, execution and so on), some are going to appeal more to some viewers, while others may appeal more to different viewers. But there were so many interesting works that I have to pick out a few that struck me personally.
Will Adams’ Nothing to Declare starts as a warm, inviting piece – a young man off on his travels before he settles down to life, sends back a package for his little sister from South America. A little after this, right before Christmas, he returns back to chilly Scotland from Brazil, the family flat is warm and inviting, Christmas music plays, the windows glow with that warm, cosy glow that looks so inviting from a winter street. But when he gets inside it takes a very dark, actually quite gruesome twist that wouldn’t be out of place in an old EC Comic – I didn’t know until afterwards that the story here was from Scottish comics legend Frank Quitely. Will spoke at the Q&A afterwards and said he and some of those involved used to share space in the famous Hope Street studios in Glasgow with Frank and other creators, and when asked if there may be future collaborations between the animation team and Scottish comickers, he said they hoped to do more (although given the time even short animated films take, it could be a while before we see any new fruits of such collaborations, but fingers crossed!)
(home in time for Christmas – a scene from Nothing to Declare)
Elizabeth Hobbs’ G-AAAH was an utter delight. Elizabeth celebrated the epic solo flight from Britain to Australia by Amy Johnson in 1930 (the title refers to the plane’s call sign), and she does it all using an old Underwood Typewriter (Amy was a typist before she was a famous flyer). ASCII characters from the old typewriter come to life on the paper, taking the shapes of the aircraft, the stars in the skies, the seas below, it’s a beautiful example of the ways in which a talented animator can use almost any medium to create the sense of something vibrant and living.
Jack Newman’s Escape From Syria – Faiza’s Story, was based on the testimony of a young mother, Faiza, who saw the slow disintegration of Syria, from their comfortable home to a place of horror and terror; by the time her brother is kidnapped the family realises they, like so many others, cannot stay any longer in their own land and have to flee – the artwork is based on drawings by Faiza’s own children, who have seen things no child should, and it gives an added power and emotive blow when watching the film. Jennifer Zheng’s Tough explored both the generational and cultural gaps that can happen in immigrant families, her parents Chinese who fled to Britain, the daughter considers herself British through and through, but as she gets older she starts to realise she has a whole cultural heritage she hasn’t explored. Sam Healy’s Wires (A Cyber Fairy Tale) was only four minutes, but managed to combine both comedy and tragedy as two small robots break the continual loop of their fellows’ existence, but find a price to pay.
I loved Lila Babington’s Tunnel Vision, a mixture of stop-motion, live-action and puppetry, in which the protagonist chases her errant shoelaces, which slip away in the woods like a writhing worm and burrow underground – on chasing them she finds a strange chamber and an odd creature under the earth, in a short that has a pleasing nod to the great Jan Svankmajer (and perhaps to Del Toro’s Pan’s Labyrinth as well). Daisy Jacobs’ The Full Story uses mixed media animation and live action as a man is showing an estate agent his family home, in preparation for selling it, triggering flashbacks to his childhood and the magical happiness of being a kid slowly being pulled apart as his family breaks up; it’s very effective in the different styles used through the short film, and delivers a good emotional wallop. Karni & Saul’s Perfect World is an enchanting fairy tale of a mother and child told in a world made from the sugar granules on the kitchen table; it was made for Katie Melua’s album In Winter.
Directed by Bong Joon Ho,
Starring Tilda Swinton, Paul Dano, An Seo Hyun, Byun HeeBong, Steven Yeun, Lily Collins, Yoon Je Moon, Shirley Henderson, Daniel Henshall, Devon Bostick, Giancarlo Esposito, Jake Gyllenhaal
Bong Joon Ho brought us the brilliant monster movie with a twist, The Host and the film adaptation of the Snowpiercer graphic novels, so when I saw his latest film, Okja, was due to make its bow at the Edinburgh International Film Festival, I had to grab myself a ticket. A Korean film in both Korean and English – and boasting a nice bonus in the form of the great Tilda Swinton – Okja sees a huge multinational attempting to rebrand itself away from its toxic image, with new CEO (Swinton) waging a PR blitz to try and make the company look warm, eco-friendly and fuzzy after the reign of her father (who even his own family admitted was psychopathic). And the main plank is the superpig, which, over the next ten years, as well as being studied by their own scientists, will be given to traditional farmers in different parts of the world to raise for ten years.
Following the slick (and sickeningly obviously fake) PR launch (riffing nicely not just on how heartless corporations try to hide their agendas with a feel-good PR blanket but also the way so many super-rich CEO seem to desperately want the public to love them), we move to the mountains of Korea and meet Seo-Hyun Ahn’s Mija, who loves with her grandfather and Okja, their now fully adult superpig. Okja is less farm animal and more family member/pet (let’s be honest, to most of us pets are family members), and we get to see Mija walking with him through the woods, playing with him, tapping the sleeping giant animal so he rolls over on his back and she can sleep on his tummy. It’s all quite adorable and I take my hat off to the very young Seo-Hyun Ahn for being able to give such a convincing and emotional acting job to a CG creation she couldn’t see when the film was shooting, it’s a terrific job for such a young actress, and it isn’t long before the audience totally buys into their relationship.
But the day is coming when the corporation wants to pick up Okja and take him back to their American facility, hold their even bigger publicity show and then… Well, gigantic or not, what usually happens to farmed pigs sooner or later? Mija is heartbroken at Okja being taken away from their hillside farm, this is her best friend in the world, and the animal is so clearly bonded with her too. She decides to set off to Seoul after Okja, in what could, in other hands, have become a clumsy Disney-esque “incredible journey” type tale, but fortunately never does. Enter some comedic light relief in the form of some animal liberation activists, apologising to everyone for any harm as they try to free Okja. They have a longer term plan though, and Okja and Mija become a part of it – and of course the corporation too has plans to use both superpig and adorable young girl for their own ends, and the pair are caught between them.
This was such an utter delight – adorable and emotional in places, often wonderfully funny in others, and with some deliciously satirical barbs, especially for giant corporations, the spin doctors who spend vast sums trying to persuade the public how nice they are (really, we are not evil, honest!), and most especially on the way humans treat animals, especially food animals. I don’t think the film is trying to persuade anyone to become a vegetarian (although some scenes made me glad that I am), but certainly to think about the mass-production of animals for food and the appalling way thousands of animals are treated every day so we can buy cheap food from the supermarket and not bother our consciences by thinking of what sort of life the animal that ended up on our plate had before its demise.
The story moves from sweetly emotional to gleefully satirical, with swipes at Almighty Power and healthy doses of our old friend The Absurd, saving perhaps for a later scene where we see what is to happen to the animals, which is just horrifying. The CG for Okja is terrific, the animated animal coming across much more like a giant, good-natured Labrador than pig, and young Seo-Hyun Ahn’s acting with this creature added in post-production totally sells the relationship and is the heart of the film, while Tilda Swinton’s increasingly deranged CEO steals scenes left, right and centre. This is an absolute gem.
This review was originally penned for the Forbidden Planet Blog
This animated film, based on the manga by Fumiyo Kōno, has been huge in Japan, and I’ve been eager to see it, so when it appeared on the programme for this year’s Edinburgh International Film Festival I booked myself a ticket right away (for those not lucky enough to get to the festival, it is getting a limited UK release over the next couple of weeks, so check your local listings). I was not disappointed; this is a beautiful piece of animation, and quite emotionally satisfying too.
The story is set in 1930s and 1940s Japan, and although the Second World War will be an important part, this is not a war movie. At least, not in the usual sense of a war movie – this is a slice of life, following a young woman, Suzu, from childhood through to early adulthood and marriage, and the wartime years give us a view of the conflict from the perspective of the home front, of civilians who don’t really know what it is all about (only what strictly controlled propaganda the Japanese government give out) and are, basically, increasingly caught in the middle of this titanic struggle, some of them paying the price for events they never instigated or had any real say in, just like untold legions of ordinary civilians through every war in history.
But the war, while important and having lasting ramifications for Suzu and her family, is only one part of the tale here – this is Suzu’s story of her life, not of the war, we concentrate on her and her family, and that gives the whole film a huge amount of emotional resonance. We see her as a little girl, helping her family to collect and dry seaweed, the story littered with loving little details of a bygone era, such as their family, on one special day of the year when the tides are exceptionally low, able to walk right across the now waterless bay to visit their relatives on the other shore (and rush back before the tide returns), a reminder of a time when most ordinary people rarely moved much further than their own small town (trains are pricey and cars very rare). This is a time not really that long ago – we’re talking about the sort of world many of our own grandparents would remember.
We see Suzu as a girl, a bit of a daydreamer, and an artist – a good one, at that. And she has an affinity to often see the art in many situations, although this often means she loses focus on the here and now (in one scene during an air raid the puffs of smoke from the anti-aircraft fire become a beautiful Impressionist painting to her eyes – gorgeous but it also means she is too mesmerised to take cover…). Her family lives in Hiroshima, but when she turns eighteen Suzu is offered marriage to a young man she doesn’t know. It’s not an arranged marriage, as such, the families discuss it, and it is clear she can say no, but although allowed, it’s not really the done thing. And so she goes to live with her new husband and his family in Kure, some distance from Hiroshima (again, like her family across the bay it isn’t that far, not to us with cars and fast trains, but back then it’s a big wrench).
Kure is a major naval base, and as Suzu settles into her new life the ships of the Imperial navy are a backdrop – her husband is a civilian navy worker, and her adorable little niece Harumi loves looking at the ships and telling her new aunt which ones are which, while she sketches (this leads to an ugly scene where the military police almost arrest her as a spy for sketching the ships in the bay – this was a time where Japanese citizens could be arrested and disappeared for anything that might hint at questioning the wartime government). And of course as the years roll on the war draws closer – and a naval base like Kure is, inevitably, going to become a target. And such are the horrible fortunes of war that we know it won’t just be the military or industrial targets which end up in the bomber’s crosshairs, it will be the town, the people, including women and children.
In This Corner of the World powerfully illustrates the indiscriminate horror of mass bombing – this is Japan (at this time “the enemy”, as if that makes it any better), but it could have been Clydebank, Coventry, London, Dresden, Guernica or the cities of modern Syria, or anywhere else where civilians are seen as “collateral” damage, and the film shows this both on the personal scale for her family and friends, and on the wider scale (those classical wooden Japanese buildings razed to the foundations by fire-bombing, street after street gone). The atomic bombing of her hometown is, understandably, a major moment, and one we, with the benefit of historical hindsight, know is coming closer and closer, until the day we see that huge flash in the sky, and the awful blastwave that follows.
But while the film shows the hideous aftermath of this first use of nuclear weapons, it doesn’t just show Horishima as the city that the Bomb was dropped on, it shows us the city in the years before, a real, living place and people, and brings it to life, based on the memories of some older survivors and on period photographs, the now iconic Genbaku Dome – the Atomic Dome, one of the few structures close to the blast which survived, and is now a symbol of both the horrors of warfare and the need for peace – clearly visible as tram cars and people pass in the streets, then again in the irradiated ruins afterwards, but then there it still is, after all this passes and the city is reborn.
In This Corner of the World brings us happy moments and very sad ones, some utterly beautiful scenes and some steeped in sorrow; despite the intrusion of the huge, global-altering events of the war, it is, at heart, a family story, a story of a life, with the ups and downs, the moments that we all get, the moments where we feel life has broken us beyond repair but then the moments that make our souls sing with joy, and make it all worthwhile. This is an utterly gorgeous work, and one best seen on the big screen.
This review was originally penned for the Forbidden Planet International Blog