The Saskatoon Fantastic Film Festival closed with a massive final day that included five feature films, five shorts, and screenings of the films participating in the Festival’s 48 Hour Movie Making Challenge. SFFF closed the four day run with a trio of Asian films – the Mo Brothers’ Headshot (2015), Yeon Sang-ho’s Train to Busan (2016), and Kôji Shiraishi’s Sadako vs. Kayako (2016) – that were collected to thrill audience members and get their communal adrenaline pumping. These efforts seemed to prove successful, but the best of Day 4 was found elsewhere and the final day offered some welcome surprises along the way.
Day 3 put generational conflict at the forefront of the SFFF and the kids were far from alright. It also marked the Festival’s greatest distance from the horror genre, moving into the rock-doc, the coming of age film, and whatever kind of trash bag meltdown The Greasy Strangler may be. That’s no criticism of Jim Hosking’s film; just a statement of fact. We’ll get to 2016’s most notorious film soon enough, but first things first…
Saskatoon is slightly warming as the week proceeds. I’m reluctant to say this is directly attributable to the Saskatoon Fantastic Film Festival but after a surprisingly strong Day 2, I see no other credible explanation for it. Including the What the Hell! – Totally Messed Up Short Films block, Day 2 offered 16 different works for consideration, injecting a heavy dose of bizarro randomness into the Festival and creating a decidedly different tone from the previous day’s atmospheric horror extravaganza.
The last days of autumn are leaving Saskatoon and the sharp, cold grip of winter is in the air. It makes for a slightly uncomfortable walk to and from the Broadway Theatre, but perhaps that’s a fitting atmosphere for the Saskatoon Fantastic Film Festival’s program of highly honoured films. Those looking for name recognition in its stars or those resistant to reading subtitles are missing out on some of the best genre films of the last year or two. Day 1 of SFFF may prove to have been its strongest, with a brilliant collection of award-winning horror films. Domestic spaces loom prominently in this first block of films, suggesting little safe territory moving forward into the Festival.