The final day of the Saskatoon Fantastic Film Festival opened with Matthew Rankin’s The Twentieth Century (2019), a fictionalized portrait of Canada’s weirdest, longest-serving, and middlest-of-the-road Prime Minister, William Lyon Mackenzie King. The film side-steps Mackenzie King’s secret spiritualism and instead creates a broader, stranger fantasy of Canada at the dawn of a new era. Rankin’s prerecorded introduction for the film described it as “nightmarishly Canadian” and his words were apt. The Twentieth Century is an Eraserhead/Isle of Dogs-esque imagining of Canadian history and culture, one obsessed with maple walnut ice cream, the scent of fresh timber, passive-aggressive manners, Indian leg wrestling, and medicinal “puffin cream.” Inspiration was taken from the Prime Minister to-be’s personal diary and Rankin connected with Mackenzie King’s tendencies toward vanity, repression, self-righteousness, and self-pity. Played by Dan Beirne with petulant primness, Mackenzie King struggles to achieve his maternally prophesied political and romantic aims (and sublimate his dominating shoe fetish), and the film traces his misadventures through the brutalist interiors of Rideau Hall, the frozen utopia of Quebec, a sunny and freshly logged, new age Vancouver, and a baseless and fetid Winnipeg.
A former Winnipegger himself, Rankin carries on the prairie post-modernism of Guy Maddin and John Paizs, and like his predecessors, Rankin finds ways to make a hard earned dime look like an eccentrically spent dollar (or loonie). Hand-painted and animated in sections by Rankin himself and utilizing a palette that evokes the colours of Canadian banknotes, The Twentieth Century’s stunning production design recalls earlier film eras with its intertitle chapter cards while it also embraces the fresh Canadianness established in the aesthetics of Group of Seven painters like Lawren Harris and York Wilson and the modernist designs of Expo ’67. Rankin even loads his historical subject with a gleeful perversity and a shameless phallocentricism that would do Ken Russell proud – watch out for that ejaculating cactus and that narwhal horn! The Twentieth Century is an acid trip-take on peace, order, and good government and it is staunchly glorious.
Oscilloscope Laboratories has picked up the rights to Rankin’s brilliant film and we can only hope that its eventual hard media release will not only include The Twentieth Century but also many (if not all) of Rankin’s short films including Negativipeg (2010), the most Winnipeg-ish thing I’ve ever seen committed to film.
The Saskatoon Fantastic Film Festival has reached its landmark tenth iteration this year and Festival Director John Allison and his team have ensured that this is the Fest’s biggest and brightest year yet by expanding it to six days, hosting a Drunken Cinema screening of A Nightmare on Elm Street, hosting another Saturday Morning All You Can Eat Cereal Cartoon Party, and bringing in as special guests director Joe Dante and actress Belinda Balaski for a three film retrospective. The SFFF kicked off with something of a soft-open with another new addition – a five film virtual reality experience held preceding the theatrical film program each weekday. Attendance was sparse on Day 1 so let this be a warning to those content to let the VR program pass them by – miss the SFFF’s Virtual Reality Experience section and you will certainly be missing out on some of the Fest’s most intriguing aspects.
In anticipation of our next found footage Criterion proposal, MMC! is taking a brief and relevant tour through a favourite genre – the city symphony. We start with the unconventional example of Claude Lelouch’s C’etait un rendez-vous (1976), a thrillingly accelerated tour through Paris, from the Paris Périphérique tunnel, around the Arc de Triomphe, through red lights, up one-way streets, and across centre lines to the Sacré-Cœur Basilica and Lelouch’s then-girlfriend Gunilla Friden. Lelouch shot the film himself one Sunday morning in August, driving a Mercedes-Benz 450SEL 6.9 with a camera mounted to its front bumper and reaching a top speed of 200 km/h, although the film’s soundtrack is dubbed to the sound of the director’s Ferrari 275GTB. The short gets much of its charge from the fact that Lelouch is obviously not driving on a closed course. In fact, Lelouch had only one assistant along the route, Élie Chouraqui, who was posted at the Rue de Rivoli with a walkie-talkie to caution Lelouch on the blind junction located on the other side of an archway. The radios failed but Lelouch thankfully had a green light.
Those looking to connect C’etait un rendez-vous with our upcoming proposal might consider the short’s unconventional approach to the city symphony, the prominence of driving, and the potentially self-destructive actions undertaken for a beautiful blonde at an old basilica.
The Criterion Collection, a continuing series of important classic and contemporary films presents Maya.
Maya, a Hindu word describing magic and illusion, is embodied in Bella (Viviane Romance), a bewitching prostitute in an atmospheric port town who conjures the fantasies of visiting travelers and temporarily becomes the women of their dreams. The pragmatic Bella has no expectation of finding true love or leaving her profession until she meets Jean (Jean-Pierre Grenier), a passing sailor who saves her from the police and devotes himself to building a life with her, provided fate does not intervene. Based on Simon Gantillon’s successful play and produced by Viviane Romance herself, Raymond Bernard’s Maya deftly blends the styles and techniques of poetic realism, film noir, melodrama, and Cocteau-like fantasy to create a world of mystery and eroticism.
- Restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray
- “The Film That Made You,” a 1989 conversation between Viviane Romance and Louis le Roy
- Interview with film critic Italo Manzi on the casting and distribution
- New English subtitle translation
- PLUS: Essay by filmmaker Guy Maddin
Designed for the film lover in mind, SHOUT SELECT shines a light on films that deserve a spot on your shelf. From acknowledged classics to cult favorites to unheralded gems, SHOUT SELECT celebrates the best in filmmaking, giving these movies the love and attention they deserve.
TO THE POLICE STATION!
When Louis Fugain (Grégoire Ludig) finds a dead body in front of his apartment building in the middle of the night, he makes a terrible mistake and reports it to the police. Obsessive police superintendent Buron (Benoît Poelvoorde) makes Fugain his chief suspect, leading to an absurd, all-night interrogation set in a campy ’70s police station and Fugain’s increasingly compromised memories. Soaked in dark humor and bloody fun throughout, Quentin Dupieux’s latest opus, Keep An Eye Out!, is a twisted celebration of classic French police procedurals through the lens of his own nonsensical brand of quirky, offbeat humor, performed by France’s most refreshing comedic talents.
The Criterion Collection, a continuing series of important classic and contemporary films presents Knife + Heart.
In the neon glow of 1979 Paris, Anne (Vanessa Paradis) makes her living producing low-budget gay pornography and struggles with the heartbreaking rejection of her longtime lover and current film editor Loïs (Kate Moran). She aims to inspire Loïs back into loving her with increasingly ambitious productions, even using the murders of her actors by a leather clad killer as inspiration, but as the killings continue and her troupe becomes increasingly cautious, Anne assumes the role of amateur sleuth investigating the secret of the mysterious figure that stalks her company. Deftly blending Parisian porn silliness and Italian slasher conventions with a pulsing score by electronic music group M83 and a perfect period production design, Knife + Heart is an affectionately queer tribute to cinema’s body genres and to love in its many forms.
- 4K digital master, approved by director Yann Gonzalez and director of photography Simon Beaufils, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
- Two audio commentaries, one featuring Gonzalez and actors Vanessa Paradis, Kate Moran, and Nicolas Maury, and the other featuring Gonzalez, Beaufils, co-writer Cristiano Mangione, and production designer Sidney Dubois
- New interview on the film’s soundtrack with Yann Gonzalez and his brother Anthony Gonzalez
- New interview with historical advisor Hervé Joseph Lebrun on the 1970s Parisian porn scene
- Mondo Homo: A Study of Gay French Porn in the ’70s, Lebrun’s 2009 feature-length documentary
- New English subtitle translation
- PLUS: An essay by Anthony Nocera