SFFF Day 1 Report – An Apocalypse, a Dystopia, and a Hyperreality Walk Into a Film Festival …

The Saskatoon Fantastic Film Festival has upgraded the apparatus with its 2018 edition. That means fewer midnight screenings in favour of an extra day of programming, a 3-hour cartoon and cereal party, a snazzy new booklet, new voting ballots, some clever bumpers running before the screenings, sponsorships and promotions from Vinegar Syndrome and Shudder, and even an after party with cast and crew of Supergrid. And with turnout for Day 1 looking robust, Festival Director John Allison and his team must be feeling positive about the prospects for this year. There’s always a desire to find a theme to a given day’s program but finding a common thread between Anna and the Apocalypse (John McPhail, 2018), Rock Steady Row (Trevor Stevens, 2018), Videodrome (David Cronenberg, 1983), and their supporting short films is something of a challenge. At best, it might be said that most of these films attend to breakdowns in community and some very unlikely ways to reassemble them.

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Trailer Tuesday

Criterion’s announcement of new releases for May was a landslide of titles with a stunning nine new films joining the Collection and two blu-grades thrown in for good measure. It’s pretty impressive for a month without any titles including the name “Zatoichi.” And while Martin Scorsese’s World Cinema Project No. 2 is an amazing addition that includes titles by Edward Yang, Lino Brocka, and Apichatpong Weerasethakul, MMC! is most excited by the new edition of Yasujiro Ozu’s Good Morning (1959), a delightful film with a very dated DVD. Here’s hoping that Shochiku’s 4K restoration is as great an up-grade as Tatsuro Kiuchi’s new cover treatment!

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