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 banner event for Day 4 of the Saskatoon Fantastic Film Festival was the Drunken Cinema screening of Wes Craven’s A Nightmare on Elm Street (1984), described by Drunken Cinema‘s attending creator Serena Whitney as “the scary one.” Audience members had rules to follow, glow sticks to shake, and themed cards with personalized drinking rules to enhance their interaction and to get soused in the process. The event seemed an ironic success considering that nearly all the screenings at the SFFF are licensed and the Broadway Theatre’s concession stand was ready to make every screening drunken if patrons were so inclined. Still, the appeal of endorsed booze and rowdiness cannot be underestimated and Saskatoon movie fans can expect to seen more Drunken Cinema events between now and the next SFFF.
The second day of the Saskatoon Fantastic Film Festival leaned into bad behaviour, mostly by men, mostly among (supposed) friends. The program started light with Brent Hodge’s Who Let The Dogs Out (2019), an MMC! favourite of this year’s Calgary Underground Film Festival. Hodge, Alberta-born and in attendance at the SFFF, has found a niche with his self-described “comedy documentaries” like Freaks and Geeks: The Documentary (2018), I Am Chris Farley (2015), and A Brony Tale (2014), and Who Let The Dogs Out further confirms Hodge’s mastery of the subgenre. Devoted to the Baha Men’s 2000 hit “Who Let The Dogs Out,” its myriad authorship claims, and its various legal battles among friends and stranger alike, Hodge distills Ben Sisto’s eight-year exploration and three-hour lecture on the track into a tight, enthralling 62-minute doc. Sisto acts as the song’s scruffy biographer, travelling the world’s music studios, courtrooms, and high schools to trace the origin of the song’s ubiquitous catchphrase. This BOSUD (a “biopic of someone undeserving,” to use Dennis Bingham’s terminology) is a definite crowd-pleaser, being far more fascinating that its novelty subject matter should allow for. The SFFF was the last festival stop for Who Let The Dogs Out as it now transitions to cable and streaming platforms. Look for it on Crave in Canada!
The Criterion Collection, a continuing series of important classic and contemporary films presents Monos.
On a far away South American mountaintop, a group of adolescent child soldiers guard a kidnapped American woman for the Organization, a bandit militia that demands complete obedience from the youngsters. When a borrowed milk cow is killed and a battle approaches their mountain refuge, the group is sent to guard their prisoner in the dense jungle below where resentments, paranoia, and power struggles turn into a nightmarish fight for authority and survival. Charged by Jasper Wolf’s crisp, concentrated cinematography and Mica Levi’s titantic score, Alejandro Landes creates a monumental and hallucinatory war film that evokes Joseph Conrad’s Heart of Darkness and William Goldings Lord of the Flies.
- 4K digital master, approved by cinematographer Jasper Wolf, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
- New interviews with director Alejandro Landes, composer Mica Levi, actress Inés Efrón, and cast members
- Video diary shot during the film’s production
- PLUS: An essay by critic Manuel Betancourt
The Saskatoon Fantastic Film Festival’s final day kicked off by wrapping up its body horror retrospective with Philip Brophy’s Body Melt (1993). MMC! imagined an Arrow Video edition of the film earlier this summer, back when word of its restoration began circulating. The film now has a packed Blu-ray release compliments of Vinegar Syndrome, bringing this lesser known wonder to the world. The SFFF paired Body Melt with Chris McInroy’s practical effects-based We Summoned a Demon (2018), a fun and goofy short about a couple of guys who just want to be cool and end up summoning a demon. Overall, a fun way to start the Festival’s end.
Day 4 of the Saskatoon Fantastic Film Festival was loaded with screenings and bracketed by a pair of animated programs – the Saturday Morning All You Can Eat Cartoon Party and the web-series Crisis Jung (Baptiste Gaubert and Jérémie Hoarau, 2018). MMC! has already proclaimed the greatness of Crisis Jung and we’re loath to spoil Keir-La Janisse’s program of Saturday morning content given that it continues to tour festivals and cinematheques. Themes do tend to run through the Cartoon Party programs and “women’s lib” stood at the forefront with cartoon episodes on equal opportunity, commercials for the YWCA, and PSAs that addressed federal pay equity laws through iconic comic book figures. The Cartoon Party enjoyed a large audience that was quick to applaud for great content and progressive messages and to shout along with the enthusiastic narration of the cartoons. Expect to see another Cartoon and Cereal Party at SFFF 2019!