Joe Dante and the 2019 Saskatoon Fantastic Film Festival

It’s funny how things line up sometimes. Only moments after posting our imagined edition of Joe Dante’s The Movie Orgy (1968), MMC! got a text from the Saskatoon Fantastic Film Festival announcing that Joe Dante would be attending the 2019 SFFF along with one his regular performers, actress Belinda Balaski!  Stop crowding me, Joe!

Enjoy the SFFF’s first of many announcements to come:

Saskatoon Fantastic Film Festival, Saskatchewan’s largest feature film festival returns for its 10th edition at the Broadway Theatre this November 19th through 24th with Special Guests Joe Dante and Belinda Balaski.

As part of the 10th annual festival please join us on Saturday, November 23th at the Broadway Theatre for a celebration of the careers of Joe Dante and Belinda Balaski. Dante and Balaski will be introducing and then answering questions for screenings of Gremlins, The ‘Burbs, and The Howling. As a special bonus the Dante directed pieces of Amazon Women on the Moon will be screened in front of The Howling.

“I really wanted us to do something special for year 10 and I can’t think of anything better.  Joe Dante is a true master of his craft and had an immense impact of genre film making and being able to hear stories from him and Belinda Balaski who has starred in a dozen of his movies is a true treat to hear. ” said festival founder and Director John Allison.

The announcement of the full festival line-up will take place in Mid-October. More information is available concerning the Saskatoon Fantastic Film Festival at www.skfilmfest.com and on the Facebook page at www.facebook.com/skfilmfest/.

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Knife + Heart (Yann Gonzalez, 2018) – Ithaca Fantastik 2018

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.

Disc Features:

  • 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
  • Trailer
  • New English subtitle translation
  • PLUS: An essay by Anthony Nocera

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SFFF Day 5 – The Good, the Bad and the Heavy

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.

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SFFF Day 4 – Fractured Minds and Fantastic Capitalism

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!

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SFFF Day 3 – Hard Knock Lives

‘Stead of treated, the kids were getting tricked on Day 3 of the Saskatoon Fantastic Film Festival. Certainly the SFFF’s most celebrated film was Issa López’s festival darling Tigers Are Not Afraid (2017). MMC! has discussed López’s film on more than one of occasion, and so we’ll take its greatness as read and briefly discuss Jérémy Comte’s Fauve (2018), a Canadian short that feels tailor-made to open for Tigers. A Special Jury Prize-winner at this year’s Sundance Film Festival, Fauve concerns a pair of boys exploring a surface mine who “sink into a seemingly innocent power game with Mother Nature as the sole observer.” The short brings to mind Gus Van Sant’s Gerry (2002) and a very specific John Mulaney joke about an impression he had as a child, but these glib comparisons belie the truly heartbreaking nature of Comte’s film. Fans of Tigers would be well served to seek out Fauve.

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SFFF Day 2 Report – Sex and the Unruly Screen

The Saskatoon Fantastic Film Festival’s second day was unusually specific in its program, devoting itself to short films that explored “innocence being encroached upon by outside forces” and a pair of horror-thriller features set around the sex industry. It was an impressive night of screenings, but also one that certainly made demands of its audience.

The “Paradise Lost” block of shorts was long on atmosphere and scares but slim on explication. Most films chose to grab their shocks and get out rather than flesh out their worlds. Faye Jackson’s The Old Woman Who Hid Her Fear Under the Stairs (2018) recalled Bobby Miller’s The Master Cleanse (part of SFFF’s program from 2016 and now titled simply The Cleanse). The short considers the situation of its title character who extracts her sense of anxiety out of herself, hides it in a tin, and faces down some dark, ominous threat that stalks her outside her home. Jackson’s film is wonderfully constructed, full of humour and dreadful tension, and its quality therefore demands more of itself, needing to unpack its conflict and its resolution before letting its credits roll. And the same could be said of other shorts in the block. Milk (Santiago Menghini, 2018) is a chilling tale of a boy trapped between two unsettling maternal figures and choses aesthetics over explanation. Wild (Morgana McKenzie,  2018) is a pastoral fantasy about a girl’s encounter with a magical, deadly, and ultimately unresolved female figure in her uncle’s cornfield. Saturn Through the Telescope (Dídac Gimeno, 2018) follows a boy’s efforts to watch a scary movie at home and is a slickly made and energetic short, while Make a Stand (Camille Aigloz, Lucy Vallin, Michiru Baudet, Simon Anding Malandin, Diane Tran Duc, and Margo Roguelaure, 2017) is a gorgeously animated film set in pre-Columbian Mexico and that seems to tease a supernatural spectacle that never arrives. Uncertainty is a great tool of the macabre, but it’s best used as a lacuna where meaningful questions spring forth. These shorts are uniformly affective and expertly fashioned, sure to be enjoyed by viewers. My only wish is that these films more fully met their narrative challenges as well as the aesthetic ones.

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