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
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!
‘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.
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 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 its 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.
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.