Happy 2019, kids! It’s less than a week after New Year’s and that means it’s primetime at gyms everywhere, so it’s the perfect opportunity to spend time with Ben Berman’s hilarious, moving, and all too true short film, How To Lose Weight in 4 Easy Steps (2016). The film is based on Aaron Bleyaert’s essay of the same title, discovered by Berman when it was forwarded to him by a friend after joining a gym. The short was shot in two halves with SNL‘s Beck Bennett (in a wonderful starring performance as a heartbroken mattress salesman) losing 30 pounds in the three months in between. Funny and disarmingly inspirational, How to Lose Weight in 4 Easy Steps is actually perfect anytime of the year.
This post is naturally dedicated to work-out loving wife and her friend who love anything with “humping” in it. LOL.
I feel like 2018 is the year that the internet had enough of people saying that Die Hard (John McTiernan, 1988) is a Christmas movie and I’m thankful. Don’t get me wrong; I love me some Die Hard but the self-congratulatory smugness of the Die Hard-as-Christmas classic declaration had its day long ago. To both celebrate and hopefully memorialize this effort in a once clever and now tired idea, MMC! wishes everyone a safe and happy holidays with Brad Neely’s 2009 Baby Cakes short, The In-House Carol, a crudely fashioned and hilariously daft portrayal of Die Hard love gone too far.
SEASON’S GREETINGS TO ALL!!!
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.