My second day at the festival (actually the festival’s fourth day overall, Sunday, November 5) included screenings of The Crescent and Housewife, the latest from Baskin director Can Evrenol.
Canada. Directed by Seth A. Smith. Starring Danika Vandersteen, Woodrow Graves, Terrance Murphy, Britt Loder. 99 minutes.
Canadian filmmaker Seth A. Smith takes a cue from 2001: A Space Odyssey and turns the Infinite into a full-on psychedelic experience with The Crescent, using an artistic technique called “paper marbling” as a symbolic element while lulling the audience into a state of emotional suggestion with dense electronic-ambient soundscapes.
Oh, and there’s a story in there as well. Recently-widowed mother Beth (Danika Vandersteen) and her toddler son Lowen (Woodrow Graves) navigate the not-entirely-metaphorical waters of grief at Beth’s mother’s remote seaside house. There they come to the attention of old, creepy Joseph (Terrance Murphy) and young, enigmatic Sam (Britt Loder), representing opposed forces who want to use Beth and Lowen—mostly Lowen—for their own ends.
I could have done without the plot’s development into a supernatural thriller complete with third-act twist, but I don’t think that hurt my overall impression of the film. Even so, I don’t think there are too many other filmmakers out there doing this kind of thing, so I’m in.
Turkey. Directed by Can Evrenol. Starring Clémentine Poidatz, David Sakurai, Ali Aksöz, Alicia Kapudag, Defne Halman. 82 minutes.
The giallo influence on Can Evrenol’s sophomore effort has been overstated somewhat, but it’s certainly there: primary-color lighting sources abound, and lead Clémentine Poidatz has the look of someone who should really be in a Forzani-Cattet film. The plotline—a young girl watches her mother murder her sister and father, and grows up to gain the attention of a cult called the Umbrella of Love and Mind, two events that are strongly entwined—is 100% pure Modern Weird Fiction, not too far off from a short story Tom Ligotti or Laird Barron might write.
Housewife is as weird and violent as Baskin, but largely not as unsettling: the ULM and its rock-star-ish leader (David Sakurai) are too over-the-top to take seriously (even though I’ve seen video footage of Scientology conferences bearing a resemblance to the ULM seminar we see here). On the plus side, I was impressed by the screenplay’s clever structure.
One other thing—if Clive Barker’s serious about doing that Hellraise remake, Evrenol should be at the top of his wish list to direct.
On Monday, scream king Graham Skipper (The Mind’s Eye, Beyond the Gates) steps behind the camera for his directorial début Sequence Break, Canada offers up a zombie-comedy with Dead Shack, and the 33mm Italian-language print of Suspiria discovered by the Chicago Cinema Society last summer finally gets its hometown screening.