On my third day at the festival, I saw two shorts (Feeding Time and Blood Shed), along with two new films (Sequence Break and Dead Shack), along with the Chicago premiere of the uncut, Italian-language, 35mm print of Suspiria discovered by the Chicago Cinema Society last summer.
Short Film: Feeding Time
Directed by Matt Mercer, 2016. Starring Stacy Snyder, Graham Skipper, Najarra Townsend. 13 minutes.
Matt Mercer wrote and directed this delightful little horror-comedy, about a hapless teenager (Stacy Snyder) hired by an eccentric couple (Graham Skipper, of whom more later, and Mercer’s Contracted co-star Najarra Townsend) to babysit. Just lovely.
United States. Directed by Graham Skipper. Starring Chase Williamson, Fabianne Therese, John Dinan, Lyle Kanouse. 80 minutes.
According to an urban legend first recorded in 2000, several units of an arcade game called “Polybius” manufactured by “Sinneslöschen” appeared in the Portland, Oregon, area in 1981. The game was very popular, even though players suffered from side effects like seizures and hallucinations. Black-suited government agents occasionally showed up to download data from the units. After a month, the machines disappeared.
Genre mainstay Graham Skipper takes on the Polybius legend for latest directorial effort Sequence Break. Skipper reunites John Dies at the End power couple Chase Williamson and Fabianne Therese as, respectively, an arcade-game refurbisher named Oz and an aspiring writer named Tess, who find themselves mysteriously drawn to an unnamed game cabinet in the corner of Oz’s work space, which begins to have sinister effects on the couple as they play it.
Skipper connects the Polybius story with the technology-as-flesh motif of David Cronenberg’s Videodrome. Unfortunately Sequence Break doesn’t display the wit or depth of the Cronenberg work. In compensation, the film offers some strikingly creative practical effects work, while Williamson and Therese prove engaging leads. It’s a perfectly enjoyable middle-of-the-road low-budget horror film, probably not something that you’ll regard as a classic in ten years, but a fun way to scratch your horror itch while also engaging in some ’80s arcade nostalgia.
Short Film: Blood Shed
United Kingdom. Directed by James Moran. Starring Sally Phillips, Shaun Dooley. 13 minutes.
In this hilarious British short, cost-cutting measures result in a DIY garden shed that eats flesh and pukes buckets of blood on its owners. The shed’s name is Bunty, and it’s a she, because we all know that sheds are girls, just like cars are.
Canada. Directed by Peter Ricq. Starring Matthew Nelson-Mahood, Lizzie Boys, Donavon Stinson, Valerie Tian, Lauren Holly. 85 minutes.
Aaaaagh, I just could not get into this one at all. Fourteen-year-old Jason goes off on a camping trip with his asshole friend Colin, Colin’s asshole sister Summer, Colin and Summer’s asshole father Roger, and Roger’s girlfriend Lisa. There, they run into Lauren Holly, who’s raising a family of zombies.
As you can probably guess, I decided early on that I hated all the characters, although I expect I was supposed to find them funny. I just found their constant bickering and insults annoying. Judging from the consistent bursts of laughter from the audience, I’m probably alone in that.
I didn’t completely hate the film—I believe I chuckled once or twice, and appreciated the makeup work and production values overall—but this is not going to rank as one of the festival highlights in my memory.
Italy. Directed by Dario Argento, 1976. Starring Jessica Harper, Stefania Cassini, Alida Valli, Joan Bennett. 98 minutes.
Look, I understand why people like Suspiria so damn much. Even today, there’s not much out there that looks or sounds quite like it, and that’s after forty-plus years as one of the most influential horror films ever made. So in 1976, American horror fans must have felt like they were viewing something produced on another planet.
But for myself, while I don’t dislike the film, it does have an actual plot. And I tend to feel that a film that has an actual plot should take care to make sure said plot makes a bare minimum of sense. Suspiria takes place in a world where the standard laws of cause and effect never existed. What does the rain of maggots have to do with anything? Why would a ballet school keep an entire room filled with coiled razor wire? Why doesn’t Sara tell Suzy what Pat told her before running off into the night? Why doesn’t Suzy ask Sara to tell her?
(On a positive note, I have finally seen the scene where Daniel gets kicked out of the academy, so the reasoning for his murder makes more sense now. And seeing the film in Italian means Madame Blanc’s line about “fifty of your American dollars” doesn’t stick out.)
The point is, Suspiria (to quote the Village Voice) “only makes sense to the eye.” (I would argue that it only makes sense to the eye and the ear: Goblin’s atypically dissonant and discordant score pushes even mundane scenes over the edge into insanity. Suzy enters the “world of madness” not when she crosses the threshold of the Tanz Akademie, but when she walks out the door of the airport in Freiburg.) I prefer movies that make sense to the brain as well. As a result, while I like Suspiria somewhat, I will never love it.
On Tuesday, Ted Geoghegan drops Mohawk, his follow-up to We Are Still Here; genre legends Barbara Crampton and AJ Bowen team up in the Don Coscarelli-produced Applecart; plus: secret screening!