ISOLATION
As a narrative framework, Director and Producer, Nathan Crooker created a fictional world many months into the future that is based around the current global pandemic. All eleven filmmakers used the same unifying framework in creating their stories. The filmmakers were tasked with how to stay creative using only what was available to them at the time. They were not allowed to use Zoom or any other video conferencing services and were only allowed to use the equipment and resources they had with them when they entered into lockdown, including cast and crew, adhering to their respective COVID-19 protocols.
As Fil Eisler‘s opening credits crawl across the screen, and you hear his eerie score, you already feel you’re in for something unsettling. Nathan Crooker is behind the concept of Isolation. His instructions to fellow filmmakers? Solely use what you have at your disposal in lockdown. Each sequence transition utilizes Eisler’s animation to highlight a new city and story. It’s sheer perfection.
Larry Fessenden‘s piece “Fever” is precisely that; a wildly dark, creatively shot, fever dream. It nailed the undying spirit of New York and hit me square in the chest. Andrew Kasch‘s film “5G” takes a conspiracy theory angle. It’s that online alt-right anger we know all too well. But how they communicate with our man Chad is altogether something new. Cody Goodfellow‘s script is clever. Paranoia takes hold in Dennie Gordon‘s “The Dread” as a husband and wife hole up in their Los Angeles hillside home. Are their fears so unfounded after all?
Bobby Roe‘s “Pacific Northwest” broke my heart into a million pieces. What would happen if my kids had to survive on their own? It destroys me to let my mind go to that place. Co-written by Zack Andrews, this one kept my pulse pounding. Written and directed by Adam Brown and Kyle I. Kelley, “Meat Hands” was unexpected. Loneliness is a killer, but so is interacting with people in a pandemic. Physical intimacy is vital to survival. Cleverly connecting back to “5G,” Alix Austin and Keith Siewert‘s “It’s Inside” takes place in London. Pushing 5G and chemtrail theories, YouTuber Paige believes someone is inside her flat. Bravo for the practical FX and sound editing because it all makes you cringe.
The palpable sadness of Zach Passero‘s film “Gust” is unavoidable. Outside of the pandemic, it touches the monotony of motherhood and its emotional isolation day in and day out. “Homebodies” by Alexandra Neary sees an investigative journalist come upon a horror he did not expect. The film taps into the sensationalism that’s crept into the media. If you weren’t waiting for Cuomo’s daily updates last year, you were seeing the same images of empty streets and not much else. I was not expecting this more traditional turn. It was awesome. Finally, we find ourselves in Berlin with Christian Pasquariello‘s “Comfort Zone.” If this doesn’t scream governmental and scientific transparency to viewers, I don’t know what will. It’s a super slick cherry on top of Isolation‘s overall storytelling.
Isolation taps into authentic fears. For anyone unfamiliar, what a fantastic introduction to the work of these filmmakers. The length and uniqueness of styles keep you hovering on the edge of your seat. You don’t have a moment to get settled.
*Available on VOD Tomorrow, November 2nd, 2021*
Produced by Nathan Crooker
Directed by:
Dennie Gordon (Jack Ryan, Legion, Hunters, Waco)
Larry Fessenden (“The Last Winter,” “Habit,” “Depraved”),
Bobby Roe, (“The Houses October Built 1&2”)
Andrew Kasch, (“Tales Of Halloween”),
Zach Passero (“Wicked Lake”)
Christian Pasquariello (“Alien Invasion: S.U.M. 1”)
Alexandra Neary (“The Innocent”)
Alix Austin & Keir Siewert (“Retch”)
Kyle I. Kelley & Adam Brown (“The Music Lesson”)
Giant Bear (*shown alongside Don’t Say Its Name)
The Death Doula
Watershed
Creepy Bits- Chapter 1- “Baby Face”
Narcoleap: S2
GHOST- A Primitive Evolution
Midnight Lunch Break
The Revenge of the Snowflakes
We All Dream (*being shown with Motherly at 9 pm this evening)
Disquietude (screening with Tin Can Sunday night at 11:30 pm.)
Sisters With Transistors beautifully brings to life a niche history that you didn’t know you were missing but will surely recognize. The film seamlessly weaves together the personal stories of innovative composers like Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, and Suzanne Ciani through live performances, archival footage, and visual interpretations of their music. Some pieces are moody and atmospheric; others are challenging and experimental. Yet, all of them reverberate with unique genius, creativity, and passion. The overall effect is a captivating documentary on an unsung history that is endlessly engaging to watch.
Amy Smart
Ed in Kansas has an elaborate estate titled “Subterra Castle”. Above ground, it appears to be a menagerie of land gardens with 
The cinematography is gorgeous. The setting, the costumes, everything pops. The main set is magical. The walls adorned with landscape paintings, the massive rooms filled with antique furnishings, and the ceilings boast curious murals. The score is perfectly whimsical. The stunning fx makeup is never too terrifying for its intended audience. 
Emily Bennett understands how to accentuate a feeling of claustrophobia. Stuck in a wildly angled apartment, brimming with eccentric kitsch, Charlie awaits the arrival of her girlfriend behind a front door that won’t open. As time passes, confusion arises. Simone should be home by now. Charlie hears voices, doesn’t know what time it is, and things seem to move on their own. Reality shifts under her, and things get worse by the minute.
Dora Madison, as Thea, is fantastic. She’s got this crunchy, stoner vibe. The way she holds the phone during her video calls with Charlie is incredible. It adds to the realism of her party friend vibe. Madison’s laid-back attitude counters Bennett perfectly. Emma Myles, who you’ll recognize from Orange Is The New Black, plays Simone. She’s the photographer girlfriend of Charlie. The script allows her to play both soft and hard moments, and she kills it.
Boasting unbelievable practical FX, the scares in V/H/S/94 are brilliant. I’m talking legitimate, meticulously timed jump scares from every single director. The quality of the film forces you to sit up and pay closer attention, sometimes squinting over the tracking adjustments as they crowd the screen. The V/H/S franchise has been able to capture something glorious beyond the found footage genre. It’s the mystery behind the overall arch that keeps you creeped out and engaged on top of the fantastic individual stories. It’s a double whammy of horror goodness. You’ll shiver and gag and think, “Damn, this is good shit.”
The grand scheme of V/H/S 94, or “Holy Hell,” has the audience following a SWAT team into an industrial building filled with monitors and plenty of body parts. They don’t know who or what they’re searching for, exactly. As they sweep the rooms a new tape begins to play. Each one is completely different and spectacularly twisted. Tape 1, titled “Storm Drain” features a local legend of Ratman. An ambitious reporter and her cameraman get in over their heads. Tape 2, “The Empty Wake,” sees a young woman left to record the wake of a recently deceased man. Alone with a dead body during a storm? No thanks. This segment was my personal favorite. It’s old-school scary meets nuts visuals. I couldn’t help but yell NOPE at the screen, again and again.
Tape 3 “The Subject,” tells the tale of a mad doctor attempting to improve humans with technology. If you ever wanted a live first-person shooter game experience, now you’ve got one. Tape 4 “Terror” takes aim at domestic terrorism with a group of militiamen planning to cleanse America with s monstrous weapon. I also have to mention, director Steven Kostanski’s infomercial “The Veggie Masher.” It’s totally maniacal and random as hell. But at the same time, perfectly harkens back to those 3 am hour-long commercials for ridiculous kitchen gadgets. The finale actually gives you answers. As the 4th installment of the franchise, V/H/S94 makes it clear that these films are alive and well and ready to fuck you up.
A story of cyclical abuse with a touch of magical realism, Baby, Don’t Cry was a completely unexpected journey. Fair warning for survivors of abuse, this film may be a trigger watching for you. The deeper you go into the story the more complex our leads are revealed to be. Two young people in hopes of escaping their sad circumstances, latch onto one another. It’s evidently unhealthy to the audience but entirely understandable. Lack of father figures is a running theme, as are racism and mental illness. The emotional burdens that Baby and Fox carry are unrelenting. Zita Bai, our leading lady, and creator of Baby, has given us a thoroughly nuanced character. Some moments will make you infuriated with her, while others provoke sympathy It’s an extraordinary culmination of emotions. Baby, Don’t Cry will make you cringe, shake your head, and fill you with a bit of wonder.
Thanks to Twitter, an estranged and dysfunctional family throws an accidental party on their move-out day. A barrage of quirky characters show up to explore and wreak their own brand of havoc. Wonderful Paradise is an absurdist sideshow. I would genuinely recommend watching this high. The number of times I exclaimed, “Huh?”, “What?”, or, “Sure, why not?! ” I lost count quite frankly. I must applaud the cast for their absolute commitment to their craft. The cast grows exponentially as the film rolls on and every single performer gives it 110%. The slow and district progression of the set is wild. The practical FX combined with the wackiest of screenplays make Wonderful Paradise perfect for Fantasia audiences. It is unlike anything I’ve ever seen before. Do I understand the final result? Absolutely not. Would I watch it again? Don’t threaten me with a good time.
I feared this Martyrs Lane would be overlooked among the plethora of gore-filled content. That would have been the biggest shame to befall this year’s Fantasia International Film Festival. Writer-director Ruth Platt‘s carefully crafted tension and mystery should be celebrated. It has a quieter Babadook energy to it that is unmistakable. The film manages to be both a slow burn and a vice grip of tension. The editing puts your head in a spin in that you’re never sure what is real until the very final scene. Performances are outstanding. The fact that the entire premise mostly hinges on the work of two small girls will blow you away. It is no wonder young lead Sienna Sayer won the Special Jury Rising Star award. Martyrs Lane will hit harder for parents. Any story centered around children begets that internal ache from the very getgo and Martyrs Lane is no exception. It’s beautifully shot and elegantly lit. The exquisite progression in makeup heightens the overall dread. It speaks to the consuming power of grief and secrets. I cannot wait for Shudder audiences to experience this film in a few weeks. This one is special. Undoubtedly, one of my favorites from this year’s lineup.
At an impasse of religion and love, the title of this thought-provoking short film suggests that it’s a horror film. While not touted as such, what unfolds in 25 minutes between family members is absolutely horrific. To fully appreciate the nuance in Over My Dead Body takes an open mind. Often, we place ourselves in the shoes of the characters on screen. Here, depending on your religious beliefs (or lack thereof), the complexities are unsurpassed. Having religion forced upon me as a child backfired at the age of about 14. In a world filled with volatility caused by media corporations, conflicting gods, and traditions, Over My Dead Body hits harder in modern times. Our families are supposed to love us unconditionally. What happens when that isn’t true? The cinematography is smart and takes advantage of the lush sets and costumes. Performances from this true ensemble cast are magnetic. You know this family. It resembles your own in more ways than you might realize at first watch. With an ending that will leave you breathless, the impact of this short should echo loudly.
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