If there’s a single crippling irony to the explosion of web video over the last half decade, it’s this: no single piece of media created specifically for online distribution has so far engaged the masses as deeply as the bits of cultural detritus, from cat videos to classic films, that end up online unofficially, accidentally and/or illegally. Taking into account his own viewing habits and those of the post-internet generation, with Stingray SamCory McAbee set out to make a film that could be watched in discreet ten-minutes segments while still maintaining the narrative and image quality of the widescreen experience.
And so several months after premiering at Sundance, Stingray Sam became available for purchase in a variety of different formats from McAbee’s website, while the filmmaker continued to tour the world accompanying the film to festival screenings and other theatrical events. When the six-part musical space western screened last month at Fantastic Fest, McAbee and I met up at the new Alamo Drafthouse-adjacent clubhouse The Highball to talk about science fiction as political allegory, the peaks and valleys within the landscape of web video, and the further adventures of Stingray and the Quasar Kid.
At the screening last night, you said that Stingray Sam is political, whereas your earlier film, The American Astronaut, was personal. What are the politics, as you see them, in Stingray Sam?
Right after the US bombed Iraq, a woman from Copenhagen came and interviewed me for an art magazine. She was talking about American Astronaut, and she said, “Right now, Europeans are very angry at America because of what your government is doing, and they’re starting to feel like they don’t like Americans.” But, she said, Europeans always enjoyed loving American culture, and The American Astronaut had all the things they enjoyed loving about America.
This might be the least safe-for-work thing I’ve ever blogged. Cargo 200, Alexei Balabanov’s gruesome indictment of Russian devolution circa 1984 which was one of my favorite films from this year’s Fantastic Fest (it also played Telluride and Toronto in 2007), is available for viewing in nine parts on YouTube.
This is either the best way to watch this film or the worst. As I noted in my review, one of the best things about Cargo is its slow build –– it takes forever for anything actually disturbing to happen, but then once shit goes bad, it just gets worse and worse and worse –– and the power of the mounting revulsion might get lost if you’re watching it in chunks. That said, you also have the option to either skip, or skip directly towards, the really, really sick stuff. For the record, that gets started in part four. It gets much, much worse in part seven. Enjoy!
Most 12 year old kids are busy updating their MySpace pages or planning on what they’ll wear to school the next day, but not Emily Hagins. She decided to direct her own feature film about zombies entitled Pathogen after watching a screening of Undead, and Zombie Girl: The Movie is documentary that chronicles her effort from concept to the first screening. Emily’s a local gal, so this movie was a shoe-in for this year’s Fantastic Fest.
Filmmakers Aaron Marshall, Eric Mauck and Justin Johnson stumbled across Emily and her movie when they saw a local ad looking for people who wanted to be zombies in a movie, and when they found out how old Emily was, they decided to do a documentary about the film, which turned into 146 hours of footage that had to be broken down into a digestible size.
Olly Blackburn’s sexy thriller Donkey Punch premiered at Sundance earlier this year, and we caught it as part of Fantastic Fest, where it was paired with a “Hipsters Overboard!” Donkey Punch Boat Party on Town Lake in Austin, which sadly did not involve the actually tossing overboard of any hipsters. Austin has tight jean, rakish-angle hat-wearing party rats coming out of the woodwork, and it probably would have been a benefit if some had slipped into the dark water, never to be seen again.
The film is what you would get if you mashed Dead Calm and Open Water 2 together and sprinkled it liberally with heavy doses of ecstasy and trance club music. I know that it probably doesn’t instill a lot of confidence in a review when you reference Open Water 2: Adrift in the second paragraph, but that film should have had a title of its own and not been a sequel, because it’s not a bad Saturday afternoon thriller itself. Plus, it also involves a gaggle of young hipsters who shouldn’t be out on a luxury yacht.
Although a really good short film can catapult a director into feature filmmaking, much like Gil Kenan’s short film The Lark led to the chance to direct the CGI film Monster House for Robert Zemeckis and the just-completed live action The City of Ember , film festivals often show short films that most audiences won’t have a chance to see anywhere else. Fantastic Fest had a shorts playing in front of many of the features, and they also had two separate shorts screenings: Short Fuse for live action shorts, and Animated Shorts for, well… animated shorts. On first glance, the long-titled The Facts In The Case Of Mister Hollow doesn’t appear to be animation, but slowly you come to realize that it’s a series of still photographs that tell a very chilling story. It was my favorite amongst the animated shorts, and hopefully it’ll be seen by more audiences soon.
Part of the fun of attending Fantastic Fest are the Secret Screenings, which aren’t announced until right before the film rolls. This year there were leaks, whispers and rumors galore, with the most rampant one being that we were going to get treat to Oliver Stone’s W, which sadly didn’t happen. It was have been great to see this on a week that ended with an Obama/McCain debate.
Instead, the secret screenings included The Brothers Bloom, Appaloosa, RocknRolla, and the surprise dark horse in the bunch, Role Models. It definitely sticks out among the entire Fantastic Fest lineup like the Sesame Street “One of these things is not like the others,” and it joins Kevin Smith’s Zack & Miri as the only other raunchy comedy in the Fest. The film stars Paul Rudd and Seann William Scott, and is directed by comedian David Wain, best known for Wet Hot American Summer and The Ten. Check out the review and the interview with Wain and Rudd below.
Fantastic Fest ended last night with a party in a cave to celebrate the closing night film, City of Ember, directed by Gil Kenan and starring Bill Murray. But I took the above photo the night before, and given the ubiquity of both karaoke and Nacho Vigalondos throughout the week, it seems like a pretty fitting final image of Fantastic Fest 2008. We’ll have a few most FF2008 posts trickling out across the weekend, before we shift bears to focus on the New York Film Festival on Monday (I’m ransacking my closet for something to wear to the opening night party as we speak. Wish me luck.) In the meantime, you can find much, much more photo documentation on our Flickr page.
The one face that has been prevalent all over Fantastic Fest for the past week, even more so than Alamo Drafthouse founder Tim League, has been Spanish director Nacho Vigalondo. His movie Timecrimes premiered to U.S. audiences here last year, and was snapped up by Magnolia; there’s now an Americanized version in the works. He’s been at pretty much every single screening, every event, and in every condition: tired, wired, drunk, sober, sleepy, awake.
He doesn’t have a feature film at the festival this year, but he did come with about 90 minutes worth of his short films, and those played as a single screening full of Nacho’s wacky blend of British and Spanish humor. Check out the full interview with him below, where you can also watch several of his shorts.
Chilean director Nicolas Lopez first came to Austin in 2005 for SXSW with his feature film Promedio Rojo in tow. That film was about a fictional comic-book nerd named Roberto Rodriguez who vies for the attention of the hot new girl at school while trying to bolster his self esteem. While Lopez was in town, he convinced producer Elizabeth Avellan (producing partner and ex-wife of the real-life filmmaker Robert Rodriguez) to watch the movie, and she liked it so much that she agreed to have the studio work on the CGI effects for his next feature. That film ended up being Santos, which is another tribute to geekery. It’s about a lowly comic-book nerd who grows up to become a successful comic book artist, and actually finds out that the heroes he’s been creating are real –– and that he has superpowers himself. It’s like Galaxy Quest for the comic-book set. In our full interview with Lopez from Fantastic Fest, learn why he makes his stars gain weight for their roles, why Santos had to be an international co-production, and why he wants to be the Chilean George Lucas.
As the shit hits the fan on Wall St., a more gradual, but equally serious shake-up is happening in the world of independent film. Paul shares stories from Independent Film Week, a tumultuous clash of ideas about what the future of cinema sans Hollywood will look like.
Karina checks in to tell us about Fantastic Fest. Along with alcohol, karaoke, and BBQ, she’s enjoyed the films Cargo 200 and Ex Drummer.
Choke, the new film based on a novel by Chuck Palahniuk (Fight Club), comes out tonight. Is this Sundance alum truly provocative cinema, or just the same old thing with some extra sex thrown in?
After months and months of anticipation, encompassing countless breathlessreviews, surprise festival accolades, and angry warnings from supporters of the Swedish vampire film that I’d better stop dismissing it as “The Swedish Vampire Film”, there was probably no way in frozen-over Scandinavian hell that Let the Right One In could have lived up to the hype. So––sorry––but I don’t think it’s a masterpiece. That said, I find its widespread popularity to be extremely encouraging. Aside from its lovely cinematography and sensitive child-actor performances, Right One’s real selling point is the humanist gild it lays on its genre lilly. Maybe this is why I’m less than blown-away by it––it’s hardly the first film I’ve seen this week which uses basic genre tropes to delve deeper into everyday human horrors––but if this a new trend, I’ll have more, please.
If distributors came to Fantastic Fest this year looking for the next Timecrimes, and badge holders descended hungry for a peek at the next There Will Be Blood, it’s interesting that one of the most talked about films on the schedule has ended up being not a world premiere, not a surprise preview of an Oscar contender, not an unknown international oddity, and not even, really, a genre film, but a documentary made by an American 25 year-old which has been on the festival circuit for nine months.
And yet, the popularity of I Think We’re Alone Now (otherwise known as The Tiffany Stalker Movie) at Fantastic Fest makes a certain perfect sense, and not just because this audience is accustomed to stories of sexual obsession (usually fictional, usually much gorier). In putting a camera in the faces of two lonely, mentally unwell adults, who are both desperate for the attention but incapable of filtering their stories, director Sean Donnelly has made what could be classified as an exploitation film. But even more appropriate for the venue, it’s an exploitation film tailor-made for anyone familiar with unrequited longing, and it wouldn’t work at all if Donnelly’s genuine care for his subjects didn’t shine through.
Fantastic Fest announced their film awards late last night, even through we’ve still got three more days of movie watching and alcohol drinking to go. As expected, The Good, The Bad and The Weird took the Audience Award, although JCVD took third place in that category, which continues to baffle me. The much buzzed about Let The Right One In was named best horror film over Donkey Punch and Acolytes, and the Danish film How To Get Rid Of The Others took top award in the Fantastic Features category with Cargo 200 and Ex Drummer in second and third place. Thankfully they gave the wacky and fun Santos a special award in that category.
We’ll have a lot more to say about these films and much more soon, so keep checking back for more festival information and news throughout the week. Heck, I’ve even enjoyed seeing Conquest of the Planet of the Apes at this thing. The complete awards listings can be found after the break. …Read more
In its depiction of mid-80s Eastern European Communist social hell, Cargo 200 makes 4 Months, 3 Weeks and 2Days look like Sesame Street. There are plenty of films that use real history as the jumping off point for genre fantasy (and even a couple of others at this festival), but Aleksei Balabanov’s brutal, fetid vision of personal sadism and political policy intermingled is the only work of serious, modern social criticism in recent memory that actually made me want to puke. This is a compliment of the highest order.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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