Fantastic Fest 2021: Dispatch 2
The most audacious part of Julia Ducournau’s allegedly shocking Titane is how tame most of its scenes prove to be. The French writer/director’s follow-up to her acclaimed cannibal thriller Raw (2017) begins in plenty strange fashion with automobile fetishist and exotic dancer Alexia (Agathe Rousselle) becoming pregnant by bizarre means and embarking upon a grisly killing spree. In an attempt to elude the authorities, she finds an escape route that soon resembles what might happen if David Cronenberg adapted the mistaken identity documentary Imposter (2012). But in seeking this respite, the oddities largely subside into a fairly standard family drama, calling into question what appealed to Ducournau about telling this particular story. How this won the Palme d’Or from a Spike Lee jury is even more mysterious. Grade: B-minus —Edwin Arnaudin
Photo courtesy of Fantastic Fest
Imagine if you will, the spring of 1991. A 7th grader sits in his living room watching a short-lived sketch comedy show called “The Idiot Box” on MTV. In this particular episode, a contest is announced that will allow viewers to “Sacrifice Your Daughter to GWAR!” Both revolted and intrigued by the grotesque figures on his screen, the 7th grader heads to his local music store to find out more. There, he locates a cassette tape labeled Scumdogs of the Universe, which features the band GWAR in their full other-wordly, barbaric battlements. Fully recognizing that this is clearly not entertainment meant for children, the 7th grader saves his nickels and dimes with hopes to one day purchase this surely blasphemous music.
I’ve held a soft spot in my heart for GWAR ever since our chance encounter 30 years ago, even if I’ve enjoyed their artistry and politics more than their music. In the new documentary This is GWAR, filmmaker Scott Barber chronicles the now decades-long career of the infamous rockers, but fails to capture their true spirit. While the story of GWAR remains compelling and wild, This is GWAR is almost completely devoid of their music or their politics. Lip service is given to the subversive nature of their live shows and lyrics, but very few examples are given to make us understand either their satire or the man behind it all — the late Dave Brockie.
However, as a primer for the uninitiated, This is GWAR serves as an entertaining introduction into the world of punk rock, collectivism, and DIY touring that, when paired with other like-minded docs (e.g. 2017’s Turn it Around) offers an enticing glimpse into the world of independence and autonomy. This is GWAR is a fun and surprisingly emotional, if introductory experience — I just wish it was a definitive political and music-driven one as well. Grade: B-minus —James Rosario
Photo courtesy of Fantastic Fest
With Barbarians, longtime producer and first-time director Charles Dorfman brings us a tale of human nature and greed. Set in a single location over dinner with a cast of four, this is a film that takes its time to get things going. Because this is such a contained story, the entirety of the material rests on the cast, and if they’re not compelling, then it’s up to the director to elevate the material.
Unfortunately, none of that happens. The characters are all unlikeable and as the evening progresses and things start to get tense, there just isn't enough goodwill built up to care about what plays out. The film attempts to build up tension with ominous occurrences involving an injured fox and a monolithic art piece, but the end result is an extremely muddled interpretation of events that could only be deciphered by information given within the opening minutes of the film. Even the climactic finale is shot outside in the dark where it’s extremely difficult to see what’s happening. There just is not enough here to warrant its own existence. Grade: F —Joel Winstead
(Photo by Carole Bethuel)
