Alix Turner
Friday 18 October, day two of the marvelous Mayhem Film Festival, had a “crimey” thread running through it; well at least until we get to the final film, which was distinctly horror. Mayhem’s remit is described as “the best in contemporary horror, science-fiction and cult cinema and television from around the world”, and it did feel like they were stretching that somewhat here; but once the first film started, I didn’t much care: the quality was apparent. And besides, the breadth of style and genre, along with (mostly indie) gems that I would either struggle to find elsewhere or only ever see on subscription television services…that’s what I’m here for; a big-screen opportunity like no other.
Confession (Jong-seok Yoon, South Korea, 2022)
A “locked-room” mystery, Confession is a pristinely presented drama, with twists and turns that Hitchcock would have been proud of. I’m not sure it quite needed all of them; the middle part seemed a little slow, and I’m certain I’ve seen quite a few of those plot points before (though I hadn’t realized this was a remake of a 2016 Spanish film, The Invisible Guest, or Contratiempo, until just now). Nevertheless, Confession was captivating and kept me wondering whether it was going to be left open (like Anatomy of a Fall, which the flashbacks reminded me of), or too-neatly wrapped up at the end. Naturally, I shan’t tell you which way it went, but the fact that it could have delivered either outcome right to the end says plenty.
So Ji-seob (Yoo Min-ho, the accused) and Yunjin Kim (Yang Shin-ae, his lawyer) play at verbal sparring beautifully, with each changing mood and level of honesty at whim. Just like many blockbuster thrillers, Confession is utterly far-fetched, but very enjoyable and has a satisfying ending.
Hollywood 90028 (Christina Hornisher, USA, 1973)
Still image provided by Mayhem Film FestivalMayhem usually presents a couple of older films; generally something well known on the Saturday night, and an unearthed gem during one of the daytime slots. This was the latter for this year, and—short though it was—I felt I could have bathed in the Hollywood 90028 experience for hours: it had me expecting Driller Killer brutality at times, but instead gave me a leisurely post-hippie ennui.
The phrase “grindhouse-meets-arthouse” is exactly right: on the surface, it was a film about a killer looking for his redemption, with a theme of exploitation without being exploitative itself. At the same time, it gave me an affectionate and sad visit to Los Angeles, showing art, humanity (“everybody lives alone”), and failure.
It’s clear that Christina Hornisher was playing with boundaries in the film and very carefully observing them. I really wish she’d been able to deliver more afterward; this is such a showcase! Similarly, Christopher Augustine, who plays a cinematographer in the lead, made very little else either and is incredibly engaging to watch. Track down Hollywood 90028 for a trip back in time.
Dead Mail (Joe DeBoer & Kyle McConaghy, USA, 2024)
This one might fit under the “cult films” heading, but “quirky” is definitely the right word. The plot blends a kidnapping with the curious world of the people who find the victim’s plea for help. It takes place in the 80s, and those two settings are both pretty nerdy: amateur synthesizer development, and local postal services.
I do find films fascinating when they feature unfamiliar worlds, and DeBoer and McConaghy sucked me into both these unusual settings with ease. The endearing and interesting characters really made it though; and they were all damned nice (except for the kidnapper, of course)! Tomas Boykin made an utterly believable “dead letter investigator”; previously seen in 3 From Hell, he surely has a very wide range. Because of the off-beat people and settings, and the unhurried pace, it did cross my mind that Dead Mail would sit well in the Coen brothers’ hands. But the beautifully written characters and the engaging story worked very well with the indie team as it was.
Night Call AKA La nuit se traîne (Michiel Blanchart, Belgium/France, 2024)
Now this one was very impressive: Blanchart’s first feature as a director (and co-writer, too) is a tense and beautifully shot thriller/chase film set over one night in Brussels. Granted, there were many elements that are essentially familiar tropes, but they didn’t get in the way of the tension. Night Call has the classic thriller set-up of an innocent person caught up in a bad situation; the innocent in this case being Mady (Jonathan Feltre), a young locksmith, who is too trusting when Claire (Natacha Krief) needs to get inside before paying him. From that point on, drug dealers, thugs, and fascists are on his back; and Mady has to survive until morning, playing these parties against each other, while trying to do the right thing at the same time.
Yes, it is formulaic: but the formula works; and in the case of Night Call, it works because the city and the cast are used very effectively. The city gives enough scope for hide and chase through brothels, diners, high rises, and the subway, with car chases, crowds, and cinematography to handle the lot. I’d not seen the young Feltre or Krief before, but I’d be keen to see what their future holds (and it was interesting to see Romain Duris playing a criminal, having seen him as a helpless parent in The Animal Kingdom AKA Le Règne animal—also at Mayhem—last year).
The only aspect of Night Call I was not sure how to feel about was the backdrop of growing racial unrest across Brussels, in fact with a significant scene towards the end taking place during a Black Lives Matter protest. There is a reasonable parallel between the societal conflict and the conflict Mady goes through during this night (oppressed, but not because of his own Black heritage), and the protest is incorporated very aptly into the plot; but just as people from minorities often prefer that their minority nature is not used as a plot device, I’m not sure how a movement (such as Black Lives Matter) would feel about the same. That was, as I say, the only aspect that bugged me: overall, this was an excellent action thriller, especially to watch on the big screen with a crowd.
Daddy’s Head (Benjamin Barfoot, UK, 2024)
Having been looking forward to a juicy bit of horror all day, I’m sorry to say I didn’t enjoy Daddy’s Head; though most of the audience seemed to. It’s about young Isaac (Rupert Turnbull), whose father has not long died, struggling into orphanhood in the company of his fragile stepmother Laura (Julia Brown); and a creature in the woods that reminds Isaac of his late father. It’s a lonely and chilling tale, as it should be really, and definitely captures the feelings and domestic issues around bereavement very well. The large country property setting is perfectly utilized for what essentially comes across as a modern folk horror; with wide shots encompassing the house and the woodland with suitable awe.
I had two problems, though; one (I confess) is my problem, and the other is a problem with the film. My problem is that I simply don’t like morbid films, and this one dwelt on the impact of bereavement a lot. Such a theme was reasonable for such a film, but not a great fit for me. Consequently, you may be wise to read JP Nunez’s review if you’re interested in a balanced perspective. The problem I had with the film itself was that I had seen too much of it before; specifically, it felt like a blend between The Invisible Man and The Babadook. The large, empty house with the deceased wealthy homeowner, and spooky goings-on that the solo woman experienced but couldn’t tell anyone about; even the Black family friend; all were familiar from The Invisible Man. The overall theme, and particularly the tone of the film’s ending, made me feel like it was trying to be the new The Babadook. Those issues were so significant for me that I didn’t even consider the quality of the acting until much later. But don’t mind me: lots of people did enjoy Daddy’s Head; give it a chance.
