by Tori Potenza, Staff Writer

Fantastic Fest 2023 has wrapped, but luckily their incredible and lengthy list of films are out there just waiting to get released and distributed. While there were many titles that were unavailable for those of us who joined virtually, there were some great films included. This also gave me the opportunity to seek out some international and independent titles I may not have seen otherwise! So here are some of the films that I got to check out while attending Fantastic Fest virtually.

So Unreal (dir. Amanda Kramer)

While I am not always immediately drawn to documentaries, when I saw that this was a cyber cinema odyssey narrated by Blondie’s Debbie Harry, I knew I needed to check it out. Not only is this a great movie to simply vibe with, it also featured a plethora of films I could add to my watchlist. Luckily, several of these titles happen to be a part of Criterion Channel’s “Techno Thrillers” collection that just arrived this month. Detailing cyber cinema history from Tron to The Matrix, Kramer does an incredible job showing how the technology boom of the 80s was an opportunity for filmmakers to explore the good, the bad, and the weird futures that might come from it. With an incredible score and Harry’s dreamy voice, it is hard not to be lulled into this alluring documentary. Although its dreamy nature is quick to turn nightmarish when we think about the societal and philosophical questions that come with a society set on progress. This is perfectly timed with the WGA and SAG-AFTRA strikes and the looming presence of AI technology. Ultimately Kramer leaves us with a similar choice as Neo has in The Matrix—do we continue dreaming, or open our eyes to the reality of cyber tech.

Blonde Death (dir. James Robert Baker, 1984)

Bleeding Skull seeks to make space for “otherworldly” genre cinema. And in that vein they were able to present this strange repertory screening at this year’s festival. Blonde Death follows a teen as she tries to break free of her family's conventional lifestyle. Luckily for her, being held captive by a serial killer was just the adventure her life needed. This shot on video, low budget film might feel a little cheap and cheesy initially, but it has the sensibilities of a John Waters film. It is also hard not to draw comparisons to this plot and that of Gregg Araki’s 1993 film Doom Generation. If you like campy social commentary on suburban apathy, then this is a great one to check out. Hard to find gems like this are often a great reason to pay attention and attend these festivals. Even when there is a plethora of new releases to focus on there is something about making time for films like Blonde Death that make you feel a little bit like a cinematic explorer. Baker’s film is a strange ride that gets more fun as it goes so if you get the chance to see it make sure you give it some love.

Door (dir. Banmei Takahashi, 1988)

Another one of the interesting repertory screenings available is a lesser known Japanese film: Door. While it did not make a splash like other Asian imports, Door did spawn on two sequels, one of which is directed by Kiyoshi Kurosawa (Cure, Pulse). Its focus on social anxieties and toxic masculinity are eerily prescient today. The movie focuses on a young housewife whose husband works increasingly long hours often leaving her alone or with their overactive son. The contact she does get often comes in the form of phone calls and drop-ins from door-to-door salesmen who seem increasingly aggressive and make her increasingly anxious. One day an interaction with one of these men begins a harrowing journey for her as she becomes his stalking target. Door taps into the anxieties of being a woman as well as the anxieties around the sheer amount of people that have access to our personal information. Whether it be junk mail, phone calls, or in person drop-ins, too many people are able to access our personal information. Considering the internet boom, and where we are now, this film is ahead of its time. Door is an international gem that folks should keep an eye out for. It is creepy, anxiety inducing, and its climax is sure to leave genre fans pleased.

Bark (dir. Marc Schölermann, 2023)

With the plethora of big budget, SFX driven, ensemble films out there, there is something very peaceful and impressive about those filmmakers who can make a good chamber piece. Limited locations, good performances, and a small cast that can still engage audiences are sometimes hard to come by and while Sanctuary is the best example out of this year, Bark does a solid job in its attempt. A man wakes up in the middle of the woods tied to a tree. Initially he is left on his own, but another man comes by and begins spending time with him. Before long it becomes clear that this man might be the reason he is here. Themes of revenge and lack of empathy fuel much of the plot in Bark. While it overall does an admirable job telling its story, it does go to some places that were a little too hard for this filmmaker to watch. That being said its ending is very satisfying yet the harrowing journey getting there leaves a bitter taste in one's mouth. Schölermann does an impressive job constructing this chamber piece, a skill that is perhaps undervalued in cinema today.

The Coffee Table (dir. Caye Casas, 2022)

While 2022 was the year of Scandinavian bleak horror, 2023 seems to belong to Latinx/Hispanic filmmakers in this arena. While it has a playful tone at first The Coffee Table quickly becomes a deranged nightmare that you hope with all your heart is just a dream. The story starts off with a married couple and their newborn baby picking out a new coffee table for their home. Jesús finally gets the opportunity to make a decision in a relationship where María calls all the shots. However, his decision on a table for their home sets them on a dark and sinister course of events that irrevocably change their lives. If you are someone that watches a lot of horror, you know how impressive it feels to find something that leaves you shaken with your mouth agape. This is exactly the experience a movie like The Coffee Table offers to its viewers. This will leave you shaken with a slew of new fears and anxieties to be warned before going on this journey.

When Evil Lurks (dir. Demián Rugna, 2023)

One of the most buzzed about movies coming out of the fest is the Argentinian film When Evil Lurks. If you’ve ever known people that seem to make the worst possible decision in every situation, then you will probably get a kick out of this movie. In an isolated village two brothers come across a man that they believe is about to give birth to “evil itself.” This journey of two well-meaning people spirals into an increasingly dire and bloody series of events. Again, this was a movie that left me speechless at moments, wondering if what I had just seen was some fever dream. For all its bleakness there is something darkly humorous about the events you watch unfold in When Evil Lurks. While for the most part it is played straight there is something so befuddling about what occurs that you almost need to chuckle through its darkness. This is an impressive horror feature that should be getting a Shudder release soon, so be on the lookout.

So, that wraps my Fantastic Fest reviews. There were dozens of films coming out of the festival this year so make sure to check their list to add some of these titles and more to your most anticipated watches list.