Welcome to the tenth and last of the chronicles that we have been dedicating day after day to the 57th edition of the Sitges International Fantastic Film Festival. 'Handsome Guys' – The proud Korean remake of 'Tucker & Dale vs. Evil'. A proud, fun and very entertaining remake that, unlike for example 'Corten!', does not limit itself to transcribing the original to try, and in this case also, find its own voice. As? Adding the typical oriental crazy overacting and getting closer to 'Infernal Possession' to compensate for the wear and tear of the original in its final third. It is not more of the same, and although its parallels with the iconic 2010 film are more than evident and recurring, it establishes with it a dialogue and a constant push and pull that enriches the experience, in one of those rare cases or remakes in which the comparison is not only not hateful, but also adds another layer of enjoyment to an otherwise fully socio-festive experience. ******* 'never let go' – Alexandre Aja never finishes “grabbing” a film that ironically ends up “letting go.” The premise and approach, with undoubted echoes of 'A Quiet Place', 'Infernal Possession' and the films of M. Night Shyamalan, are interesting; But their efforts do not add up to a common cause nor do they converge into a final stretch that is satisfactory. And we are talking, in essence, about a drama that, in trying to become strong in its “genre” aspect, remains halfway between one and the other, not even with the solvent presence of a Halle Berry who, however, does not survives. Thus, it does not quite gel or function either as a drama or as a horror film, even though in both it appears to be, in short, an appreciable but failed work of potential that is not entirely well managed. ****** 'The night is traîne' – Intense and vibrant action thriller about the desperate flight forward of an innocent young man through a Brussels plunged into chaos by racial protests. 90 minutes of pure adrenaline, pure nerve and pure tension that debutant Michiel Blanchart serves with the skill of a master. A simple, direct and honest proposal that works like a shot thanks to a well-defined script and characters, a careful sense of rhythm and an exquisite staging accompanied by a series of very successful set pieces. Not only does it fulfill what it promises, and more than that, but it also acts as an unbeatable letter of introduction for a filmmaker who aims to give us some joys in the future, being 'The night is traîne' his first potential classic of the genre. ******* 'Mr. K' – The reference is obvious and evident: 'Mr. K' It is a surreal and allegorical Kafkaesque nightmare that is reminiscent of the cinema of Jean-Pierre Jeunet or Wes Anderson. In fact, and as often happens with both filmmakers, this imaginative “Wonka in the Wonderland of the Grand Overlook Hotel” that Charlie Kaufman could have written, rather than telling a story, is a delirious and labyrinthine collection of eccentricities and diverse characters quite convincing, although almost by definition also somewhat unstable and insistent. Supported by its exquisite production design and the solid presence of Crispin Glover, it is a friendly, enjoyable and stimulating film absurdity… yes, yes, before we accepted octopus as a pet and survived its risky and controversial end . ****** 'Desert Road' – Solid film about time loops with a marked independent flavor that recalls and/or refers to the cinema of Justin Benson and Aaron Moorhead, those responsible for 'The Infinity' or 'Something in the Dirt'. It may not be particularly new at this point, but Shannon Triplett's debut feature has an impeccable script and direction and is supported by a leading actress, Kristine Froseth, who takes over the screen. What is said is a well-planned, well-developed and well-resolved film that grows through sobriety and simplicity, and the maximum use of surely scarce resources that it relativizes through the best and most powerful weapon that a film has. filmmaker: A good backbone story through a no less good script. *******
