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The Body
(2024)
(Il Corpo)

Director – Vincenzo Alfieri – 2024 – Italy – 115m

*****

The body of a rich industrialist’s wife vanishes from the morgue after her death – stylish giallo premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

An unashamed genre piece, The Body is a giallo – an Italian crime and murder mystery named after the yellow book covers of their literary equivalents. While it absolutely fits into that very specific Italian genre, it’s actually the fourth remake of Spanish murder mystery The Body (Oriol Paulo, 2012) following remakes in India (twice, as Game, A.M.R. Ramesh, 2016 and The Body, Jeethu Joseph, 2019) and South Korea (The Vanished, Lee Chang-hee, 2018).

The current version juxtaposes stock elements from gialli and popular fiction with some highly original ideas which may or may not have been used in the earlier versions as yet unseen by this writer. The stock elements include: the womaniser suspected of murdering his wife, the hard-bitten inspector investigating the case, the man who has married into wealth, and the university professor having an affair with a student. The highly original ideas: a man running out in front of a car, a corpse disappearing from a morgue, and a married woman who is also a practical joker.… Read the rest

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Dreaming of Lions
(Sonhar com Leões)

Director – Paolo Marinou-Blanco – 2024 – Portugal, Brazil, Spain – 85m

****

A woman diagnosed with terminal cancer signs up with a corporate programme allegedly aimed at helping people in her situation to humanely end their own lives – premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

“Chemo never worked. So I decided to beat the fucker to the punch.” Thus says Gilda (Denise Fraga) at the start of this tale about voluntary euthanasia. Gilda has cancer and a year and a half left to live. She exasperates her husband when he hilariously stumbles into the bathroom as she’s trying to shoot herself in the head, both of them winding up in hospital as a result.

She is determined to kill herself. If she does nothing, the condition will take its course and the end of the process won’t be pleasant. In the hospital, she picks up a leaflet of a company which might provide some help for those considering voluntary euthanasia. So Gildagoes for an interview with Joy Transition International and finds herself facing a panel of three: Isa (Joana Rebeiro), Eva (Sandra Faleiro), and Bruno (Alexander Tuji Nam).

Isa has her mouth fixed in a somewhat ingratiating, permanently lipstick-painted smile.… Read the rest

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Streets of Glória
(Ruas da Glória)

Director – Felipe Sholl – 2024 – Brazil – 103m

****

A man mourning his late grandmother but estranged from the rest of his family embarks on a gay relationship with an escort – premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

Gabriel (Caio Macedo) arrives in Rio de Janeiro with his late grandmother’s ashes in a box. He is not short of money, and rents a hotel room. He wanders around during the day talking to his grandmother, who he clearly misses a great deal. At night, he finds a club named Glória, fronted by an area with tables where style queen Monica (Diva Menner) hangs out with her small entourage of friends. She explains she is the owner. Further inside is the dance floor where he spots Adriano (Alejandro Claveaux) and attempts but fails to pick him up, instead spending the night with another man.

However, a spark has been lit, and the next night Gabriel is more successful. He and Adriano embark on a passionate relationship. Adriano is an escort, and shows Gabriel the park benches where escorts pick up clients; he takes servicing his male clients in his stride, occasionally persuading the hesitant Gabriel to join him in a paying threesome.… Read the rest

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The Brothers Kitaura
(Kitaurakyodai)

Director – Masaki Tsujino – 2024 – Japan – 94m

***1/2

A 40-year-old living at home accidentally kills his father, then enlists the help of his brother to dispose of the body – premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

Morning. 40-year-old Sato wakes up, surrounded by bagged-up piles of manga, used food packaging and drink cans. The used food packaging squelches as he stretches into it. He is a slob. Meanwhile, his better-dressed, retired and widowed art teacher father is out teaching watercolour painting to a lady of a similar age to himself. They sit on the bank overlooking a picturesque river scene and seem to be enjoying both the act of painting and each other’s company.

Sato finds the note his father left him, and orders takeaway food to feed himself accordingly. Then, to satisfy more carnal appetites, he also orders a call-girl from Bang Club Tokyo, who arrives as promised in a matter of minutes, sitting for a relaxing smoke (which we see) before servicing her client (which we don’t).

The father isn’t just enjoying his lady student’s company. He appears to be teaching her and her alone for a number of consecutive days, and would like to formalise the relationship into something more.… Read the rest

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Johatsu
(Johatsu)

Directors – Lina Lužytė, Nerijus Milerius – 2024 – Lithuania – 83m

***

A woman who checks bodies entering a morgue investigates one that she is convinced has been registered under a false name – premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

The concept of Johatsu or ‘vanished people’ – which is never explained here, merely name-checked in the title – originated in Japan, where it refers to people who vanish from their everyday lives without a trace. One way to achieve that goal would be to fake your own death, which is exactly what Lina (Zygimante Elena Jakstaite) believes she has stumbled upon someone doing as this opens.

Lina works as an orderly in a morgue. When the fresh corpse of a man supposedly blown up in an explosion on a ship is identified as her husband by his widow, Lina becomes convinced that the woman is lying, and that the body is that of someone else entirely. Which begs the question, what happened to the real husband?

First off, Lina takes it upon herself to visit and question the supposed dead man’s wife. Talking to the woman, she discovers that before the body turned up, the husband had already been ‘missing’ for around three years.… Read the rest

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Moor
(Mavr)

Director – Adilkhan Yerzhanov – 2024 – Kazakhstan, France – 83m

***

A mercenary known by the codename ‘Moor’ returns from the war to the big city to rescue his younger brother’s wife and son from her husband’s debts – premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

Found by the authorities, who apprehend him by a perimeter fence and remove his bag of home-made weaponry which includes a wooden bow and arrows and a knife carved from bone, which he will get back and make use of later in the plot, Moor is processed alongside wounded and traumatised veterans. He speaks few words and is in complete control of his faculties. The chief of police, who talks in a confident, jokey manner and insists on addressing him as Bro, feels more like a gangster than a cop, wearing a snakeskin jacket not unlike the hero of Wild at Heart (David Lynch, 1990) and often accompanied by a small entourage who read as gangsters rather than cops, even though the group occasionally expands to contain officers with the word POLICE on the back of their jackets.

He explains that Moor’s younger brother Houdini has disappeared, leaving behind him not only a mountain of debt but also a wife and small son.… Read the rest

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Fishgirl
(Alucina)

Fishgirl - Critics' Picks Special Mention

Director – Javier Cutrona – 2024 – Ecuador – 105m

**

Enter the surreal world of a young woman beset by bizarre visions who believes herself followed and protected by a giant fish – premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

Fairly early on, in a tender, conversational, post-coital scene, her boyfriend José (Lucas Ortiz) draws an additional face on the side of that of Camila (Jessica Barahona). Visually this suggests Cubism, in which a subject’s faces would be painted from different angles simultaneously, but the dialogue between the two swiftly moves on to the subject of a god with two faces possessing the ability to look into the past and the future. (This sounds like the Roman god Janus, but if anyone name-checked him here, I must have missed it.).

The motif is echoed later when her landlord Edmundo (Pablo Aguirre), who runs (owns?) the hotel where she rents a room, is attending to the doll’s house of their rooms and maquettes of all the hotel’s residents he has made. For the maquette of Camila, he grafts an extra face onto the side of hers so that she has two. And towards the end, a shot of Camila cinematographically superimposes a second face on her, a very neat visual trick.… Read the rest

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Hani
(Hani)

Director – Hou Dasheng – 2024 – Canada – 73m

*

In a remote, Southern Chinese mountain village, a 14-year-old needs the money for the dowry to buy his 12-year-old sweetheart as a wife – premieres in the Critics’ Picks Competition of the 28th Tallinn Black Nights Film Festival

Credited on the Festival’s website as a Canadian production in the Burmese and Chinese languages, this is a Chinese-made film not sanctioned by the Chinese authorities dealing with subject matter which the filmmakers fear would not be passed by the Chinese censor. The caption review suggests that a number of the film’s cast and crew have used pseudonyms to avoid prosecution. The narrative takes place in the mountainous, Southern region of China close to the border with Myanmar, where people are known by their Burmese names, but occasionally refer to other people by their Chinese names. You get the feeling that this area of China has been largely forgotten by the distant Beijing authorities.

The central characters are young teenagers or pre-teenagers, Hani (14; Gao Xiaokang) and his friend Apao (Qian Long), who seems to be frequently seeking advice from others on his mobile phone, and Hani’s longtime sweetheart Pushiha (12; Pu Juan).… Read the rest

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Tallinn Critics’ Picks selection: so good it’s almost impossible to beat

Nobody Likes Me

Goldfinger said: “Mr. Bond, they have a saying in Chicago. ‘Once is happenstance. Twice is coincidence. The third time it’s enemy action.'” – Jeremy Clarke anticipates his third visit to Tallinn to cover the third year of its Critics’ Picks strand

When you see a film, or visit a film festival, you inevitably have expectations. The bar is at a certain level. The first time I went to POFF, I didn’t really know what to expect, except that our editor Victor Fraga spoke highly of it, which obviously boded well. Once there, I found the festival extremely friendly, perhaps due to its size (it’s the smallest of the A-list festivals), and a place where filmmakers, critics and other industry types happily mingle (that doesn’t happen in the larger festivals, I understand, and it doesn’t happen at most festivals I’ve had the pleasure of attending. Yet, it has happened in Tallinn on the two occasions I’ve visited, which is a real joy. Being a natural worrier, I fear that Tallinn may abandon this virtue at some point. Yet, so far, it hasn’t, and long may it continue in that vein).

Back to the level of the bar. The first year I went, 2022, the Critics’ Picks films were of a good standard overall – there was one I disliked and a couple that I thought particularly excellent (Dito Tsintsadze’s Roxy and Çigdem Sezgin’s Suna).… Read the rest

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The Last Dance
(Po Dei Juk,
破·地獄)

Director – Anselm Chan – 2024 – Hong Kong – Cert. 12a – 130m

****

A failed, professional wedding planner joins a Taoist funeral director as a partner in his company as various crises come to a head in the latter’s family – engaging drama is out in UK cinemas on Friday, November 15th

There have been movies about undertakers and funeral parlours before, but never one quite like this. Whether or not one is at a stage in life where one has had much experience of bereavement, at some point, each one of us is going to die – and, before that, in all likelihood, have to deal with our nearest and dearest dying and, by extension, undertakers and funeral directors in whatever culture we happen to live. Consequently, there is a universal fascination with such matters.

Hong Kong has a very specific cultural take on this phenomenon in its Taoist priests and rituals. While these have over the years supplied the basis for much beloved and fantastical Hong Kong action or horror fare such as Zu Warriors From the Magic Mountain (Tsui Hark, 1983) or the Mr. Vampire films (1985 onwards), no-one has ever tried to build a contemporary, generational family drama around the Hong Kong funeral business, at least, not so far as I’m aware.… Read the rest