Feels like 10% doc, 90% light indie drama. There will be production noise (“cut… and that’s a wrap on Paul!”) in the blackout between scenes, puncturing the story of daughter Callie Hernandez following up on her late father’s inventions, interviewing friends/investors and other participants. But the actual documentary quantity is unknown, since people are playing version of themselves (others are played by fellow indie filmmakers), and the inventor dad was also real, playing himself in archival appearances on local TV. Courtney unpacks the precise true/false nature in a good Filmmaker interview, where they also discuss dads, “the mythology they have around themselves, and even fantasies about themselves, which as someone’s child you often enter because you’re very little, and it’s the way to be close to them and to love them.”

I noticed the parasite stuff on the classroom board long before it came up again via zombie-fungus-ant TV show, argh. The most mystifying was Handsome Family’s “Don’t Be Scared” (the “wake up, Paul” song) playing on the car radio to a cop named Paul. My conspiracy theory is that everything after Paul’s night at the bar with the teacher is his dream, that he fantasizes finding the missing kids (with help from his crack-addict tormentor) and almost saving them before getting paralyzed by a witch and then killed by his ex-girlfriend.

Pulp Fictioned-out story that keeps rewinding and changing perspective. Is it ironic that Brolin writes WITCH on the teacher’s car and the the villain turns out to be an actual witch? Effective blend of fairy-tale horror (pied piper children-napping by evil mind-control witches) with suburban dread/investigation drama. As for investigation, the cops are portrayed as even more ineffective than usual – the one we follow fucks up his home life, falls off the wagon, keeps getting stabbed by a crackhead, brutalizes civilians while disabling his car camera, then gets conquered by the witch, and killed with his own gun. As for the rest of the force, supposedly working hard on the case, nobody thought to check what direction the kids were running and then walk in that direction until the lines intersect – a parent figures this out a month too late.

Movies gain an automatic extra star when seen on the big screen. Packed weeknight crowd tittered at the suspense scenes, but their biggest reaction was upon seeing Justin Long The Mac Guy for some reason. Good movie but Parker isn’t wrong.

Paranoid kafkaesque man is being given the runaround, everyone seems to know more about him than he knows about himself. The commentary notes the “sense of profound gaslighting” he experiences, but I let myself down by only playing the first 15 minutes of it and barely got out of the historical background section. Besides his mixed-up identity situation, our guy Pernat (the lead cop in Ga-Ga) gets involved in a murder conspiracy, and gets abducted by a scary ophthalmologist.

Goin to the movies:

USA 2025:

Krystyna Janda starred in everything (Interrogation, Mephisto, Man of Iron, Dekalog 2)

It was already pretty Brazil-reminiscent, then this guy rappels in:

Dad and son leave their tidal island home for a coming-of-age venture into zomb territory, and when their short trip gets derailed and extended they end up meeting skull collector Ralph Fiennes, a doomed Swede, and evil acrobat messiah Jack O’Connell. Second-most interesting part of this movie is learning that the rest of the world is normal modern, with internet and uber eats, and only England is zombie-quarantined – the most interesting is that Boyle is image-making here, not just telling a family/zomb story, and this has got more trick shots/edits in the first four minutes than the entirety of last week’s zombie junk The Sadness. Ends weirdly because they’re setting up a sub-trilogy, so the kid and his dad (Aaron T-J of one of the bad Godzilla movies) and other weirdos will return, but the kid’s mom (Bikeriders wife Jodie Comer), an elite zombie defender with terminal brain cancer, will not.

It’s the seventh annual Locorazo Festival, a reprise of Locarno’s lineup from five* years ago, viewed alone at home during this year’s in-person festival.

*Oops, there was a global pandemic in 2020, so we’re switching things up this time. Skipping ahead to the 2021 selections, also looking through this year’s fest and seeing if there are any 2025 programmed directors whose earlier works I’ve been meaning to watch, or any 2025 Histoire(s)/Retrospective films I can catch up with.

Locorazo-week viewings linked in green, regular blue links are films I’d otherwise seen, unlinked are items of interest that I haven’t watched yet.

Played Locarno 2021:

The Sadness (Robert Jabbaz)
Little Solange (Axelle Ropert)
She Will (Charlotte Colbert)
Mad God (Phil Tippett)
Taming the Garden (Salomé Jashi)
The Case Of The Vanishing Gods (Ross Lipman)
From the Planet of the Humans (Giovanni Cioni)
The Balcony Movie (Pawel Lozinski)
Vengeance Is Mine, All Others Pay Cash (Edwin)
After Blue (Dirty Paradise) (Bertrand Mandico)
A New Old Play (Qiu Jiongjiong)
Medea (Aleksandr Zeldovich)
The Sacred Spirit (Chema García Ibarra)
Zeros and Ones (Abel Ferrara)
Luzifer (Peter Brunner)
Vortex (Gaspar Noé)
Lynx (Laurent Geslin)
Brotherhood (Francesco Montagner)
Actual People (Kit Zauhar)

2025 Filmmakers:

Joachim Trier
Alessio Rigo de Righi & Matteo Zoppis (The Tale of King Crab)
Jafar Panahi
Radu Jude
Alexandre Koberidze
Dane Komljen
Ben Rivers
Abbas Fahdel
Elsa Kremser & Levin Peter (Space Dogs)
Kamal Aljafari
Sophy Romvari (Pumpkin Movie +2)
Radu Muntean
Lemohang Mosese
Park Sye-young (Fifth Thoracic Vertebra)
Julian Radlmaier

2025 Retrospectives:

Project A (1983)
A Diary for Timothy (1945)
The Stranger Left No Card (1952)
Sense and Sensibility (1995)
Costa Brava, Lebanon (2021)
Nebraska (2013)
The Descendants (2011)
L’Atalante (1934)
Anno Uno (1974)
A Bay of Blood (1971)
Silent Light (2007)
The Fallen Idol (1948)
Hell Drivers (1957)
Night and the City (1950)
Obsession (1948)
Odd Man Out (1947)
The Passionate Friends (1949)
Peeping Tom (1960)
A Portrait of Ga (1952)
The Shining (1980)
Time Without Pity (1957)

Starts as a mild relationship drama (she has a job, he is useless), then he goes outside and witnesses an extremely sudden citywide outbreak of The Crazies. The infected get red around their big black eyes, sport a big grin, and torture normals for fun, retaining their person skills (can talk and use weapons). After no living humans are in sight, the crazies have violent blood orgies. So our guy runs back home to come up with a plan, after the gardener neighbor cuts off a couple of his fingers, meanwhile the girl has taken the midnight meat train to work, uh oh. Rest of the movie is them trying to find each other, meeting up at a hospital, each trailing their own zombie archnemesis. I feel like it’s trying to be somewhat comical in an over-the-top gory kind of way, like Terrifier, but mostly ends up depressing (“charmless, sadistic“).

Gorgeous movie, multipart flashbacking story of drunk beardy Luciano, who gets very angry when the Prince locks a gate used by the shepherds, and burns down a building not knowing that his girl was inside. Later (Jay: “effectively morphing into a Western, like some lost Monte Hellman film as imagined by Lisandro Alonso”) he’s a false priest enlisted by pirates to find hidden gold in Tierra del Fuego with the help of a crab.

Maria Alexandra Lungu, star of The Wonders:

Jay Kuehner in Cinema Scope:

The film’s very methodology implicitly questions the reliability of narrators and highlights the selective hearing of audiences; what is made clear is that we all contribute to the shape of the stories we tell. Somewhere amid the din of the elders’ conflicting or consenting voices, a narrative of questionable veracity is cobbled together that the film then proceeds to visualize. By revisiting the scenes from which the elders’ unofficial chronicle emanates, de Righi and Zoppis pry open the causal effects of narrative and reveal its mercurial mythmaking.

Pumpkin Movie (2017)

Sophy in one city is skyping with a friend in Halifax while they carve jack-o-lanterns and discuss sexist aggressions from the past year.


Norman Norman (2018)

Repeat appearance by the director’s Macbook as she looks up videos about dog cloning while her own dog (Norman, elderly, in rough shape) lays with her on the bed.


In Dog Years (2019)

Interviews with owners of messed-up dogs, some near the end of their lives, with all focus on the dogs and their stories, the owners’ faces not shown. “In memory of Norman,” oh no. I was supposed to follow these up with Nine Behind / It’s Him / Grandma’s House, but already shaken by dying dogs I couldn’t take on dying grandmothers.

The Girl and The Spider and Trauma, or, The Dead Little Cat. The sparrow escapes in first few minutes and doesn’t return – and good for it, given the violence and bad vibes that ensue. Family get-together for someone’s birthday, and everyone’s happy to see each other but also on edge, then the kids start taking turns telling the mom they hate her, escalating aggressions until the movie breaks with reality when the cat is found dead in the washing machine and mom has a freakout and maybe the house burns down, everyone smiling pleasantly at each other about it. Played Locarno last year, so I watched during this year’s Locorazo.

Vadim Rizov:

Sparrow begins by once again demonstrating the brothers’ John-Carpenter-level facility with weaponizing off-screen space, leaning into meticulously locked-off interiors that are repeatedly unexpectedly disrupted, often by animals … Part of what I liked most about Strange Little Cat was the ways it generated surprise from both its framing and unexpected structure, low on overt incident but subtly discombobulating; that the Zürchers’ subsequent films have leaned into greater degrees of melodramatic hyperbole isn’t where I want them to go.

The mom starred in at least two Angela Schanelec movies, her husband in All Good and Bloodsuckers, and her sister in Schwentke’s The Captain.