Film Fests
[REVIEW] Chattanooga Film Festival 2024: ‘Canvas’ Is a Modern Classic
Canvas follows the tumultuous relationship between sisters Marissa (Bridget Regan) and Eve (Joanne Kelly). Both are artists, only one is much more talented. Throughout their formative years, their father, Raymond (Samuel Roukin), pushed them to harsh extremes to elevate their art. However, Eve and Marissa took two very different lessons from their father. Eve is now a recluse, while Marissa seemingly has become a big-city artist. Things quickly go awry when Marissa takes a trip back to her familial home and injects herself back into Eve’s life.
Before we jump right into this review, I should get something out of the way. There was a film at Chattanooga Film Festival that I enjoyed more than this one. But on all metrics, this film easily takes the cake as my best of the fest. When you think of classic horror, what do you think of?
Some films that come to mind are Wait Until Dark, Don’t Look Now, and Psycho. These are films that tell their horrific tales effortlessly through brilliant camera work, incredible acting, and a complete knowledge of the craft. In my opinion, few films today fall under the category of future classics, films that our grandkids will look at as overly formative within the genre. What is it about these films of yore that seem so intangible for modern filmmakers? If you find yourself looking for that white whale, the needle in the haystack, then do I have a film for you.
Canvas follows the tumultuous relationship between sisters Marissa (Bridget Regan) and Eve (Joanne Kelly). Both are artists, only one is much more talented. Throughout their formative years, their father, Raymond (Samuel Roukin), pushed them to harsh extremes to elevate their art. However, Eve and Marissa took two very different lessons from their father. Eve is now a recluse, while Marissa seemingly has become a big-city artist. Things quickly go awry when Marissa takes a trip back to her familial home and injects herself back into Eve’s life.
Like most classics, the story of Canvas is straightforward. Two sisters with animosity toward each other reconnect; one sister has one plan for their father’s artwork, while the other has an entirely different idea. Twists and turns slowly unravel to reveal an even deeper mistrust and hatred. Canvas doesn’t let itself get bogged down by high concepts, rather it, itself, exists as a piece of art. It lets the audience inspect each frame, and each character’s action as if it were a painting. The frowns and forced smiles are strokes of paint that go against the grain, indicating a deeper analysis of each action.
The film hinges on the relationship between Marissa and Eve, meaning the brunt of the heavy lifting falls to Bridget Regan and Joanne Kelly (with some excellent supporting performances). Regan and Kelly are, to put it bluntly, brilliant actors. Seeing Melora Donoghue and Kimberly Stuckwisch draw such raw and authentic performances in their directorial feature debut is astounding. Donoghue and Stuckwisch feel like seasoned pros, and Canvas is their seventh or eighth feature film. Also, a huge shoutout must go to Samuel Roukin, who voices Ghost in Call of Duty, for an incredible performance.
Canvas is a piece that’s able to transport the viewer into a singular place and time. Part of this film’s beauty is from the beautiful collaboration between Melora Donoghue and Kimberly Stuckwisch and cinematographer Justin Hamilton. One of the many things this film does incredibly well is the transitions. I wish there were more transitions like this in film. Hamilton moves the camera seamlessly from the modern day to 20+ years ago when they were children. These in-camera transitions show a dedication to immersion and storytelling. There’s nothing wrong with cutting away to a flashback, but handling it as smoothly as they did in camera just adds that extra level of love and care that makes this film feel like a classic.
Canvas is a modern classic. Its emphasis on emotion stands strong against the gorgeous cinematography. This is a film that needs to be taught to filmmaking students. When you have a great story, an incredible cast, and a deep dedication to filmmaking, you don’t need a studio-sized budget. You don’t need over-the-top effects and gore. Canvas does what many films try to do but fail at. Its production value looks ten times what it probably cost. One thing is clear: Melora Donoghue and Kimberly Stuckwisch could direct paint drying, and I’d eat it up.
Last week, the Fantasia International Film Festival wrapped up yet another stellar year of madness and mayhem after showcasing over 120 feature films and over 200 shorts from 54 different countries. At the opening ceremony, artistic director Mitch Davis enthusiastically reflected on the festival’s 30 years of cutting-edge film programming. At the festival’s inception and for many years, the programming team would seek out international films that could not secure distribution in the North American market (and those that did would often end up modified and heavily edited, something Davis called “a constant cultural crime”). Recently, streaming platforms have completely changed the game. “It’s a miracle that Fantasia has lasted the way that it has,” said Davis while praising the team of programmers for continuing to support indie genre filmmaking.
Fantasia Film Festival 2026 Round Up
One thing that remains consistent at Fantasia International Film Festival is a dedication to featuring films made by human labor in all sorts of creative ways. Practical effects reigned supreme, and audiences reacted enthusiastically to anything that challenged filmmaking norms. Here are some of our highlights from the fest that showcased those values. (For coverage of our absolute favs, check out these articles about Teenage Sex and Death at Camp Miasma, Mum I’m Alien Pregnant, Castration Movie and Corpus)
No Rest for the Wicked
This dark gothic tale from the remote Faroe Islands truly enthralled audiences. Director Kasper Kalle gave his actors plenty of space to long after one another while showcasing the stunning, dramatic landscape of the islands. The premise may be simple, but the execution is perfect, and it’s no wonder that Kalle took home the Cheval Noir award for directing (as did actor Pilou Asbaek for his performance).
Nightborn
Hanna Bergholm’s follow up to her debut Hatching (2022) stars Seidi Haarla as a new mum (alongside Rupert Grint as her husband) who moves to the Finnish countryside to restore her childhood cottage. Motherhood proves way more challenging than she expects, and her newborn child doesn’t quite match her expectations. Nightborn truly goes off the rails while blending both body and folk horror, and took home the top prize for Best Film at the festival.
Drag
Lucy DeVito and Lizzie Caplan star in this thriller about two sisters trying to break out of a mansion that they broke into. The less said the better about the plot, but it’s safe to say that the situation escalates dramatically. The construction of this story expertly uses detail to play with tension and humor, which makes it really fun to watch alongside a rambunctious crowd.
I Love Paris
This vampire mockumentary follows an ambitious Parisian wannabe pop star (who dubs herself Paris) as she tries to secure a coveted spot at an upcoming music festival with a little help from supernatural forces. Aminata Thiboult nails the titular role as she and her friends rampage across the city seeking both fame and blood.
Black Zombie
Maya Annik Bedward does an incredible job of weaving together the history of Haiti, Voodoo, and the zombie mythology in this must-see documentary. The story of what it took to get this film completed perhaps deserves its own documentary. “We started filming in LA in March 2020, so I was in LA when the whole world shut down,” Bedward told us at the premiere, adding “after that, things changed a lot.” She explained that after Haiti’s president was assassinated in 2021, “things have just become more and more difficult for people in Haiti and I’d say the majority of the people who were involved in the film – if they could leave, they’ve left.”
Colony
Director Yeon Sang-ho (Train to Busan) returns to the zombie genre with this fast-paced gonzo action-horror hybrid about a group of strangers trying to escape a horde of people who seemingly share a hive mind. It’s fun, it’s dumb, and it has a very high body count.
Buddy
What if Barney the purple dinosaur was an orange unicorn, and was also evil? That is basically the story of Buddy, a demonic beast masquerading as a beloved children’s TV show as he summons his victims to his universe. Too Many Cooks creator Casper Kelly delivers this madhouse of a film full of gorgeous sets, practical effects, and lots of fantastic gore.
Short Films Matter at Fantasia Film Festival Too!
The short film program is just as important as the features, and this year we saw some real knockouts! Sleep Through Summer stunned audiences with its eerie dystopian punishment system, and I Walked Through The Wall was notable for its creativity and acting. Needle had us all squirming and cringing through its final moments, and the sheer scope of The Pigs Underneath left an unforgettable impression.
Honorable mentions!
- Ferine was an absolutely bonkers modern giallo bloodfest with a magnificent score.
- Home Bodies, a locked room story about two siblings being raised by a disembodied voice, had the best production design of any film we saw.
- Godhead is Mark H Rappaport’s (slightly) less disturbing follow-up to his cult hit Hippo. Here he delivers another stunning visual feast.
- The Glorious Dead is the latest entry from festival favs The Adams Family. They applied their unique community style of filmmaking to an apocalyptic horror show set in a snow-covered small town, and the result will absolutely please their fans.
On a personal note, it’s always a joy to immerse myself in such a crazy festival like Fantasia. Shout out to the staff and volunteers who keep the whole event running, and see you next year!
Corpus
Corrin Evans premiered her debut feature film Corpus at Fantasia Film Festival.
Corpus is a steamy thriller set in 1997 New York, which follows a group of friends who travel to a remote mansion for a party, though what they find is not quite what they expected.
Intimacy and consent are at the heart of this film. The characters often long for and lust after each other, and Evans makes sure that the audience feels every breath and every touch. The film looks exquisite, thanks in part to cinematographer Charlie Cole. Together they designed a lighting setup using either natural lighting or very hot tungsten lights (which added to the steamy aesthetic). “I just love the body,” explained Evans at the world premiere in Montreal. “I knew I wanted it to feel very visceral and flowing from the gut, like you’re really with these characters up close. I wanted to be able to feel skin and pores.”
Having worked as an intimacy coordinator for several years, Evans brought her industry experience to both the story and her directing choices. Co-writer and actor Lily Cowles (who plays Billie in the film) praised Evans for her directing style. “I’ve often thought the reason that you’re a good director is the same reason you’re a good intimacy coordinator.” Cowles continued, adding that “when you’re on set, there’s a level of safety and an openness, and you can really trust that Corrin’s going to keep you in that pocket.”
So much of Corpus was crafted by the hands of the cast and the crew. Many of the effects were done practically (including one devastating moment that we will not spoil here), and the main location – an old mansion – was dressed and designed to feel authentically lived in. Even the score, composed by VAAAL (pronounced like wall with a v), was created using an organic process. “ I’ve been wanting to work with him forever,” explained Evans about their collaboration. “He’s an insane musician.”
Corpus will leave your skin crawling in all the best possible ways.
Castration Movie Chapter iii.ii Junior Ghosts—Premorphic Drift; a fragmentary passage
Louise Weard showcased an excerpt from the third part of her anthology epic Castration Movie at Fantasia Film Festival last month.
Weard’s epic anthology film is all about exploring “trans-temporality”, as she explained to the Fantasia crowd. “Your timeline gets so skewed in an interesting way, where transition becomes this benchmark.” Her original intent was to release one long 24h film as a way to reclaim that lost time, so to speak. She uses her family’s digital camcorder to shoot everything and uses tapes of her as a child to record and re-record her footage. She writes, directs, shoots, and edits everything, often exploring very dark topics.
While this may sound intimidating on paper, Weard writes with a vicious sense of humor, and has an excellent sense of how to balance sincerity with cringe. This particular section focuses its story on a romantic couple as one partner transitions. Weard’s excerpt produced maybe the most visceral reactions of the festival, with audience members actively heckling one of the onscreen characters during the film’s final act. While previous chapters have featured both graphic and sexually explicit content, this part focused instead on a kind of deep emotional trauma that is usually left to the most toxic of internet forums.
“This movie is my parody of Lawrence Anyways,” quipped Weard (who is trans herself) as the audience was still reeling from the film. She went on to explain how often trans stories are told from the perspective of the cis gaze, that the narrative arc focuses on how a cis person feels about another person’s transness. Weard’s camera work often zooms into the cis partner’s eyes as they watch their trans partner go about their day. “We’re going to really put that gaze under the microscope, almost literally in terms of how zoomed in we are on those eyes. And I think it creates a horror atmosphere in a lot of ways.”
The full scope of Castration Movie is yet to be revealed. Castration Movie Anthology i: Traps has a daunting runtime of 4h 35m, while Castration Movie Anthology ii: The Best of Both Worlds runs 5h. The excerpt presented at Montreal’s International Fantasia Festival ran 2h 10m, though Weard plans to release the full Castration Movie Anthology iii: Year of the Hyaena later this year, and is already working on an Anthology IV and V. “I like to think of it at this point like show running. Because it’s been literally nonstop production for coming up on four years. I’ve been shooting every weekend for four years.”
Weard was working as a PA when she started shooting her film, but “unfortunately, I kept running out of money,” she laughed, and of course the 2023 writer’s strike did not help her situation. She decided to release segments of her film to raise funds so she could keep shooting. With this specific 2h segment, Weard hopes to bring more audiences into her universe. “This gets to be the easy access point where someone can demo the castration movie experience for just two hours and decide if they want to commit to the whole 24-hour endeavor,” she chuckled.
