Nightsiren, playing at Fantastic Fest, is a folk horror gem surrounding a young woman’s return to a small village she fled as a child. Directed by Teresa Nvotová and written by Nvotová and Barbora Namerova, the film is another slow-burn style, filled with analysis of patriarchal oppression. Filled with atmospheric suspense and tense acting, Nightsiren keeps you on your toes as to what is real and what is superstition.
Missing, also called Sagasu, delivers a subdued thriller playing at Fantastic Fest, where even the violent moments are unnaturally quiet. Directed by Shinzô Katayama and written by Katayama, Kazuhisa Kotera, and Ryô Katada, Missing starts with a father, Harada (Jirô Satô), struggling with his daughter, Kaede (Aoi Itô), after the death of his wife. In debt, Harada pursues a serial killer for a reward, but Kaede searches for him when he disappears. Filled with unexpected turns, Missing expands its thriller with drama, moments of levity, and a philosophical current regarding life and death.
From Dutch to Next Exit, I enjoy a good road trip movie. Even moreso when it takes an approach that I have not seen. Unidentified Objects, directed by Juan Felipe Zuleta and written by Zuleta and Leland Frankel, playing at Fantastic Fest, delivers. The story, during the pandemic, follows Peter (Matthew Jeffers), a testy little person offered money by Winona (Sarah Hay), a sex worker determined to keep her date of departure with aliens, who needs his car. Unidentified Objects focuses on the road trip themes of growth and shines as a poignant movie that makes you look inward and upward.
The music is sometimes dramatic, creating a camp atmosphere instead of horror, but the line between good and evil blurs. Everyone Will Burn is one of the few movies you root for the devil.