By Jake Howell jake.howell@utoronto.ca

Cannes Review: The Transfiguration

transfiguration

Out of the darkness, the remedy to tired post-Twilight vampire movies arrives in Cannes with little to no fanfire: U. S. director Michael O’Shea’s The Transfiguration, a debut that drives an sturdy stake into familiar material while breaking new ground in urban realism.

Following taciturn Milo (Eric Ruffin), an orphaned young kid living with his war veteran brother in a seedy Brooklyn apartment, the film and its protagonist are obsessed with all things vampire. Which makes this film, at first, very meta: Milo name-checks 2008’s Let The Right One In as one of his favorite examples of vampire logic, a field he’s in the process of researching extensively through bingeing old classics and “cultivating” first-hand experience.

The result of Milo’s inquiries find that there are, perhaps, realistic vampires—or more accurately, real vampires: bloodsucking mortals that aren’t allergic to garlic, are able to stroll under the sun, and can comfortably bathe in holy water. Vampires with groceries to buy and internet bills to pay. Yes, as the film suggests, maybe the actual vampires begin by hurting animals and watching gore videos online—before randomly murdering strangers for a strict monthly diet regimen.

Steeping the film in the realism of Brooklyn’s school of hard knocks, the film opens with an attack—in a bathroom stall, of all places, where initially it’s taken as a public sex act. Squeamish be damned: The Transfiguration doesn’t shy away from Milo’s exsanguinations, which are a necessary evil for this complex and excellent commentary on urban hardships to work.

Using an unstable handheld camera, O’Shea casts a light on his rough-and-tumble apartment block that’s rife with violence and poverty. It’s a setting that will feel real, which is a brilliant thematic tie-in to Milo’s fascination with the realities of what vampires would be—not the sparkling skin and chiseled faces of Stephenie Meyerdom, a canon summarized here as “sucking.” Because as other horrific crimes begin to occur throughout the neighborhood, maybe Milo isn’t the only monster running around the streets of New York City.

Finally, it’s unsurprising to learn newcomer Eric Ruffin had a role in 2013’s The Inevitable Defeat of Mister and Pete, a film that essentially takes place around the corner from this genre-tinted entry. Playing opposite an ideally cast Chloe Levine, Milo’s at-risk youth friend and romantic interest, Ruffin joins filmmaker Michael O’Shea as two talents to watch.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch