Consistency is a quality I respect in the Fantasia International Film Festival. They are consistent in their commitment to inviting and supporting new talent in genre films—grooming them with the most enthusiastic audiences imaginable at a film festival—and they are consistent in their loyalty to the filmmakers they have introduced, allowing fans to follow the careers of their chosen favorites film after film. It was through Fantasia that I first experienced the particular genius of the McManus Brothers—Kevin and Matthew—when they attended the festival in 2010 for the international premiere of their directorial feature debut Funeral Kings, which screened to considerable acclaim. In stark contrast to a solemn backdrop of grieving mourners, foul-mouthed teens—thinly guised as altar boys—pilfered the communion wine, stealthily smoked cigarettes, and hungered to get to first base with girls way more mature than themselves. The film’s "wonderful vulgarity" (Scott Weinberg) shifted into poignance when the boys experienced the grief of becoming young men sooner than they intended.
In 2015 the McManus Brothers upped their game by becoming producers for newcomer Victor Zarcoff's Slumlord, which had its world premiere at Fantasia. Slumlord focused on the jaundiced eyes of Gerald (the titular slumlord whose perverse voyeurism was creepily portrayed by Neville Archambault). Archambault’s intensity, as noted by Fantasia programmer Simon Laperrière, instilled fear from his very first appearance on screen. It was an honor and a thrill to subsequently program Slumlord (since re-named 13 Cameras) in San Francisco’s Another Hole in the Head, and I remain forever grateful to the McManus Brothers for their generosity.The Block Island Sound (2020), wherein Neville Archambault once again set the bar for creepiness in his portrayal of fisherman Tom Lynch, father of protagonist Harry (Chris Sheffield). Harry’s concerned sister Audry (Michaela McManus, real-life sister of the McManus Brothers), returns home to Block Island where tons of dead fish are mysteriously washing up on shore, and dead birds are dropping out of the sky. Audry finds out that their father is suffering from hallucinations and blackouts and—when he goes missing—she and brother Harry embark on a horrifying discovery of a strange overlord force that has possessed their father and begins to threaten Harry similarly. As the emotionally volatile, often argumentative (yet vulnerable) Harry, Sheffield colors his characterization with multiple tones and hues, ranging from paranoic belligerence to mounting bewildered fear.
As an admitted genre fan—and as much as I can appreciate predictable zombie rom-coms or yet another vampire squeezing blood from a stone—I am always hoping for a storyline or effect that is different than anything I’ve ever seen before, and The Block Island Sound turns all expectations upside down and delivers a sinister force that is never fully explained and, sagely, never actually seen nor personified. Only demonstrations of its force are experienced, by way of possession, electro-magnetic disturbances, radio static and mindblowing gravitations. Strengthened by this commanding quality of the unknown, the scares in The Block Island Sound are heightened by a spine-tingling collaboration between Paul Koch, whose music for the film coupled with sound design and editing by Shawn Duffy and Andrey Randovski create the unsettling sound of The Block Island Sound, which will have you gripping your seat, gritting your teeth, and fearing the worst. Of the 16 films I had a chance to screen at this year’s virtual edition of Fantasia, The Block Island Sound was the most unnerving. The film’s tense ambiguity is offset by commendable comic relief by Jim Cummings as Dale, the resident ride-bumming conspiracy theorist.
On their YouTube channel, Fantasia offers the virtual Q&A session following the film’s world premiere, moderated by Fantasia programmer Mitch Davis and featuring the McManus Brothers, sister Michaela McManus, and long-time associate Chris Sheffield.