Sundance 2021 Report 1: CRYPTOZOO, JOHN AND THE HOLE & KNOCKING

It’s another year, and that means another Sundance Film Festival! While none of us are having the experience we truly crave, indulging in the atmosphere and ambiance of Park City, there’s still enjoyment to be had, and plenty of movies to devour. I think it’s worth a real round of applause to Sundance for what they were able to pull off this year despite everything. I’m optimistic that next year will be different, for us all, but until then, I’m relishing my ability to lounge around in pajamas and indulging in my life’s favorite activity: watching films. My schedule had a lineup that was quite eclectic, which is always my mission, and I’m excited to share what I was able to watch.

The first three films could all be categorized in a similar genre and yet… not. The one connection is that they’re all a little weird in their own way (some more than others – I’m looking at you Cryptozoo) but all, had something inherently unique to offer, even if they weren’t stunners.

Cryptozoo (Dash Shaw)

Before even starting this film I thought it was custom made for me. Hand-drawn animation, cryptids, and a general embracing of the strange? That seems like an obvious instant hand raise for me. While it didn’t quite hit all the marks, mostly losing itself with inconsistent narrative decisions, it was still something. After watching I actually had a moment of “woah” and that is most definitely a Keanu Reeves-like response I’m referring to. It wasn’t necessarily a bad or a good one, it just took me a while to chew on what that response meant.

The opening sequence, which follows a couple (the two voiced by Louisa Krause and Michael Cera) having sex in the woods and then discovering a giant fence (much like Jurassic Park – and that’s not where the similarities end) climbing it (still nude), and then discovering as you may have guessed, the Cryptozoo, was amazing. When the man was skewered by a unicorn’s horn I was pretty locked in.

From there it goes to a new character, our real protagonist Lauren Gray (Lake Bell), who, after interacting with a Baku (a mythical creature who eats your dreams) her mission in life is to protect cryptids. Also, to be reunited with her beloved childhood friend.

Once some of the main characters set upon their quest, the film begins to lose its momentum. This isn’t to say it becomes uninteresting but looser with its cohesion. While I can commend the strange, it goes a bit off the rails a few times.

The score was quite fantastic and the playful variances in animation and color were all quite potent in their delivery. There’s an eventual trip to the Cryptozoo that reunites our original character with the others, as the park spirals out of control. Those contained within have become free and the government wants them controlled. Sound familiar? Yes, another Jurassic Park nod, with the same consensus by its end of “is this for the benefit of them or us?”

This is still a worthwhile watch, primarily because of the imaginative nature of its creation. It’s unlike anything I’ve seen before, and while some might deduce it to a drug filled endeavor, I don’t know that this is truly a negative thing. I think it could have been even shorter than its limited run-time, and I believe some of the plot was undeveloped, but I still loved the creatures and the world-building element. Not to mention, the animation was truly delightful, that clearly was a labor of love. Imaginative and wonderfully designed, even if it isn’t perfect, Cryptozoo is most definitely an experience.

John and the Hole (Pascual Sisto)

While I’m sensing this could be a divisive film, I’m confident in the fact that it is an intriguing one. It never lost me (almost did) even if its ambitions sometimes overshot its delivery, there is plenty to appreciate within this thriller.

John (Charlie Shotwell), in a stand-out performance, decides (without any clear explanation mind you) that he wants to drug his family and put them into a hole. The three victims of this twisted Home Alone are father Brad (Michael C. Hall), mother Anna (Jennifer Ehle) and sister Laurie (Taissa Farmiga). He wants to experience freedom, “adulthood” as you will, and the film commences through days of him on one end, eating what he wants, driving around, hanging out with friends (some pretty unusual, unhealthy games- is all I’ll say) while his family is stuck in a muddy pit, starving and astounded by what’s happening. From both sides, it’s provocative and interesting.

The film sees tone changes fairly often between dark humor and desperation, making some scenes cringy while others are inciting laughter. This can be a bit jarring in retrospect, but still intriguing. There’s some terrific cinematography throughout the film and the cast really carries the plot even when the writing gets thin. It’s a moody piece that is brought to life through the eyes of a young boy whose motives may not be entirely clear, but who has you wondering the whole time- what is he going to do next? While his family is stuck in the hole, and despite some creepy, questionable, and sociopathic actions, there are also moments he has with others outside, where he is reaching out, craving contact, as if he doesn’t even really know why he did it himself. It’s those nuances that make Charlie Shotwell the best part of the film. There are times where I felt as if he wouldn’t let me look away – and if the movie had channeled that, I think it would have been more impactful.

There are several plot “holes” yes, that was an intended pun, that may have you wondering about the how’s/why’s after, and, depending on your point of view, that might bother some more than others. For me, it didn’t ruin the film, just deflated it from what it could have been. I think there was something pretty terrific here, that at times, just didn’t know what it wanted to be.

This isn’t a movie that will shake you, though it has its moments, nor will it be one that may be entirely resonating. There are elements that really work, scenes that linger even in the credits, and others that may have you scratching your head. It’s really a story of a young boy wanting to be an adult, with a cross-reference (not sufficiently executed) of an adult wanting to escape parenthood, forcing their child to maturity.  John and the Hole is a film with a great premise, a mix-matched execution, but one that should still be discovered. The impressive talent of Charlie Shotwell is reason enough.

Knocking (Frida Kempff)

I have always been a fan of psychological horror. To me, it’s one of the only subgenres that can genuinely terrify me. The reason? It’s grounded in the reality and truth that we all have the potential to let our grasp on reality slip. When we start Frida Kempff’s Knocking, Molly (Cecilia Milocco), who has recently dealt with a traumatic experience, is being released from an institution. It’s time for her to get back on her feet. She gets an apartment, and almost immediately something unnerves her.

Molly starts hearing a mysterious knocking, and she’s wondering what it is. None of her neighbors seem to know what she’s referring to, yet, it continues. Is she imagining it? Does someone need help? We are right there with her as a growing paranoia slowly creeps up on her, shaking her to her core. In many ways, even without knowing the ending or “truth”, this is a perfect cinematic exploration into gaslighting. Not only does no one believe her, but they are exceptionally quick not to. This makes her doubt herself, further impairing her judgment and frame of mind.

She’s trapped, both in her apartment and within her own memories. With a very short runtime, this chilling film is a fast watch, but not a comfortable one. There are many things that contribute to this discomfort, the score, the terrific sound editing/mixing, an incredible lead performance, as well as the atmosphere created. Not only is she being plagued by a frustrating noise and a growing mystery, but there’s also a heatwave as she’s trying to reintegrate into her life. As this slow-burn thriller continues, she’s slipping, suffocating, until eventually leading to her boiling point.

Cecilia Milocco is a very talented actress and her commitment to the role is a large part of the reason I was transfixed as it went on. The ending does leave something to be desired. This isn’t a story that’s necessarily unknown to film, and while what I have mentioned makes it one that should be seen, in its final moments there’s a lack of closure. Still, grounded by a stellar performance and guided by a keen technical prowess, Knocking will undoubtedly garner an emotional response.

Were you able to attend this year’s festival? Have you seen any of these? Let us know your thoughts in the comments below!