Fantasia Festival (2025) | Episode #164 - Abyss Gazing: A Horror Podcast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:24):
Welcome to Biscays, a horror podcast where we celebrate all
things spooky and mental health.

Speaker 2 (00:30):
This is Billy and I'm your co host Mark Mark.

Speaker 1 (00:35):
It has only been a few days since we've recorded
our little nikky episode. My name is Josh. By the way,
I'm the other co host, and Mark has forgotten how
to introduce himself in the shuffle of.

Speaker 3 (00:47):
I just.

Speaker 2 (00:49):
Figured I would pause and see what y'all did and
how y'all would react, I said, just to see because
I was curious.

Speaker 1 (00:58):
Well, I believe in I don't necessarily believe in Christmas
in July, but I believe in Christmas in August, which
is the time of year where we talk about Fantasia Fest,
one of my favorite festivals and film fests to talk
about and see and get to experience. And I'm so

(01:20):
glad because this is our official Fantasia Festival twenty twenty
five episode, and we've got a lot of goodies on
this episode for you, both short films, feature films, and interviews.
I'm super excited and Mark.

Speaker 2 (01:34):
And as usual, Josh has watched like more than all
of us because I'm not sure of the quality of life.

Speaker 1 (01:41):
He has so not only did I not only was
I covering more films this year and Fantasia than both
of you, I also knocked out an entire other film
festival and put out a shitload of content on the
Victims of Villain's website at the same time. And I

(02:01):
was also on tour. So I'm just I think I'm
clinically insane slightly. I don't like to I don't like quiet,
so I like to fill my schedule sometimes quiet is nice. Look, Mark,
I am not you.

Speaker 4 (02:20):
I YouTube looked nothing alike, so we're good with that.

Speaker 2 (02:30):
Yeah, I actually have hair.

Speaker 1 (02:34):
I look good bald. I'll throw that out there.

Speaker 2 (02:41):
I wouldn't know. I've never seen you any other way.

Speaker 1 (02:45):
That's true. I used to have hair longer than yours,
which is not.

Speaker 2 (02:50):
Saying much considering I cut mine not long ago.

Speaker 1 (02:53):
No, my my hair was longer than what you had
before it cut. It's crazy.

Speaker 2 (02:59):
Mine just gets to my shoulder back between like my
shoulder blades, and just stops growing.

Speaker 1 (03:03):
It's really weird. I had it down below my nipples.
Looks like a freaking hippie at one point in my life.

Speaker 2 (03:10):
Well, you're like five ft one, so that's not that fun.

Speaker 4 (03:16):
I go point out. Josh just got away with getting
nipples on our podcast because he had to put that
in there.

Speaker 2 (03:22):
Hey I did.

Speaker 1 (03:25):
All right, Well, let's kick things off, and Mark has
our first selection for us this year.

Speaker 2 (03:31):
Yes, So they had a cool selection this year of
Asian movies and Eurasian and I watched one called Burning
from Kyrgyzstan. So it was it was an interesting movie.
It was if you've ever seen did you ever see

(03:53):
the Last Duel where it told the same story from
three different points of views?

Speaker 1 (03:59):
I have not, Okay, I cannot say that I have
had the pleasure. That's the one that reunited Affleck and Damon.

Speaker 2 (04:05):
Right yeah and Drive yeah yeah. So it's that same
kind of concept. It's a small village in Kyrgyzstan, tragic
events with a family, and you see the story from
three different aspects of characters involved in it, and it's

(04:27):
drastic different takes on the same story. And it was
just it was interesting because I don't think I've ever
seen anything from Kyrgyzstan, so it was kind of cool
just to see a film from a region that I've
never seen before. That was kind of neat. It was
an interesting concept of the story and from the actual

(04:53):
story that all the three different versions were based on
to find out what really happens in the end, and
it was just it was generally a cool movie. It
was less horror than I was expecting. Even though it
was advertised as horror thriller. There was less horror to
it that I thought there was going to be. It

(05:14):
was more on the thriller side, So it was still
pretty interesting movie.

Speaker 1 (05:20):
Just spoiler warning, Almost every film that I'm going to
talk about in this episode is not horror, so you're
not alone there.

Speaker 4 (05:28):
Yeah. I was going to say the ones I watched,
some of them weren't horror, So yeah.

Speaker 2 (05:33):
I wished I had time to watch more this year
because there was a lot from Asia, and Asia is
usually spot on with the way they do horror movies.

Speaker 1 (05:44):
Yeah, I was gonna say this, this is one of
the best years that Fantasia's had in terms of selections
since we started covering it over in the face of
the pandemic.

Speaker 2 (05:55):
So, I mean, I still haven't seen anything the top.
Was it Paul Dude's Deadly Day Off?

Speaker 1 (06:01):
Yeah, it was one of the twenty twenty one, twenty
two something like that. It's a few years ago.

Speaker 2 (06:09):
Yeah, and that's still my favorite movie I've seen on
the Fantagia circuit so far.

Speaker 1 (06:15):
I don't know what mine would be. Broadcast Broadcast Interruption
is up there. It's a good one.

Speaker 2 (06:24):
Yeah. I mean this one was decent. It was a
little slow at times, but it was still the concept
was there, the story was there. It was cool to
see the different aspects, and it was cool to just
see a different countries film for once that you haven't
really seen too much come out of.

Speaker 4 (06:42):
What's it? What do you giving it?

Speaker 1 (06:44):
In terms of rating.

Speaker 2 (06:50):
Three and a half out of five. It's not great,
not bad. It was good, it was good, it was interesting.
It just it wasn't quite what I was expecting. Like
I said, I was expecting some sort of horror, and
it had some horror aspects to it, but it leads
more into thriller than horror.

Speaker 1 (07:11):
So it was like when I was expecting Billy you
were up next.

Speaker 4 (07:17):
Yeah. Well, I watched this movie kind of named after
Mark called Lurker.

Speaker 1 (07:23):
The fuck.

Speaker 4 (07:27):
I could not resist, but the name of the movie was.

Speaker 1 (07:34):
Faster.

Speaker 4 (07:37):
This movie was about like a real retail shop worker
that infiltrate into a guy that's up and coming uh, stardom,
kind of a singer, TikTok fame, everything like that. It
didn't specify that that's what it was, but just a
description of it. And uh he when after he gets
in there, shit happens and the relationship goes bad and

(08:03):
then it goes from there. The movie was decent. It
had its up and down. I like the way it
was shot, like it did a lot of the movie
and documentary style mixed in because because the retail worker
ends up being like a documentary for him to track

(08:23):
him and everything. And I mean it's seen from different
views at that point of the artist Oliver that's actually
a fame plut and the guy that was the Reese
Hill shot worker, you see him from both views. So
that was decent. It just to me, it had its

(08:44):
slow moments, and some of it was predictable because you know,
growing up with everything we have and TikTok fame all
that stuff. Some of it's predictable because you've seen it
in real life. And for the climax on the one,
because it was supposed to be a thriller, it didn't
really hit for me. So it was kind of the

(09:06):
movie was a mu because it didn't have that actual
moment I wanted. Some people may not think that, but
to me, it just was muh it was like two
and a half.

Speaker 1 (09:18):
That's disappointing. Sorry to hear that. So uh So, the
first one that I'm going to talk about tonight is
a short film and it's a creature feature comedy, and
I had the chance to also sit down with the
writer director co writer director, Sorry Dylan. Pun'll provide a

(09:41):
link in the show notes below for that interview, But
basically this this is a short film that tells the
story of Imagine. All right, so let me put it
to you this way. Imagine Gordon Ramsey was a shrimp
and controlled people. Like from Ratituy, that is this movie. Okay,

(10:07):
it's it's It's a really first off, just full transparency.
I talked about this in my interview. I had never
seen Ratituey before this, so I watched Ratituey in preparation
for my conversation with Dylan. Thought Ratitude was just okay,
I really I thought this film kind of took that
concept a little bit better. It does a lot and

(10:31):
embraces a multitude of formats and genres. Within thirteen minutes
It's actually really impressive what they're able to accomplish in
such a short period of time. It has that mockumentary
style that you were talking about Billy with Lyricer. It
has a cooking show climax in the end. It has

(10:54):
this like really brilliant social commentary on immigration woven into it,
and just the hostility that also comes with working in
a kitchen. The acting was good. The practical effects I
think also, I started talking with Dylan and like getting
a grasp on how they were able to do a

(11:15):
lot of these shots practically. I have a finer appreciation
for this one. It's a lot of fun. I'm gonna
go ahead and give it a four at five.

Speaker 2 (11:24):
Say you liked it.

Speaker 1 (11:25):
I did like it. I will say most of the
films I chose this year were bangers. I was very
careful in picking when I was intentionally picking, but a
lot of them I just went in completely blind. I
had people email me and I was like, let's go,
let's just do it. Let's do it cool and and

(11:46):
some of some of that, some of those leap, those
blind leaps ended up being some of the best movies
of the year. Some of them ended up being some
of the worst. So we'll talk about it. But Mark Billy,
you guys are up next. You guys had a crossover.

Speaker 4 (12:00):
Uh no, I.

Speaker 1 (12:02):
Think I'm talking about Haunted Mountain before that. Oh yeah,
Hanted Mountains Yellow, the Yellow Taboo.

Speaker 2 (12:09):
So this one, it's like a easiest way to describe
the movie as a paranormal paranormal Groundhog's Day.

Speaker 4 (12:23):
What.

Speaker 2 (12:25):
Yes, I actually I really thought it was really cool.

Speaker 1 (12:32):
Mm hm.

Speaker 2 (12:34):
A couple gets stuck in in some events in a
mountain that keeps replaying itself and it's it was just
it leaned a lot into some Asian Asian shoes, I
don't want to say superstition, but more beliefs, uh, things
like that. And it was from Taiwan, which was cool.

(12:58):
Like I said, there was a lot of really age
and horror and this was one of the ones I
got to I got to see this year and it
really it really does play out like like a paranormal
Groundhog's Day.

Speaker 1 (13:14):
I had initially had this one on my list before
kind of Time got away for me, so like kind
I had to shrink down, but this almost ended up
being on my list.

Speaker 2 (13:28):
Yeah, and it's it's a shame it because it's a
cool movie. It's a really cool movie. The way they
did it. The scenery was really nice because it's just
most of it's all up in the mountains. It had
some pretty decent death scenes because it's a horror and
they actually they actually did it. And I just I

(13:50):
have a I have a fondness for Asian horror in general,
and this one kind of really fell into that category
and really.

Speaker 5 (13:58):
Scratched that itch.

Speaker 1 (14:01):
Nice. What are you? What are you giving it? On
the Rushak rating scale.

Speaker 2 (14:07):
I would give it a four.

Speaker 1 (14:08):
Out of five. Sorry, I will put it on my
list and hopefully hopefully it comes to stayside because one
of the things that I've come to find out about
some of these international festivals is that they don't always
uh when you screen things from other countries, that don't

(14:28):
always end up here in the States. And it's very
very sad to hear that.

Speaker 2 (14:34):
Yeah, and there are some that we've that they've had
on Fantas in the past that we couldn't get screeners
to for various reasons. And like the Count of Monte
Cristo on wards last year at Fantasia, that was what
I really wanted to see it. I got to see it,

(14:56):
and it was it was.

Speaker 1 (14:58):
Super Yeah, we're pretty tell me about that.

Speaker 2 (15:02):
Yeah, but yeah, this one, yeah, on the Mountains, it was.

Speaker 4 (15:08):
It was really good.

Speaker 2 (15:09):
The only real downside was the way they did the
subtitles in the movie. They were really freaking small, really small,
and I was on a sixty five inch TV and
it was still really small.

Speaker 1 (15:26):
That's not the that's not that's not the fault of
the filmmakers. That's just who ever did the translations. Well,
it's actually in the movie.

Speaker 2 (15:35):
It's not separate subtitles like you can turn them on
and adjust the size and everything. It was actually in
the movie. So whoever did that. That was the biggest
problem I had with it. Some of the special effects
were a little low budget, but overall it was it
was cool. It was a good movie.

Speaker 1 (15:55):
Okay, so now comes the the the cross sover Ye
coverage of Noise for you two, and I.

Speaker 4 (16:07):
Guess I'll take this one since he just talked a lot.

Speaker 2 (16:11):
No, I'm actually I'm actually curious to hear what you
think about this one.

Speaker 4 (16:17):
Actually, how you just said one of the movies scratched
your itch. This one scratched mine. It was the Jahr
that I wanted. So this is one about a woman
with the hearing impediment that is trying to find out
what happened to her sister in an apartment complex that
she lives in. I guess apartment complex would be the
easiest way to say it, Oh, without giving too much away, Mark,

(16:40):
do you want to add to that? So?

Speaker 2 (16:42):
Have you ever seen the original Japanese Juwan? I have,
it's been a while, Otherwise known in America as The Grudge.
This very much reminded me of the Japanese of Juwan
and it was really cool too.

Speaker 4 (17:03):
Yeah. I mean this movie, this movie, like I said,
it was Jay horror that I wanted. So the story
wasn't slow at all. I kept you in interested the
whole time. It did have pacing issues to me at
the beginning, but I expect that with the story that's
trying to explain and build.

Speaker 2 (17:21):
Where it jumped back and forth between time periods and
events got a little confusing.

Speaker 4 (17:28):
A yeah, yeah, but I mean I love how they
used the darkness in this for some of the imagery
to make some of the scenes even better. Since they
were using the horror that as a horror aspect too,
so it's harder to see things and everything. Even though
usually I would be the first one to say, hey,
this movie's too dark physically, they use that to their advantage.

(17:52):
And yeah, some of the things, like just the fact
that the story in apartment complex, the way it was
relatable no matter what department complex you live in.

Speaker 2 (18:02):
But yeah, if you liked Juan, you'd like this movie.
It was that same style and there's a lot in
it that will remind.

Speaker 1 (18:10):
You of it. I was so mad that I grew
up watching The Grudge originally and rewatched it as an adult,
and I hated how bad it was, And you go
back and watch that source material. Juan is such an
incredible movie.

Speaker 2 (18:31):
Yeah, there's a reason why they keep remaking Japanese and
Asian horror an American.

Speaker 4 (18:38):
And I mean, I'll go back and rewatch this one,
and I guarantee I would still pick things out I
probably missed.

Speaker 1 (18:45):
I will say, like RINGU Like is like one of
the best from that era, and like The Ring is
probably arguably the best American remake we've gotten, But still
seek out the originals. They're great. What would you guys
give this one of the rushag ratings goal.

Speaker 2 (19:05):
I give this one a four yeah, I'd probably give
it a four too.

Speaker 1 (19:12):
All Right, Well gonna We're gonna switch from Japan to
France with my next pick. I got another short film
for you guys, and I also had the chance to
interview the director behind this one. This is Hotel Acropaule,
and basically this tells the story of a stranged couple

(19:34):
that reunites and one night in a hotel and a
bunch of body horror shenanigans happened afterwards.

Speaker 5 (19:45):
This is.

Speaker 1 (19:47):
I don't really know how to describe this one, because
it's it's elegant, but it's also very subtle in the
approach to body horror, like it kind of feels very
reminiscent tonal of like The Substance, which I still think
on this podcast, I'm the only one that has seen
it yet. Have you seen The Substance?

Speaker 4 (20:10):
No, I know, because it was only on one streaming
service that I don't have, so I haven't watched it yet.

Speaker 1 (20:18):
Maybe when you come up next time, Billy, Well, I'll
show you. But this movie was just it was acted
really well. It really surprised me in a lot of ways.
The acting was really well, the sematography is gorgeous, the
sound design, the score just top tier, and then kind
of hardering that with this really subtle approach to body horror,

(20:43):
but also having these like outstanding practical effects and it's
like unexpectedly like sensual, not necessarily sexual, but it's it's good.
It's good. It's a good one. I'm gonna go ahead
and give this one a four out of five. And
I had the chance, like I said previously, to sit

(21:05):
down with Sarah Lazri. She is the writer director on
this short film. So we're gonna go and play that now,
and we're gonna take a quick commercial break after that,
we'll get back. We got a few more Fantasia picks
to talk about.

Speaker 6 (21:23):
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Speaker 1 (21:34):
This is the heartbeat or why we.

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Do what we do.

Speaker 6 (21:37):
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is one death roughly every forty seconds. So if you

(21:58):
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You can also text help to seven four one seven

(22:21):
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once again, you have value any of work, so please
stay with us WELLO thank you for taking time to

(23:09):
talk about your film today. Hotel Acropola, am I saying
that right.

Speaker 8 (23:14):
Yes, in friendships hotel, but yeah, Hotel Acropol is fine.

Speaker 1 (23:20):
This seems like a really personal story and any time
that there are children or anything children kind of like
some of the characters that we are start the course
of this is it always seems really personable. It seems
really vulnerable. Also, it seems like it's shot in that way.

(23:42):
And I'm kind of curious if you can kind of
just open up and kind of talk to us about
where this story came from and what inspired the film
to be made. Yeah.

Speaker 8 (23:53):
Sure, I mean I started writing it a really long
time ago, and I think the first kind of Actually
it's interesting because the first ideas I had around the
film were probably about twelve years ago when I was pregnant,
and then I did other films meanwhile, But I think

(24:13):
I was interested. I was interested in forbidden love stories.
I think that's the main subject of the film for me,
and also love stories or relationships that have something to do,
you know, with some form of transgression where which is

(24:34):
both kind of forbidden and exciting at the same time,
and how we're always kind of horn by those two feelings.
And the other I think important thing for me is
that I had always filmed actors from a certain distance,

(24:56):
and I felt like I really needed to get closer
this time. And and it's a very small budget film.
We had three days to make it, and our actress,
Judith it was, was eight months pregnant, so it was
a pretty intense film shoot. But I really wanted to

(25:19):
get close with them and film their bodies with no makeup, no,
just like I wanted to see their skins. Yeah, And
I worked with those actors before on another film, and
so we took some time during the writing process to
work together and rehearse and improvise, because I think it

(25:39):
was more for me about filming them and kind of
getting to a place where they maybe never been before.

Speaker 1 (25:47):
So I've never had the chance to interview any filmmakers
that have ever actually worked with women that are that
far along in their pregnancy. I've obviously worked different jobs
where I've seen limitations the further closer to the dude
that you get. I am kind of curious, since you

(26:07):
brought it up, what are some of the limitations that
you guys faced in terms of working with Judas so
late into the pregnancy.

Speaker 8 (26:17):
Actually, to be honest, it was kind of advantages it was.

Speaker 1 (26:22):
It was.

Speaker 8 (26:24):
Which is unexpected, but for instance, one of the really
obviously there's nudity in the film, and I think, you know,
one of the first questions I asked for when we
started kind of prepping was what are you ready to be? Like,
what are you comfortable with? What can we film? What
can we not film? What are your boundaries? And it

(26:44):
was interesting because she said to me, well, it's like
I'm in another body right now. I'm not in my
own body, so I'm actually very comfortable with you filming me.
And I almost felt more uncomfortable filming like, you know,
the stomach. You know, the stomach was almost like because
you know that there's really a child there and that

(27:06):
it implicates something. But it was interesting how obviously in
terms of just her energy, but she was extremely like
professional and extremely excited to be filming while pregnant. I
think a lot of actresses feel like once they're pregnant,
they're kind of out of work and no one wants
to hire them, and and here it was really kind

(27:30):
of exciting, I think for her to be just trying
things out.

Speaker 1 (27:36):
One of the things that I find really refreshing about
this film is how ambiguous it is it doesn't necessarily
give the audience answers, Like this movie's about twenty minutes long,
and I found myself by the end having so many
questions that I think this movie just does really good

(27:58):
job at kind of of the questions that I do
have that's very much burning is there are certain shots
where the couple that we kind of see and at
first it starts out it's just our main character, and
then it kind of progresses into this couple as we
as we get closer to the end of the film

(28:21):
that are covered in this kind of like almost white
cakey material. And I'm kind of curious if you can
talk about that, what does that kind of symbolize within
the movie, but also where did that imagery kind of
come from for you?

Speaker 8 (28:41):
Yeah, well, it's interesting because I think also what I
like about it is that in the first kind of
we've just had a like a a private screening, but
even when I had some people come into the editing room,
everyone had very different reactions to it and interpretations. For me,

(29:01):
I think, sorry, there's someone putting loud music.

Speaker 9 (29:06):
Okay, they're going away.

Speaker 8 (29:08):
For me, it really it's kind of it has to
do with the past. It's this idea, you know, and
I reference the Acropolis, which are you know, the ruins,
and it's this idea of this love story that is
kind of falling into ruins, and it's like something that's
I imagined a lot of imagery around fire and ashes,

(29:30):
and so it's it's them in argial. I don't know
if yeah, ourgile like it's clay basically, but then I
like the idea of them being like statues like in Pompei,
where you're just frozen and you you can't really move
anymore and the and the the couple just stays kind
of stuck together. But I think it's very unconscious, Like

(29:56):
you know, Lynch always talks about this this idea that
you know, you just start with visions and it always
comes from a vision you have or a dream you have,
and then how do you kind of develop it. Also,
the paintings in the film are by my grandmother who
died almost fifteen years ago, and she made a lot

(30:16):
of paintings around bodies that look like sculptures and that
was definitely an influence as well.

Speaker 1 (30:24):
That's awesome and I am you know, the more that
this movie kind of progresses and it's I think within
the last year, especially with the release of the substance,
Body Horrors kind of taken this more center spotlight. There
are elements of that here, but I don't feel like

(30:46):
this film is quite body horror. It has this like
very subtle approach to it, but yet again it's feels
like this other extension of this, like symbolism. Can you
kind of talk about having something that almost has this
Shakespearean quality to it where we are, as you mentioned,

(31:10):
viewing this love story kind of slowly disintegrating, but then
you have these like quiet, subtle moments of body horror
kind of woven throughout the course.

Speaker 8 (31:22):
Yeah, I think I was really interested in working on
Body Horror because this idea of the wound came. Probably
it's probably one of the first kind of images I've
had of the film, and I think it was interesting
for me to see this kind of gory imagery but

(31:46):
experienced in a sexual way around desire and not just repulsion,
because I think when you think of sex, there is
something always gory about it, but it's never kind of
filed that way, And so I really wanted to take
like a sex scene and film it in a different

(32:06):
way that would also focus on female pleasure and kind
of be able to film something graphic, but it not
being the body parts that we think we're going to
see or that we would see in other, you know,
adult films maybe. And also I thought it was interesting

(32:27):
to kind of use the back, which is not necessarily
you know, a body part that you would usually see
as like the most sexual part of your body, and
twist it and make it this very like erotic space.
And I think in the way So now I'm trying
to think of your question.

Speaker 1 (32:48):
Again, it's fine. I am glad you kind of brought
up the way this film uses sex, because I think
it is one of those things where most times when
we watch films the feature sex, sex is either used
as a oh, this person is a slut, or it's

(33:10):
used for comedic relief, whereas this one felt like really
was used as this once broken couple really reuniting and
kind of taken back this moment. There's a lot of
years of passion build up that you kind of see
through the brief sexual interaction. And I also really like

(33:31):
the way that you mentioned that we are really seeing
this from Rifkas by saying he Rifka's point of view
throughout the entire course of the film, so it makes
sense that we would also see this sexual encounter from
from it from her, and I think it makes the

(33:53):
ending to this justice heartbreaking and you know almost kind
of your left with this like utter dut punch as
the credits quietly roll. My question though, is you know,
sex is, at least here in the States, it's often
looked at as this very perverse, very almost sometimes especially

(34:19):
with women, demeaning way. But the way that this is
kind of done is done in this very empowering, very
passionate way. Can you kind of talk about challenging the
audience to look at sex in a more grounded and
not necessarily pornographic way the way that we often see.

Speaker 9 (34:41):
Yeah, of course.

Speaker 8 (34:42):
I mean I grew up in the States and then
moving to moving back to France where I'm from, and
I'm French. So it's it's funny because I totally understand
what you mean, and I think it's interesting for me
to kind of I think for a long time, I'm
talking about those subjects as something you know, that we'd

(35:03):
associate to shame, and I think it is empowering. I
think You're right, like being able to talk about sexuality
in a very kind of also open way is very
liberating and well, one of the I mean, if I
I can talk about one amazing one of for me,
one of the best, most interesting and mysterious sex scenes

(35:27):
is in a Chante la German's film Juul and it's
one of her first films, so she's a friend. Well,
she was a Belgian filmmaker and who who directed the
Gendlemain and and she made this film. And the last
scene of the film is two women in bed, and
it's just a still shot of them on the bed,

(35:49):
and it's like a ten minute sex scene and she's
actually acting in it. But there's something so pure and
open in this idea of trying to understand what the
body is that I think what for this film, for me,

(36:10):
what was really important was to see the ways in
which pleasure and pain can interweave together and how these
are connected, and that pain can produce a form of pleasure.

Speaker 9 (36:26):
And also I.

Speaker 8 (36:27):
Think we really, you know, the the image of a
pregnant woman is something kind of again that we kind
of shy away from, and we don't want to talk
about the sexuality of pregnant women. But it's everywhere, like,
it's everywhere, like and it's important to.

Speaker 5 (36:42):
Talk about it.

Speaker 8 (36:43):
And I think what's also important is that when you
are pregnant, you have very like you know, erotic dreams,
and your body goes through a very different, kind of
different state. So I don't know, I was interested in
exploring that phase of a woman's life that's kind of
always yeah, not necessarily spoken about.

Speaker 1 (37:07):
Yeah, it's really kind of interesting when you consider other
media in the way that we portray pregnant women, particularly
like there is this element of it where pregnancy is
really gross, but also in the same time, it's like
fun and it's glorious. And my sister has been pregnant
twice and has talked about just how gross it was,

(37:29):
Like she enjoys, she loves my nephews to death, but
she also talks about like just how gross the actual
experiences and the complications that come along with it. And again,
I think it's really this, this is like this like
subtly like beautiful body horror drama that you've produced and

(37:51):
created here that we are embracing things that really challenge
us as the audience to look at pregnant women or
look at you know, Clay or the symbolism that we
can find here. And I think, like, you know, as
audiences are experiencing this film, what is the one thing
you hope that they take away or one thing that

(38:14):
they're challenged by the most?

Speaker 9 (38:17):
That's interesting?

Speaker 8 (38:21):
I think I hope it kind of uh that when
you're watching it, it kind of takes you back to
your own stories and your relationships and that when when
you're watching this film you go, oh god, that really
reminds me of of something I went through, or how
difficult sometimes it is to talk about your emotions, what

(38:42):
you're feeling for someone. Sometimes feelings, you know, don't go
away even if you're not with someone anymore. And how
do you deal with that? With that pain of knowing
someone still there and you're maybe you still have feelings
for them, but you're no longer with them. And I
think also, you know, the guilt, Like I think there's

(39:03):
always a sense of guilt that that is present in
the film, and I think it's interesting to to be
confronted with it. I'm interested in not making films that
are moral, where you know, people do the right things.

Speaker 9 (39:19):
I think.

Speaker 8 (39:21):
I think it's interesting to see how, you know, what
makes us uncomfortable? Why why do we feel sometimes ashamed
of our feelings of our own, you know, desires, And
I think that's something that I'm interested in discussing, and
I hope people will kind of come away with that too,

(39:42):
that they can kind of identify with it and not
and not judge it.

Speaker 1 (39:46):
Absolutely well, where can people find the film online? Follow
the journey throughout its festival run? And then where can
we find you online?

Speaker 8 (39:56):
So I'm on Instagram at Sarah Lazri. The film doesn't
have a doesn't have a page, but I post regularly
about it and yeah, so, I mean, we're doing the
world's premiere in Fantasia this weekend and I'm super excited
to show it to audiences and very curious just to

(40:18):
be able to talk about it with other people.

Speaker 6 (40:21):
How would you guys like to help us get mental
health resources into schools, conventions and other events. Well, now
you can simply go to patreon dot com forward slash
Victims and villains for as little as one dollar a month,
you guys can help us get mental health resources into
current and upcoming generations, educate and breakdown stigma surrounding mental health, suicide.

Speaker 5 (40:46):
And depression, and you get exclusive.

Speaker 6 (40:50):
Content that you can't get anywhere else. And you guys
can tell us which Nicholas Cage.

Speaker 1 (40:55):
Movie you want us to cover and we'll do it.

Speaker 6 (40:58):
All it takes to get started is to go to
dot com Forwards one, Victims and Villains, or simply click
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get started today. Yes, it's that simple, so clickly, select
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into the hands of the depressed and the suicidal today.

Speaker 1 (41:22):
Well, welcome back to bis Gazing. We have a few
more films for you guys to talk about, and uh,
let mephrase that Mark has no more films to talk about.
Have one more.

Speaker 4 (41:35):
Since he's going to do all the talking after this,
I might as well start this one.

Speaker 1 (41:40):
Yeah, So the the next one is is one that
Billy and I watched, and yeah, I'll hand it over
to Billy.

Speaker 4 (41:50):
It's I Fell in Love with the Z Grade director
in Brooklyn, so of course NYC title title.

Speaker 3 (41:59):
Yeah.

Speaker 4 (42:00):
Yeah, So this was about like a Jada Japanese movie
star that gets stranded in New York City, with no money,
no phone. She ends up in a bar and meets
a low budget director production crew and they shoot a movie.
That's the simplest point way I could say it.

Speaker 1 (42:23):
Yeah, I saw I'll throw this out there. The bar
where they shoot in is a bar out of Brooklyn,
New York called Lucky thirteen Saloon, And we did a
we showed that the couple horrific Hope Film Festival Selections
last year, partnering with Cross Island Connects. And it was

(42:46):
really surreal to like watch a movie that had been
filmed in a place that I had been in for
several hours less than a year ago. So that for
me was kind of like a really surreal kind of
a felt like a DIY movie. And I really loved that.

Speaker 4 (43:06):
Yeah, it would have been crazier if you had got
to beat like some of the people there while you
were there that they were happened to be there, that
would have been crazy.

Speaker 1 (43:14):
I would have loved that. I really loved the way
that this movie felt like a love letter to both
DIY filmmaking, being a Sinophile but also having this like
this Japanese love story intertwined into it. I loved the

(43:34):
way that it balanced all of those elements. You guys
talk about your love for Jay Horror. I I'm a
romantic also at heart, so I also love the occasional
Japanese rom com and I love the way that those
this kind of balanced all of that.

Speaker 4 (43:53):
And it was kind of like a Japanese American love
story to be fair, Yeah, because it had so. But no,
I agree with you. I mean, I loved I liked
this movie. This movie. I love the fact that they
leaned into the fact that they were sinophiles and everything
use that to their advantage when they were shooting the movies.
Made it more fun to show kind of like what

(44:14):
it would be behind the scenes of shooting one of
those movies. And the love story itself just it felt
natural to me, like not forced as much. So there
was some predictability after watching so many movies that have
love stories and everything. Not as much but just a
little bit. But I'm not faulting it. You can't get

(44:37):
around some of those, so.

Speaker 1 (44:38):
Yeah, I mean, like this movie, you're some of them.
You're just kind of doomed. And I also the opportunity
to cover Occupy Cans earlier this year as a part
of Fantasa as well. My review is out on our
official website. But that is like trauma trying to get

(45:00):
this movie like sold at the Cans Film Festival, That's
what that's about. And having seen that like a week
prior to watching this, like and also having having friends
that make movies like I feel like this came in
like the ripe time in my life where like I

(45:22):
appreciated everything that this movie had to offer, from its
DIY production values to even like this like in universe
movie that they're trying to make, which love versus Death,
like I agree with him man, And what a great title,
What a great title.

Speaker 4 (45:40):
And the fact that they also used the language barrier
to their advantage in this movie, where a lot of
people would make it cheesy, it didn't feel as cheesy
to me in this to where they used it as
they were learning each other even if they couldn't understand
each other.

Speaker 1 (45:55):
Yeah, I really loved the way that they kind of
use that to basically build the foundation of the relationship
and really enrich it. I feel like having that language
barrier could have been used for like just really slapsticky
and borderline like offensive story material. And I'm really glad

(46:19):
that they kind of opt it to go into a
complete separate direction the way that we got it here.

Speaker 4 (46:28):
Yeah. No, this is one of those movies like I
really liked it. Like I said, I'd give this one
a four out of five.

Speaker 1 (46:34):
Also, yeah, I'm gonna go a four out of five.
This movie is charming as fuck, Like you can't watch
this movie and not have a smile on.

Speaker 4 (46:41):
Your face exactly.

Speaker 1 (46:45):
So now comes down to my final three movies, and
I'm gonna hit you guys with another one. My first
one I'm gonna hit you guys with is one that
feels nostalgia while also being modern. That would be Bullet Time,
which you can stream right now via IGN on YouTube.

(47:07):
But this one, God, how did this say? This one
is the story of a dog playing video games. It's
like the easiest way that I can I can describe it.
This movie feels like you took Ren and Stimpy and
Rocko's modern life place them on asset. That's what this

(47:34):
feels like. This move this This is short film. It's
nine minutes. It's crazy. Danny Elfman did the score for it.
It's wild, wonderful and by the time that the credit
started rolling on this movie. I wanted a full season
of this because it feels very much like it's a
prototype for a what could be a series, uh you

(48:01):
know on like Adult Swim or Nickelodeon. Uh you know,
in that that mid nineties. I the best way that
I could put it is it feels like nostalgia from
a parallel dimension. It's fucking great.

Speaker 4 (48:21):
I would take any nineties like anything like that, trust me.
So you.

Speaker 1 (48:27):
Should check it out. I can send you the link
to Turgot Chat afterwards because it's wild. The the next
one that I got, I God, God, did you forget it?

Speaker 3 (48:44):
No?

Speaker 1 (48:47):
It was so bad. So this one comes from this
one is called Dog of God and it is a
lat Vanian American co production, and it tells the story
of basically so there's so many different things that this

(49:12):
thing is telling. It it's like a it's part where
a wolf, it's part witchcraft, it's part an emperor trying
to fix his rectile dysfunction disorder. It's it's wild. It's
truly wild. And it's also like it's also about like

(49:36):
a nut, like a priest, and like his deacon. It's
it's kind of all over the place. I'm honest, it's
a really ambitious film. The animation style for it feels
very vibrant of nineteen the nineteen eighty movie Heavy Metal,
so it's kind of got that that vibe to it.

(49:57):
I really liked that the the animation for it. I
thought the animation for it was really good, really stunning,
visually engaging. But I just couldn't get over the narrative
because there's so many different subplots that are they slowly
do trickle into like one cohesive storyline, but it's really

(50:19):
hard to kind of a care about the characters when
it's you have plots all over the place that eventually
do come down to the simplified, but I don't feel
like I had enough time to really connect with those characters.
As a result, those characters also feel really underdeveloped as well. Yeah,

(50:42):
it's it's an experimental film, That's what I would say.
Definitely does embrace a multitude genres, and sometimes experimental films
are ones films that I can respect, but at the
end of the day, are just not not fun for watching.
So I'm gonna go ahead and give this one a
two out of five, and I think that's our lowest

(51:04):
point in this episode is none, I think so.

Speaker 2 (51:09):
All right, well, because Billy's worst one was a two
point five.

Speaker 1 (51:13):
All right, well, I'm gonna bring it back a little
bit more, and I'm also gonna plug it into what
we're doing for the rest of this month with anime.
August I got an anime for you, guys. This is
how this one tells the story of a mermaid and

(51:36):
a dude who basically get married to I guess, like
the best way I can describe it is to like
make human mermaid relationships on land as good as possible.
And this movie is very charming. This movie with like

(52:00):
the Z grade charm it has very The animation of
this again is just captivating. Color palette's very very bright,
very vibrant. They're they're intoxicating. I really do wish that, uh,
this is a slow burn and it's it's a beautiful

(52:23):
love story. I'm just gonna put it that like that.
It's it's a beautiful love story, and it really does
like one of my favorite Disney movies of all time,
One of my favorite fairy tales of all time is
The Little Mermaid. I love that story, and this movie
definitely feels like it pulls from inspirations of from Panyo
from the Jibilee catalog as well as The Little Mermaid.

(52:48):
And it's just it's a fun it's a fun movie.
It's it's I'll end it on like an all ages film,
which is really rare, uh for me to recommend, But
I'm gonna go ahead and give this one a four
out of five. This one was really charming, very beautiful. Yeah,
sounds fishy just a little bit, you know, but uh,

(53:13):
we will keep you guys as of right now. I
don't think any of the films we've talked about actually
have any distribution or plans to kind of come into
streaming or to theater platforms. Uh as of right now. However,
we will keep you guys updated as we get them.

(53:33):
But I also want to go ahead and plug other
film mark Mark calls me a psychopath. So yes, the
other films that I have had the privilege this year
to uh to cover, and they all of these reviews
are out right now on our website. Victims and Villains
dot Net are Hold the Fort, the previously mentioned Occupy Cans, Foreigner,

(53:57):
and hellcap One of those is the highlight for me.
One of those is the low light for me. I'll
let you guys check those out the side. But before
we head into covering, talking about the next couple of
weeks with the animate August where can people find you online?

Speaker 2 (54:16):
Mark hanging up with you all and apparently, according to Billy,
being a larker, which is kind of creepy.

Speaker 1 (54:26):
Dude, you're gonna come all the way to Virginia and
not not say hi to me?

Speaker 4 (54:31):
Bro.

Speaker 1 (54:31):
That feels dude, we hung out while I was in Virginia. Yeah,
but if you're lurking, Billy like I'm only a couple
hours away, like.

Speaker 4 (54:40):
He missed me more.

Speaker 1 (54:42):
Apparently, Billy, where can people find you online?

Speaker 4 (54:45):
Of course? I can find me at Letterbox at v
A Boy ninety nine.

Speaker 1 (54:50):
You guys can find me I am at Captain Nostalgia,
also on Letterbox and Go check out to the Victims
and Villain's podcast as well. Got a couple of really
great interviews, a few great interviews from coming out of
Queer Screams Film Festival this week as well. We are
also going to be Yeah, we're also gonna be diving

(55:13):
deep into anime. So keeping on the theme of chow.
By the time you guys are listening to this. Our
Ninja Scroll episode is already out, so go check it out.

Speaker 7 (55:21):
Episode covering Soulstation is also now available wherever you guys
get your podcasts from. We are gonna be leaving you
guys this week with an interview that I had the
chance to do is sitting down with Lily Haynes Kaufman.
She is the writer, director, and documentarian on the film
Occupy Cans. That review is also out right now. We

(55:42):
hope you guys enjoyed this and we'll see us soon.

Speaker 1 (55:47):
So congratulations on Occupy Cans. I feel like that's the
first order of business to attend to because this movie
narratively takes place over multiple years, and I also have
to assume that the editing process, especially on a DIY budget,

(56:08):
also took an additional other very long time. How does
it feel now that now that it's actually complete?

Speaker 9 (56:17):
Thank you so much.

Speaker 3 (56:18):
Well, first of all, thank you for having Occupied Can
here today. We're so grateful to be a part of
to be a part of this, and we were so
grateful to be at fan Pago, which was really just
the best possible audience for our film and such an
incredible festival to be a part of. But yes, No,
it is such a great feeling to be you know,

(56:39):
I don't know that we ever feel like we're done
with the film, so certainly, you know, every time I
think every time that we watch it, that I watch
it with you know, the other filmmakers and artists that
I worked on with the film, it's definitely like, oh,
you know, we.

Speaker 9 (56:57):
Wish we had done this.

Speaker 3 (56:58):
We wish we had added in this joke, We wish
we had finished and refined, We wish we had this
footage that we didn't have. But yes, it's a great
feeling to have locked the film, to get it out
in the world, to be included in a festival like Fantasia.

Speaker 9 (57:15):
So yes, thank you so much. It is a great feeling.
And then you know, when we did to have.

Speaker 3 (57:20):
The opportunity to make our world premiere at Fantasia, to
see the audiences interacting with the film laughing, I think
those were the highlights.

Speaker 9 (57:29):
Then that's a great feeling.

Speaker 3 (57:30):
The moments where along the way when Brian McNulty and
I were editing together and working on some of the
moments that we thought were either.

Speaker 9 (57:40):
Funny or impactful.

Speaker 3 (57:42):
Then to see audience interacting with those moments, that was great.

Speaker 1 (57:47):
I usually don't say something like this lightly, but this
has been kind of the feel good movie of the year.
In my Screaming Adventure or in the films that I've
had the chance to review this year. There's there's a
lot of optimism and beauty amongst the kind of more campy,

(58:08):
grotesque stuff that Trauma is known for in it's forty
years of filmmaking and legacy. Can you talk about balancing
that enduring tone alongside that signature style of trauma.

Speaker 3 (58:25):
Oh my gosh, well, thank you so much. That is
a huge compliment. I'm so happy that that you had
that response to the film. There, you know, certainly is
a lot of Yes, there's a lot of the camp
and there's a lot of the you know, gory aspects
of it, a lot of the sort of irreverence that

(58:46):
happens in the usual sort of trominous and then there's
also a lot of pessimism and it's alarming what's happening
for independent filmmakers and independent artists trying to get their
voice heard, and media conglomeration was a sort of making
it really really hard for filmmakers, independent filmmakers, and independent
artists to get their voices and the products out ten

(59:08):
fifteen years ago when we were filming this film, and
it's even harder now.

Speaker 9 (59:12):
So it is alarming, but I do think that there.

Speaker 3 (59:15):
Is hope, and so I'm glad that this film gave
you a sense of optimism, and I hope that this
will give other filmmakers and artists a sense of hope
that we can continue to.

Speaker 9 (59:29):
Get our work out there and find a way.

Speaker 1 (59:34):
One of the things that I've found, so going back
to this tone of endearment, I have seen a handful
of trauma films, obviously the Toxy movies, Franken Hooker, Tromo,
and Juliet, among the other vast titles that are in

(59:59):
the Trauma catag look. And one of the things that
our publication is very specific about is bringing up and
asking the question what does art teach us about mental health?

Speaker 5 (01:00:12):
How does it impact mental health?

Speaker 1 (01:00:13):
And that was one of the things that I loved
about getting to see not necessarily the state side impact
of trauma, but also the international side of how these
movies have become these safety nets for so many fans
of the brand. And I'm curious if you can kind

(01:00:35):
of talk about the you know, obviously as a documentarian,
I am kind of curious. When you're capturing such intimate
stories and you have such a limited budget and such
a limited screen time, how were you guys able to
choose really the stories that say trauma has impacted my

(01:00:57):
life because of X, Y or Z. But what how
did you guys end up choosing what got in the film?

Speaker 5 (01:01:04):
What what didn't? And do we have a director's cut
possibly coming?

Speaker 3 (01:01:09):
I mean every it would, I would, there's you know,
we had a twenty seven terabyte drive.

Speaker 9 (01:01:17):
There was so much footage.

Speaker 3 (01:01:19):
You know, this was filmed across gosh five to eight
I think different types of cameras. Really everyone was a filmmaker.
The whole team was a filmmaker on this project. It's
a true Troma team project. And so going through all
the footage itself took several years, many editors, many filmmakers,

(01:01:42):
and so much footage. So yes, it would be really
exciting to be able to include some of the footage
that we weren't able to either in extra scenes a
longer cut.

Speaker 9 (01:01:55):
But you know, I don't know.

Speaker 3 (01:01:56):
I mean, I think shorter documentaries are often the way
to go, So I don't know how much more you know,
we need to to extend the cut, but there you know,
there could be additional scenes that would be fun.

Speaker 9 (01:02:05):
To look at.

Speaker 1 (01:02:06):
And then.

Speaker 3 (01:02:08):
You know, in terms of how did we decide the scenes,
you know, I think sort of.

Speaker 9 (01:02:17):
You know, I worked. You know, there were as.

Speaker 3 (01:02:20):
I mentioned, you know, there were sort of many filmmakers.
The whole team were sort of filmmakers. So the first
step was my sister Charlotte Hoffman is the cinematographer.

Speaker 9 (01:02:28):
But she had a tea.

Speaker 3 (01:02:29):
The Trima team working with her as well, and everyone
sort of had a camera and was documenting their day
to day and what was happening. And then all of
this footage was put together on a drive. And then
it was just a constant process of you know, starting
to edit as filming was taking place, and then piecing

(01:02:50):
together a story. And then I think they're real putting
together of the story as you know it today. I mean,
there were so many different iterations of what this might
have looked like.

Speaker 9 (01:03:01):
And then ultimately, I think about probably four years ago.

Speaker 3 (01:03:06):
We got to what it's the story and the film
kind of looks like today, and then really kind of
kept refining that and it takes it takes.

Speaker 9 (01:03:17):
A long time.

Speaker 5 (01:03:19):
Yeah.

Speaker 9 (01:03:20):
Yeah, I such footage and it's hard. It's hard to
cut things out, for sure.

Speaker 1 (01:03:26):
I've had a few friends that have made documentaries where
I've made friends with documentarians along the way of doing
this publication, and they kind of tell me the long,
arduous projects and roads that documentaries take. And you know,
in this I would say, like in the mainstream cinema,

(01:03:46):
I want to go back to something you had mentioned before.
A lot of the subjects of what occupy can really
go about is it's a stark love letter and reminder
of a why we need independent film, why there is
a why it is a good therapeutic outlet, and also

(01:04:07):
like just a freedom of expression. And especially in today's
you know, main landscape that's driven with reboots, sequels, IP
driven prop films. Why do you think it's important for
as someone that grew up in the independent scene, why

(01:04:28):
do you think it's important for people to seek out
independent films and to support art like Trauma?

Speaker 9 (01:04:35):
Yeah?

Speaker 3 (01:04:36):
No, I mean I think it's really important to have
a whole broad diversity of stories and types of films.
I mean, if we you know, we we it's wonderful
that there's these sort of big budget mainstream Hollywood movies,
and they're really exciting and they look beautiful and they're
polished and they're awesome. And but there's also incredible stories

(01:04:59):
that don't cost any money to make, but we have
to you know, there are but how are you going
to see?

Speaker 9 (01:05:06):
How are we all going to see them? And we
need to support those films to be able to get
them out there.

Speaker 3 (01:05:10):
I mean, the thing that's really exciting right now is
that it costs very little to make a movie. If
you have a great idea and you have an iPhone
or you have pretty much any kind of phone, you
can get a really affordable camera and a computer, or
you can even edit on your phone. Pretty much you
can make a movie and it's it's very cost effective.

Speaker 9 (01:05:30):
It doesn't cost that much.

Speaker 3 (01:05:32):
The problem is getting your story out there, and so
I think it's really important to support whether it's filmmakers
or any kind of artists that are not don't have
a big machine behind them, so that different types of
art can get can get out there. And it is
really really hard to get your voice heard, to get
your art scene, and so I think any way that

(01:05:56):
we can all support different types of art that doesn't
have a big machine behind it is just so helpful
and so meaningful.

Speaker 9 (01:06:03):
So I mean, I think, you know, even in the
you know.

Speaker 3 (01:06:07):
There's lots of there's lots of grants, there's lots of
film festivals, and even those are so hard to get into.
I mean, there's thousands and thousands of people applying for
such a small number of slots at all of these
different opportunities.

Speaker 9 (01:06:21):
It's really really hard.

Speaker 3 (01:06:24):
So I think that anything that we can all do
to you know, raise awareness or spread the word, or
if Lloyd Kaufman were here right now, he would tell
you that you can join Troman now. First month is free,
and you know, Trauma acquires lots of films that otherwise,
you you know, would may not be accessible to people.

Speaker 1 (01:06:46):
So I also think I have a few friends that
have films that are streaming on Trauma.

Speaker 9 (01:06:53):
Now, so I highly recommend you check it out.

Speaker 1 (01:06:58):
So so my last question, because I want to be
respectful of your time, is gonna be you talked about
this in the film kind of growing up on the
sets of Trauma, but now with this now being in
kind of a director, editor position, documentarian, how has a
lot of that time influenced the way that you see

(01:07:18):
filmmaking now.

Speaker 9 (01:07:21):
Yeah, I mean, I guess it's sort of hard to say.
I mean, it's sort of the way I grew up.

Speaker 3 (01:07:24):
It's sort of the only thing I know, so it's
hard to compare to not having grown up in Troma.

Speaker 9 (01:07:29):
I mean, I was surrounded by these.

Speaker 3 (01:07:32):
You know, different characters, the Toxic Avenger, Kabuki Man, and
we sort of went from movie set to movie set
that they were all sort of in this you know,
not the mainstream Hollywood world.

Speaker 1 (01:07:46):
I think I think that was kind of one of
the most beautiful things I loved about the documentary was
just kind of getting to also see not only the
impact that Trump has had, but also.

Speaker 5 (01:07:58):
The fact that it is very.

Speaker 1 (01:08:02):
Much d I y so much so that you know,
Lloyd's getting kids involved.

Speaker 5 (01:08:08):
I thought that was an interesting and kind of heartwarming
moment within the film as well.

Speaker 9 (01:08:15):
Thank you well, thank you so much.

Speaker 3 (01:08:17):
I mean, I think one thing that's really I hope
people take away from the film is that, you know,
Trauma has really been sort of a launching pad for many.

Speaker 9 (01:08:25):
People who started their career.

Speaker 3 (01:08:28):
I think many people are where the James Gunn started
his career at Trauma.

Speaker 9 (01:08:33):
You know, Trey Parker and Matt Stone.

Speaker 3 (01:08:35):
One of their first films, Cannibal to Musical, began a
trauma and I hope that people take from this film
that many of the people in this that all of
the people in this film now have gone on and
you know, it's been about ten years since we actually
filmed it, and pretty much everyone has gone on to
create really impressive work since they were filming in Can

(01:08:57):
you know, over ten years ago, and so I think
think it's you know that I think is pretty inspiring
for me to see how trauma really is this place
where people come and like you said, it's a it's
a film school. You come, you wear mini hats, you
get to come on set, and whether you've had no
experience before, you can start out in any department and
just really get involved and learn.

Speaker 5 (01:09:21):
Well, Lily, thank you so much for your time.

Speaker 1 (01:09:24):
Where Can Obviously, with Occupied Cans making its world premiere
at Fantasia, it still has a lot more of festivals
to hit. So where can people find more information about
the film and where can we find you online?

Speaker 9 (01:09:40):
Thank you so much. You can find you can follow
us at.

Speaker 3 (01:09:43):
Occupycan dot com and also on Instagram at Occupy can
dot and thank you so much. It was really wonderful
to be here today, really appreciated and so nice chatting
with you.

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Fantasia Festival (2025) | Episode #164

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Fantasia Festival (2025) | Episode #164