![]() Thus we don’t need to know all the finer details to appreciate the larger experience. The big reveals as far as what’s happening to these survivors are transparent-especially flashback memories on the selfish reasons their relationships devolved and sealed our world’s fate. It fills in some gaps I certainly didn’t piece together while watching, but none are necessary in the long run. What occurs is abstract and obtuse enough that the press notes for Tin Can contain a “synopsis” summarizing the entire film with spoilers. And the metal sentries are like immovable Cybermen ignoring all appeals. That environment is memorable too-a cold, oppressive aesthetic, steam and pipes transforming it into an organism of its own to mirror the cords protruding out of Fret’s flesh. The make-up and costuming are very effective and shows what can be accomplished with a smaller budget when the script allows for so much to unfold in a single room. I don’t want to discuss the second (the whole is split in two from the moment Fret wakes up) in too much detail, but you should prepare for a disorienting descent into Hell as fungus and metal fuse to biologic matter to create new lifeforms that subsequently render mankind obsolete. Or perhaps whatever force collected them together was secretly preparing behind the scenes. Maybe the process worked so well that years felt like weeks. The metallic suit-wearing technicians silently lumbering around to move pods and initiate a chorus of screams, however, have us thinking former. John thinks they’ve been in stasis for years, but she disagrees since there hasn’t been any muscle atrophy. Not only will Smith and Spidle eventually give us that answer via dialogue (the first half of the film is set inside Fret’s pod and thus the camera can only see what she’s able to see outside of it), but they’ll also introduce new details we couldn’t even fathom. Are they being there a coincidence? Or was it intentional? (He researched the blood engineering, not the device itself.) Then there’s a benefactor (Michael Ironside’s Wayne) and a fellow scientist (Amy Trefry’s Darcy). Because next to Fret is John trying to wrap his head around remembering what the discharge process was. He’s ecstatic about this potential rebirth and ready for whatever comes next, but he’s also the only one present that no one else knows. When she can pry off a cover to see outside, it’s only a tiny rectangular vent providing few sightlines besides the crazed, smiling face of another “patient” (Tim Dunn’s Whistler) across from her. With industrial sounds, viscous fluids, and intubation tubes surrounding her, Fret is trapped in a three-foot by five-foot cylindrical tube. Desperate to escape knowing a solution was in-hand, her nightmare begins. Fret didn’t pay for this “luxury.” She’s been a vocal opponent of the process from the start due to its amoral origins and the fact there wasn’t sufficient time to test it before Coral ignited the demands of wealthy benefactors. Before we can even think about whether her study could save him, however, she’s knocked unconscious only to wake inside a pod of her own. Her ex-husband John (Simon Mutabazi) is scheduled to be placed inside a VASE pod and put to sleep to curb his rapidly advancing disease. It’s there that we enter the story at a crucial moment in humanity’s brief history.įret (Anna Hopkins) arrives to test what she believes to be a breakthrough using metals to sever the bond between fungus and skin. The poor are dying while the rich seek to expedite a new form of artificial “preservation” (VASE) that could potentially keep them in stasis for decades in the hope that they will be revived once a cure is found. Nobody has been able to come close to discovering a fix and the infected are being rounded up for quarantine at a place known as The Vault. Fantasian part 2 review skin#The disease he and co-writer Darcy Spidle have unleashed upon their world is known as Coral, a fungal infection that affixes itself to human skin in order to grow into a shell-like casing before ultimately burrowing deeper to cut off its host’s blood supply and take over. That this claustrophobic sci-fi thriller quickly won me over with its early David Cronenberg inspirations only allowed my excitement to increase with each passing minute as I found myself unable to detach from its captivatingly dark, timely pandemic mystery. It didn’t therefore matter what his latest, Tin Can, was about I felt confident it would prove memorable whether I ended up enjoying it or not. A quick search later revealed him to be the filmmaker behind 2017’s The Crescent-an under-rated gem that enthralled me via narrative and image alike. Smith attached to a film while sifting through the schedule at the Fantasia International Film Festival forced me to pause. Despite being neither a household name nor one I could immediately place, seeing writer-director Seth A. ![]()
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