FANTASIA21 REVIEW: Tin Can [2021]

We’re in a tomb. Despite being neither a household name nor one I could immediately place, seeing writer/director Seth A. Smith attached to a film while sifting through the schedule at the Fantasia International Film Festival forced me to pause. 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 visuals alike. It didn’t therefore matter what his latest, Tin Can, was about because I felt confident it would prove memorable whether I ended up enjoying it or…

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TIFF17 REVIEW: The Crescent [2018]

“Yeah, sweetie. Daddy got lost.” It starts by enveloping us in marbleizing paint—overlapping colors raked to warp dots into abstract patterns—and the loud aural pulses of a musical soundscape as heavy and permanent as those oils are fluidly malleable. We assume it’s merely a sensory aesthetic Seth A. Smith constructs to provide the tone for the subtle horrors still on the horizon, but don’t be surprised if you begin to interpret each new artwork as a self-portrait of characters we’ve yet to meet. Treat them as mood rings simultaneously displaying…

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