[Fantasia 2024 Review] THIS MAN is No Dream Scenario

Dreams and that which lurks in the state between wake and sleep have long fueled horror and psychological horror films. For example, A NIGHTMARE ON ELM STREET, INSIDIOUS, PAPRIKA, DREAMSCAPE and THE CELL all make one second guess themselves before drifting off to the land of slumber. Joining this cadre of dream warriors is the urban-legend-inspired film THIS MAN from Japanese director and screenwriter Tomojirô Amano. 

The foundation of the film rests with an urban legend that spread around Tokyo in the 1990s. Then, the urban legend gained worldwide notoriety when an Italian sociologist named Andrea Natella co-opted the legend for an online social experiment. Like the original source material, the experiment spread a story about a random, bushy-browed man popping up in people's dreams worldwide. Before long, thousands claimed to have shared similar experiences, even though Natella had made the whole thing up. Despite using this solid premise to plant some intriguing ideas around anxiety, mental illness, and the collective unconscious, THIS MAN undercuts them with odd narrative and tonal choices. 

THIS MAN recently made its International Premiere at the Fantasia International Film Festival and stars Arisa Deguchi and Minehiro Kinomoto as Hana and Yoshiro, respectively. A young, prospering married couple very much in love, the pair find themselves increasingly apprehensive about the mysterious man that seemingly appears in people's dreams before they die. Then, as the number of victims begins to climb rapidly, a hidden world of freelance and union sorcery reveals itself and disrupts everything the two lovebirds thought they knew. 

As the film begins, Hana and Yoshiro are maddingly into each other, constantly giggling and exchanging sickeningly sweet exchanges. However, as their world slowly collapses, Deguchi and Kinomoto effectively dilute the saccharine while never losing the couple's connection. Though initially obnoxious, the couple's descent into despair hits harder because of it. Unfortunately, many of the other exaggerated performances do not fare as well.

Though clearly aiming for a surreal, fantastical vibe, the appearance and actions of "The Man" inevitably come off as cheesy and comedic. Oddly reminiscent of THE MANITOU from 1978, The Man's power and supposedly ruthless revenge primarily only gets communicated through exposition from a freelance sorcerer (yes, you read that right). Yes, we are told thousands are dying. Yes, we see many who struggle with various mental or emotional disorders bite it, but The Man's actions fail to rise to the high villain bar that Amano sets for him. 

Again, similar to THE MANITOU, how The Man finally gets sent back to where he belongs (hell, it's hell) feels too easy. When staged next to The Man's supposed 10,000 victims, the ease of his defeat destabilizes that massive number and robs it of weight. If the eternal banishment process took mere minutes, why wait so long to make a move?  

There's also a police procedural plot line that intersects with Hana and Yoshiro's in the most awkward, irrelevant way possible and ultimately delivers nothing of value. While it's possible to read into that choice as an indictment on police authority and their overall handling of mental health-related issues, there's not enough supporting narrative to draw that conclusion satisfyingly. Additionally, shocking and impactful moments of poignancy and horror butt up against abrupt edits, random characters that contribute little, and blatant exposition dumps that weaken any intrigue. 

Though rooted in worthy plot soil, THIS MAN is a rather frustrating viewing experience. While admittedly, some of the tonal imbalance could very well be due to cultural differences and my Western perception, the wandering and extraneous narrative threads result in a messy story that won't well translate for any audience. That said, Amano is clearly a filmmaker who appreciates dark and engaging stories with an ability to convey the surreal and fantastical. I, for one, look forward to seeing where that leads and the future films he creates. 

The 2024 Fantasia International Film Festival runs July 18 to August 4 in Montreal, Quebec, principally at the Concordia Hall and J.A. de Sève cinemas, with additional screenings at the Cinémathèque québécoise and Cinéma du Musée. For more information, please visit the Fantasia website here.