FANTASIA 2020: Sanzaru
FANTASIAXia Magnus' Sanzaru is a cold, and slow-burning drama that will undoubtedly come up against those who will describe it as tedious and dull. To that extent, it is quite difficult to argue against such criticisms. However, it is those very themes for those who can stick Magnus' feature out, to be the film’s most effective attributes.
Magnus' film is incredibly quaint, too much so in fact. It is a film that makes minimal movements at a snail space, brewing in a psychological, existential crisis for ninety minutes only to reveal its nature in its very few final minutes. For many, the films reveal will do little to cement a strong enough reason to stick with the brooding portrayal of illness and belonging. Said themes are adequate and interesting enough, but the film tries to subvert said themes in its final twist, that again, will be undeniably questionable and divisive.
For what begins as a purported physiological horror soon turns into something very, very different with a mixture of restraint and something closer to pushing the boundary more than anything else. It is an interesting take, and the balance between the two oxymoronic tones work well. Nevertheless, above all else, it is the performance of Aina Dumlao as Evelyn that keeps this feature from becoming overly tedious and empty.
Granted, Dumlao has little to do here but it’s the subtle nuance of the actress’ performance that shines through. Dumlao provides much emotive portrayal through silence, and it is undeniably effective. It is that very emptiness that curates a hard-hitting and engaging story not only being an allegory for the immigrant story but lacking voice for women in society.
Throughout, writer/director Magnus film works well regarding its nuance. It has a temperament and ideology. The issue arises when the film ceases to explore itself on that basis and goes down a path that is ambitious but one the nose with its answers. An attribute that does not need to be mutually exclusive and by doing such takes away much of the brooding atmosphere.
Nonetheless, Xia Magnus continues to be a promising director with undeniable ambition, and while Sanzaru is perhaps not the directors most alluring feature, it is one that for the most part succeeds in its intentions. Prolonged pausing of scenes gives the feature an effective emptiness and the lack thereof a score both consciously and subconsciously gives Sanzaru an elevated weight. All that said, Magnus' film will rest on the viewers' patience and final few minutes that has a lot to live up to.
