Indy Datta reviews the new film from Guy Maddin, Keyhole.
The avant-garde Canadian film maker Guy Maddin has worked a consistent seam – in his narrative film work and as an art film maker – since before his first feature, 1986’s Tales From the Gimli Hospital. Fans will know what to expect from Keyhole, his latest narrative feature, and their expectations will be met, as Maddin serves up an instantly identifiable brew of early film pastiche, wild cut-up surrealism and endearingly lowbrow comedy. And beyond the surfaces of his films, the personal nature of Maddin’s sensibility is also an identifiable thread running through his work, and one that is arguably getting stronger with time. Maddin’s last feature, the sly, wry cinematic memoir of his youth and hometown that was My Winnipeg, was probably his most accessible work to date, and Keyhole is in many ways another return to the film maker’s roots – a riff on Homer’s Odyssey (crossed with classic Hollywood gangster films) set entirely in a Winnipeg home very like the one Maddin grew up in.