Fest Track On Sirk TV Film Review: CONVENIENCE STORY [Fantasia International Film Festival 2022 - Virtual]

The idea of fate and the repercussions of decisions in a moment where the instant counts is an interesting conundrum of human behavior. “Convenience Story” [Cheval Noir] is an intrinsic movement on a note of “the road not taken” or perhaps more likely “led to a side road”. Like a certain other film this summer that could have changed its perception in an instant at the inset of its story “Convenience Story” plays its game slow and introduces unique and imperceptible characters who could be on either side of a mirror. Some of the logistics are meant to distract the audience. The irony of the convenience store as a dreamlike state has that kind of unusual netherworld quality for anyone who has been out late late night in New York City (or Chang Mai for that matter). There can be dangers in corners but a festival and a party in others.

Here Kato (Ryo Narita), a middling screenwriter, is trying to find the right balance in life but seems lost in the reverie of what could be versus what actually is. Through a series of wrong spaces and paths, all of which could swirl the movie into a trippy or supernatural context, he finds himself at a convenience store in the middle of nowhere on what seems a grounded plain. While certain perceptions don't connect, most do and by the end the irony reflects in the eyes of Kato despite the warnings. The context of mysticism is lightly touched upon but again the idea of dreamlike existence or fantasy as it would be versus reality is always at play (especially at the end without being sentimental in its delivery). Upon second viewing there is likely a lot of context here, maybe not as dexterous as say “Everything, Everywhere, All At Once” but “Convenience” accomplishes a lot without losing its almost “Twilight Zone” noir motif. Kato just wants to get his job done and the satisfaction comes in that despite anything else that happens. A-

By Tim Wassberg