By George & Josh Bate
Imagine that you wake up one morning with a growing cyst on the side of your body, looking as if it’s getting ready to burst. Imagine, then, that just a few short days later the cyst is gone, replaced by a little door located on the side of your abdomen. Now let’s take things a little further – imagine that all of this is happening as the world is slowly collapsing, and not just in a predicative fashion. Cities are on fire, resources are increasingly scarce, and, oddly enough, blue janitor-like jumpsuits have become the fashion trend for most in these trying times.
Sounds pretty strange, right? Well, that’s the story of Little Doors, which premiered at Fantastic Fest this week. Written and directed by Anthony Oberbeck, Little Doors follows a locksmith (Oberbeck) who meets a lonely woman (played brilliantly by Megan Koester). The two quickly hit it off, despite not saying all that much to one another (and what they do say is often repetitive, thanks in part to Oberbeck’s character). After the two develop what is one of the quirkiest and unconventional of romantic relationships, the woman discovers the door on the side of her body, setting up the rest of the film to come.
As stated, Little Doors premiered at Fantastic Fest, an event synonymous for horror films (although it must be noted that not every title that debuts there is in the horror genre; take this year’s inclusion of Robert Pattinson’s Primetime as a prime example). On the surface, Little Doors exists on the periphery not just of the horror genre, but several others as well. The apocalyptic backdrop is more than enough to potentially turn the film into a survival horror flick, but Oberbeck decides against going in this direction.
Instead, Little Doors leans into its comedy more than anything else. Oberbeck appears less interested in the exploring the terror that comes with living in a world that is actively falling apart (which is perhaps a commentary on the real world we live in, which bears plenty of disturbing similarities). Instead, the film finds the humor in tough times and, in particular, the humor in its two lead characters.
Neither Koester nor Oberbeck’s characters are conventional leads. In fact, they’re pretty much the exact opposite of whatever a conventional lead is. They aren’t particularly talkative, which is part of the film’s humor, as Oberbeck (as a director) leans into the awkward silences that engulf the room after a character says something unexpected. Yet, the two work incredibly well together, existing as foils of one another, with their connection remaining strong, even as Oberbeck’s character becomes infatuated with the woman living behind the door.
It’s important to note that Little Doors may not be for everyone. After the film, Koester and Oberbeck held a Q&A for the audience at Fantastic Fest, with the latter citing Jim Jarmusch as an inspirational figure not only in the making of this film, but in his brand of comedy overall. Jarmusch, of course, is one of those filmmakers who has garnered a strong and passionate fan base throughout his career, even as mainstream audiences haven’t always connected with his work. Yet, there’s a sincerity and authenticity to his work that is seldom found at the same level anywhere else, and the same goes for Oberbeck.
VERDICT: 9/10
Little Doors is a bizarre, surprisingly heartfelt comedy that finds humor and romance amid the collapse of civilization. Anthony Oberbeck’s offbeat direction, combined with strong chemistry between Oberbeck and Megan Koester, gives the film a strange but sincere charm that won’t appeal to everyone. Still, its commitment to awkward comedy, unconventional characters, and an increasingly absurd premise makes Little Doors one of the more memorable discoveries at Fantastic Fest.