I love a good film that embraces absurdity and fully commits to its message. TIFF normally has a few of these, but this year, the Crispin Glover film Mr. K delivered on this promise perfectly. It is a surreal journey into the depths of existential dread, and it’s also pure chaos to watch—oddly enjoyable, if a bit uneven. Directed by Tallulah Hazekamp Schwab, the film is a mesmerizing blend of Kafkaesque narrative and Lynchian aesthetics that will leave viewers both intrigued and unsettled.
The story is hard to pin down, but at its core, it follows Mr. K (Glover), a struggling magician who checks into a remote hotel for what he believes will be a single night’s stay. However, as dawn breaks, he finds himself trapped in a dream-like labyrinth where there seems to be no escape from the four walls of the hotel.
Initially presented as a quaint, if somewhat dated, establishment, the hotel gradually morphs into a character of its own, with decaying walls, mysterious inhabitants, and an ever-shifting layout that defies logic. It feels much like a nightmarish location in Twin Peaks, though with fewer of the darker undertones, David Lynch often injects into his work.
Before I dive into what works and what doesn’t in this film, I have to highlight Glover’s performance as Mr. K, which is nothing short of captivating. Known for his eccentric roles, Glover brings a fresh vulnerability to the character. His portrayal of a man slowly unravelling as he grapples with his surreal predicament is both nuanced and deeply affecting. Glover’s trademark awkwardness serves as an anchor of relatability in an otherwise bizarre world, making Mr. K a surprisingly sympathetic protagonist whom we want to see succeed, whatever that may look like.
The supporting cast, including Fionnula Flanagan and Jan Gunnar Røise, deliver solid performances that add depth to the hotel’s strange ecosystem. Their characters, ranging from cryptic elderly guests to a friendly young cook, contribute to the overall sense of unease and mystery that permeates the film.
Despite not everything working as well as I would have liked, Schwab’s direction is confident and assured, skillfully balancing the film’s more outlandish elements with moments of quiet introspection. The pacing, while occasionally sluggish, generally maintains a steady build of tension that keeps viewers engaged, even when we have absolutely no idea what is going on. Schwab’s script is rich with metaphor and allegory, inviting multiple interpretations of the events unfolding on screen. I have now seen the film twice, and while I have ideas, I am still unsure what the film is trying to say as a whole.
“The hotel set in Mr. K is a triumph of visual storytelling, evolving from a mildly off-putting space to a decaying, organic nightmare as the story progresses.”
One of the film’s strongest assets is its stunning production design. As I watched Mr. K, I kept thinking back to some of the best works of Terry Gilliam, especially in how it establishes its incredible world in a way that feels oddly grounded. The hotel set in Mr. K is a triumph of visual storytelling, evolving from a mildly off-putting space to a decaying, organic nightmare as the story progresses. Frank Griebe’s cinematography complements this beautifully, using shadow and light to create an atmosphere of claustrophobia and dread.
Even with how fantastical the world of Mr. K is, there are plenty of issues that hold it back and make it difficult to fully embrace the many aspects it is trying to convey. As much as I liked it on my first watch, the film’s commitment to ambiguity, while intriguing, can sometimes feel frustrating. I can easily see an audience struggling with the film, hoping for a grounding point to help decipher the more complex concepts. This is before even addressing how the story unfolds—the pacing in the second act occasionally drags, threatening to lose the audience’s attention before the film’s wild final act.
Despite these minor shortcomings, Mr. K remains a compelling and thought-provoking piece of cinema and a welcome viewing at TIFF 2024. It’s a film that lingers in the mind long after its final scene, inviting reflection and discussion. While it may occasionally stumble under the weight of its lofty ambitions, the overall result is both entertaining and intellectually stimulating. Mr. K is a worthy addition to the TIFF 2024 lineup and a film that deserves attention from cinephiles and casual moviegoers alike.
