When so many modest-scale crime films are made every year, most of them envisaged within a fairly narrow set of genre boundaries, it is critical to any individual work’s success to stand out from the crowd. The most effective methods of achieving this goal seem to be threefold: strong actors, effective dialogue, and genuinely surprising plot developments and elements. Thankfully Permanent Damage, a new Canadian feature directed by Seth A. Smith, manages to succeed on all three fronts. It just premiered at the Fantasia Film Festival; if there is any justice it will get some decent distribution for a larger audience to find it.

Prison escapee Tommy (Calem McDonald) almost gets arrested trying to steal a getaway disguise. His salvation comes from an unlikely old woman (Clare Coulter), crippled by grief and dementia, who claims he is her son and invites her to move in with her. That move then brings Tommy into the orbit of disreputable criminal landlord LL (Stephen Dorff) and his niece Joe (Olivia Scriven), and the mysterious “golden goose” that is going to make LL’s fortune.

Permanent Damage starts off in a highly conventional place, with an overly familiar set-up and a style very much in keeping with the broader crime genre. It is well worth sitting through this slightly underwhelming opening, however, because as the film expands and progresses it becomes more and more impressive. By the climax it has become a wonderfully off-kilter and rather absurd escapade, bouncing along a layer of smart, original ideas and representing a vastly more enjoyable piece of entertainment than first appeared.

Calem McDonald plays Tommy in an enjoyable credulous fashion, as an archetypal male lead well out of his depth and risk of being exploited by others. It is a film noir staple, and it has a well-matched femme fatale in Olivia Scriven’s Joe. Their roles and performances are well-balanced, and develop nicely as the film progresses. Scriven in particular makes an impressive impact. Permanent Damage does, ultimately, belong to Stephen Dorff, who takes the opportunity to present a funny, repellent, and aggressively watchable villain. LL exploits his tenants while cutting every corner possible in building and maintaining the poorest of apartment buildings. His propensity for violence makes him a sustained point of tension on screen. There are a number of funny supporting performances as well, including a deranged cameo by Pontypool‘s Stephen McHattie.

LL’s criminal masterplan, when unveiled, is a masterpiece of absurdity. The film is packed with surprising incidents and odd twists: a local child who shoots at passersby with a Super-Soaker filled with bleach, a fitness junkie who paints himself silver and coats his apartment in sheets of plastic, and much more besides. It gets more demented as it goes, which is a smart play on the part of Smith and co-writer Darcy Spidle. A more direct approach could have easily stretched the film’s credulity.

This is a smart, well-paced and played genre piece, with an easy ability to shift genres from the serious to the ridiculous. Fans of independent crime cinema will have a ball. A broader audience willing to take the chance will likely come away well entertained.

Permanent Damage had its world premiere at the Fantasia Film Festival and is screening again on Wednesday 22 July 2026. Click here for more information.