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Every once in a while a movie comes along that captures a cultural moment. And, sometimes, that same movie can also offer insights into subcultures long forgotten. And, with a backward glance, the moving images and sounds seem to act as a unified predictor. A film like this becomes a touchstone to our past. A link from our current to a past that often feels foreign and alien. This is one such movie…

"This is as far as the elevator goes." Liquid Sky Slava Tsukerman, 1982

“This is as far as the elevator goes.”
Liquid Sky
Slava Tsukerman, 1982

It was in August of 1982 that Slava Tsukerman’s notorious cult film, Liquid Sky, debuted at Montreal World Film Festival. Heads were turned, jaws dropped and the festival awarded the Special Jury Prize to the director. The film went on to receive several other key Art Film Festival awards. Sadly the movie received a minimal theatrical release. In the US it did manage to strike a chord and secure a following via its VHS release. Liquid Sky has become an essential Cult Film. The fact that it continues to be challenging to track down and watch have only added to its allure within the Cult Film Cannon.

This is not your average low-budget movie. The filmmaker, his wife and his cinematographer were fresh from The Soviet Union. They had managed to find a way to New York City to make a movie. It wasn’t long before they were collaborating with a performance artist who seemed to be on the fast track to stardom within the underworld of the Post-Punk/New Wave club scene. This history of the film’s 28 day production story can be found across the span of The Internet. The key here is understanding that this Russian filmmaker captured a moment both fantastic and scary. He may not have had a big budget, but he most certainly had a big cinematic vision filled with ideas and aspirations.

Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

There are a couple of crucial elements which blast the viewer within the first three minutes of Liquid Sky:

  1. A human face framed within a sphere of neon light that reveals itself to be a mask of sorts.
  2. The music sounds vintage early ’80’s, but is just slightly off-key and deeply odd — even a bit altogether off.
  3. The Twin Towers / Empire State Building skyline (the lower midtown perspective?) is not only familiar — it is iconic. And yet, there is a myst of fog that seems sort of wrong.
  4. A flying saucer hovers toward the screen.
  5. Unhappy people in a darkly grim club jerk and dance about. The beats indicate fun, the melody warns danger and the people look more focused than happy.

Welcome to Slava Tsukerman’s Liquid Sky. This cult film is respected for a number of reasons, but perhaps the most important and immediate is the use of electronic music. The often discordantly familiar mixed with unique samplings of dialogue and other bits of music make it completely unique. We are hearing one of the earliest uses of the first true digital sampler keyboards and it is scoring the entire movie. These are the sounds of the Fairlight CMI Series 1 that pulsate out from the screen. The music manages to be at once primitive and complex. It is sinister, but with the slightest twinge of pop happy beats.This very well might be the first example of ElectroClash. The Fairlight CMI Series 1 was not actually new, but not many musicians owned them and even fewer knew how to play/use the digital sampling keyboard.

Stephen Paine demonstrated and sold The Fairlight CMI Series One to both Kate Bush and Peter Gabriel on the same day. EMI, London, 1978

Stephen Paine demonstrated and sold The Fairlight CMI Series One to both Kate Bush and Peter Gabriel on the same day.
EMI, London, 1978

Peter Gabriel and Kate Bush were among the first few musicians to actually purchase and pursue the use of the instrument. The Fairlight CMI gave life to Peter Gabriel’s 1980 album and his 1982 Deutsches Album. It played an even stronger role in giving Kate Bush’s sonic visions live for both Never for Ever and The Dreaming albums. And in fact it is easy to state that the sounds and looks of Liquid Sky have served as influence for a number of creative artists.

When actress, Paula E. Sheppard, takes the club’s darkly lit stage — she is straddling a cumbersome sort of electronic box. It might appear that her mic is broadcasting the inner workings of her chest, but her heartbeat has been sampled. It pulsates from her electronic box. As she lifts that microphone up towards her vexingly beautiful and malicious face she begins an odd bit of what I would call “Slam Poetry.” She seems to threaten her club audience with her words. While the verses to “Me and My Rhythm Box” might be pretentious — they are also oddly effective. In another actor and filmmakers’ hands this scene could have been painfully bad. But here, within the confines of Liquid Sky — this drone and wail of a song plays energetically and deeply weird. This is electronic music with a purpose. The cheesy happiness of 1980’s MTV is not present. Nor will you notice any of the ironic No-Wave disco-threat of Blondie. Slava Tsukerman and his synth composers — Brenda I. Hutchinson and Clive Smith — are in total and complete step with their filmmaker’s vision. Liquid Sky ‘s musical score is totally unique, worrying and unforgettable.

"Me and my rhythm box. Are you jealous, folks? My rhythm box is sweet. Never forgets a beat..." Paula E. Sheppard rocks the mic at The Pyramid Club, East Village NYC, c. 1981 Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Me and my rhythm box.
Are you jealous, folks?
My rhythm box is sweet.
Never forgets a beat…”
Paula E. Sheppard rocks the mic at The Pyramid Club, East Village NYC, c. 1981
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

I suppose some might disagree, but it isn’t a far leap to realize that what we are seeing and hearing would go on to influence artists lucky enough to secure a copy of Media Home Entertainment‘s highly prized VHS tape. You should not jump to judge my assertion until you have seen this movie and compared it to early sounds/looks of artists like Fischerspoon, Miss Kittin & The Hacker as well as pop-sensation Lady Gaga.

Liquid Sky Influencing Electroclash "Hi Huh-I Hyper Hyper-media-ocrity You don't need to Emerge from nothing You don't need to tear away! Feels good Looks good Sounds good Looks good Feels good too..." Fischerspooner, Emerge, 2001

Liquid Sky Influencing Electroclash
“Hi Huh-I Hyper
Hyper-media-ocrity
You don’t need to
Emerge from nothing
You don’t need to tear away! Feels good
Looks good Sounds good Looks good Feels good too…”
Fischerspooner, Emerge, 2001

Paula E. Sheppard’s Adrian is performing not on a set, but in a very real Post-Punk/New Wave NYC Underground club. The Pyramid was where Tsukerman filmed all of the movie’s club scenes. This club is legendary and has served as home to a number of NYC subcultures for decades. The lower East Village hole-in-the-wall could tell us an unlimited number of stories. At one time a home to NYC PUNKS then to their Post-PUNK / New Wave offspring and on toward to both the American Hardcore and GLBTI NYC communities.

By 2006 Pyramid Club presents PUNK by way of nostalgia... No wave here. The Radicts and The Bruisers Pyramid Club advert, 2006

By 2006 Pyramid Club presents PUNK by way of nostalgia… No wave here.
The Radicts and The Bruisers
Pyramid Club advert, 2006

Adrian’s musical performance and jaded delivery hold up to the likes of Miss Kittin and The Hacker. While she may not have the ability to fully utilize her rhythm box as well as Miss Kittin or Fischerspooner — both owe this film a nod for their sounds that would lead us into the ElectroClash sound of the early ’00’s. And it makes sense. Adrian is attempting to thrive within the dystopia of post-70’s NYC. This is Ed Koch’s nightmare of a city. As grim as it was — it did provide some surprisingly cheap housing options and opportunities.

Liquid Sky inspires... "Every night with my star friends. We eat caviar and drink champagne. Sniffing in the VIP area we talk about Frank Sinatra. Do you know Frank Sinatra? He's dead..." Miss Kittin & Hacker The First Album, 2001

Liquid Sky inspires…
“Every night with my star friends. We eat caviar and drink champagne. Sniffing in the VIP area we talk about Frank Sinatra.
Do you know Frank Sinatra? He’s dead…”
Miss Kittin & Hacker
The First Album, 2001

It was not off the Manhattan grid, but it was not an area that most would have cared to have roamed after sunset. The club offered risk of danger and lent an edge to an evening of clubbing before the fall of the Berlin Wall and during the cruel leadership of Ronald Reagan. As Debbie Harry sang on her 1989 album:

“Darkness falls like a black leather jacket and melts into the sidewalk like a sleeping drunk. In the streets, the wind throws yesterday’s headlines around.
Another night comes and goes. So, for awhile back then there was someplace to go.
Somewhere more home than a house. A family of choice, not an accident, but sometimes as soon as something gets started it’s over.

Now the days are much shorter and the people from the good part of town all come around, but the something is missing even though there’s more there now.
I shrug off my attempts to explain how a torn T-shirt made it all danger again…” Debbie Harry, End of the Run, 1989

The Ultimate Queen of NYC PUNK / Post-PUNK / New Wave Debbie Harry Photograph | Arthur Elgort, 1989

The Ultimate Queen of NYC PUNK / Post-PUNK / New Wave
Debbie Harry
Photograph | Arthur Elgort, 1989

Now Ms. Harry would have been referring to CBGB‘s or MUDD Club, but it is important to note that Pyramid Club might not have been on the radar of the darlings of the NYC PUNK / POST-PUNK or New Wave of 1981 — but in perhaps an even more important way — Pyramid Club was home to the many clubbers who couldn’t quite make it to the big rooms of those more anti-popular clubs. And it was within Pyramid‘s walls that some very real shit went down.

No. This is not Lady Gaga, but the looks / sounds may have inspired her. Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

No. This is not Lady Gaga, but the looks / sounds may have inspired her.
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

It is likely that Blondie’s lead singer walked through Pyramid doors at some point. Most certainly it is likely that Madonna ventured there. Liquid Sky features Otto von Wernherr in the role of the German astrophysicist who is the only person aware of an alien presence that has invaded the home of the film’s two main characters. Wernherr was a musician / actor / artist and fixture of the late 70’s / early 80’s NYC Downtown Scene and an early Madonna collaborator. That collaboration was already happening as Liquid Sky was filmed.

The more famous attempt to capture the NYC underground Post-Punk/New Wave movement is actually less revealing than what is found in Liquid Sky... Debbie Harry & Jean-Michel Basquiat Downtown 81 / New York Beat Movie Edo Bertoglio, 1981/2000 Cinematography | John McNulty

The more famous attempt to capture the NYC underground Post-Punk/New Wave movement is actually less revealing than what is found in Liquid Sky
Debbie Harry & Jean-Michel Basquiat
Downtown 81 / New York Beat Movie
Edo Bertoglio, 1981/2000
Cinematography | John McNulty

If Liquid Sky‘s Adrian character is the symbol of artist, then the character of Margaret is more closely tied to the artist who yearns for success and validation that is almost impossible to secure. We know immediately that Anne Carlisle’s Margaret is a model. She is also Adrian‘s promiscuous lover and flatmate. As Adrian performs with her rhythm box, Margaret is backstage prepping for a fashion show. A show that will be taking place in the club. The other models seem only to be in background of Margaret‘s beauty. The only model who challenges her is an effeminate gay man, Jimmy.

"Are you going to come to my roof tomorrow night?" Anne Carlisle x 2 Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Are you going to come to my roof tomorrow night?”
Anne Carlisle x 2
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

At first glance he seems to be Margaret‘s doppelgänger. The then up and coming performance artist, Anne Carlisle, is playing both Margaret and Jimmy. To Slava Tsukerman’s credit, the dual roles are only obvious when the film wants it to be. Tightly and cleverly edited, Margaret and Jimmy are two very different characters. Margaret and Jimmys’ fashion show takes place within minutes of the film’s beginning.

Striking a pose... Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Striking a pose…
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

This fashion sequence serves as not only a set-up for the film’s oddly complex world, it also pulls us into the era in which the film was made. While these models look like what we might associate with the very early 1980’s — it is important to note that these “looks” were ahead of the cultural curve in 1981. When I first saw this movie in 1983, these models/actors looked absolutely other-worldly. Their painted faces, geometric clothing and posing were all new to my eyes. While they might have shared some similarity with Adam Ant, Missing Persons, Bow Wow Wow, Boy George and Flock of Seagulls — the people on the screen offer no semblance of charity or fun. This clique is hard-edged and seemed almost intent on menace.

"Something strange is going on here." Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Something strange is going on here.”
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

These hipsters want your attention, but they are not willing to beg for it. Just the opposite, these models and their respective looks are daring us not to give them our attention. The colors may be bright neon and they might be covered with make-up, but these danger boys and girls are out for blood. This is not just a fashion show — it is almost a declaration of war.

Dare you not to look and love me... Benjamin Liu Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Dare you not to look and love me…
Benjamin Liu
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Also within minutes of the film’s start we figure out that there is a lot more going down than performance, fashion and clubbing. Adrian is an established heroin dealer. That human face mask hangs in she and Margaret‘s penthouse apartment. This work of art offers dual meaning. It is the same face shared by both Margaret and Jimmy. It is also not a mask — it is the holding/hiding place for Adrian‘s supply of heroin. A supply that she sells to everyone from uptown artsy folks but to everyone within her orbit. Margaret might be the only person in Adrian‘s world who has no interest in the power of her powdered sky just waiting to be heated into milk for injection.

So here we have a film that is about clubbing, strutting and drugs. Where does the Sci-Fi element come in?

"Are you sure this has something to do with UFO's?" Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Are you sure this has something to do with UFO’s?”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

No one can ever accuse Slava Tsukerman of constructing a slow-moving film. We witness the arrival of invaders from space within minutes of the movie’s beginning. Liquid Sky‘s construction is tight and unusual. Things happen simultaneously. They also happen with minimal explanation or character development. In most cases this approach would stunt a film, but it is one of Liquid Sky‘s magical elements. I should note that I first saw this film when I was 16 years of age. This might seem a great trip movie, but it is not. As trippy as the film is it is not conducive to positive altered state viewing. The paranoia, cruelty and perversities work against the fun aspect of a stoned age viewing. It is most likely due to my state at the time I first saw Liquid Sky that I did not understand the invasion from space plot twister.

"In the beginning Aliens were spotted in places with large amounts of heroin. Later Aliens appeared in specific subcultures -- punk circles. Still around heroin, but in these circles even more. Strange deaths have occurred..." Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“In the beginning Aliens were spotted in places with large amounts of heroin. Later Aliens appeared in specific subcultures — punk circles. Still around heroin, but in these circles even more. Strange deaths have occurred…”
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

We see the alien flying saucer arrive at nearly the same time we meet Adrian, Margaret and Jimmy. We also are given the alien’s perspective as it approaches the rooftop of Adrian and Margarets’ penthouse apartment. Most cleverly we are also given a view of the alien itself. The alien and its space ship interior. Both perspectives are truly psychedelic. But how does the introduction of alien invasion, surveillance, fashion, music, drug use/abuse and sexuality anchor Liquid Sky to the subcultures within which the film is placed?

"Where are the drugs?" Paula E. Sheppard Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Where are the drugs?”
Paula E. Sheppard
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Most likely it was never Tsukerman’s intention to create a film that we can now view as a sort of chronicle of the NYC Post-Punk/New Wave subculture. And it is most certainly sure that he never intended the movie to serve as a signal predicting the horrors of the AIDS epidemic. Wether intentional or not, there should be no denying the film’s ability to do both things. Liquid Sky is a low-budget film with big budget aspirations. It is essentially a science fiction horror movie, but its genre goals are almost buried beneath a polarizing depiction of the New York City Underground Club scene of 1981. It is a depiction that stings and slips under the viewer’s skin.

"Jimmy is the new Miss. America! he has all the mannerisms of a sex symbol." Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Jimmy is the new Miss. America! he has all the mannerisms of a sex symbol.”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

At first, in 1981, it seemed that a disease was being caught / spread by members of the gay community. It was quickly becoming an outbreak. Initially the sicknesses was coined as The 4H Disease as the syndromes seemed to be inflicting homosexual men, heroin users, hemophiliacs and Haitians. Despite some obvious signs, that initial name did not catch on as well as GRID (Gay-Related Immune Deficiency) It wasn’t long before the CDS realized this was not an illness restricted to any one segment of the population. Certainly those living in cities like New York were realizing this long before the tragic epidemic was assigned the name AIDS in July of 1982. But in 1981 the young people populating the New York City Underground had not yet fully grasped the meaning of what was beginning to strike their respective communities. Paranoia and fear were already running rampant for a number of socio-political reasons. Liquid Sky captures an artistic world caught in the magic and the horror of the era.

"Homosexual, heterosexual, bisexual. Whether or not I like someone doesn't depend on the kind of genitalia they have. As long as I find someone attractive. Don't you think? Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Homosexual, heterosexual, bisexual. Whether or not I like someone doesn’t depend on the kind of genitalia they have. As long as I find someone attractive. Don’t you think?
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

The world of Liquid Sky takes place in the rag-tag world of the Artist as Outsider. More specifically, the world of Tsukerman’s film is concerned with outsiders and misfits. As in reality, the world of the arts is populated with youth, creativity and sexual experimentation. Sexuality is either fluid or leaning toward homosexuality. The Post-PUNK/New Wave NYC subculture is tightly connected to the pulse of the NYC Gay subculture. And both are freely connected to sex, drugs, music and art. Liquid Sky has a morality, but it is based in humanism rather than in the political.

Early on we watch Margaret attempt to seduce her male counterpart, Jimmy. It is here we are granted a cruel view of misogyny. It isn’t that Jimmy is just turned off by the idea of fucking a woman  — he makes it fairly clear that he detests women across the board. He treats Margaret as if she were nothing more than a link to drugs. Margaret has a tough shell, but something about Jimmy‘s cruelty eggs her on toward him. This seems to be a girl who is not used to being turned down. Despite his cruelty she is unwilling to write the mean queen off.

The only character who seems concerned with any other’s sexual preference is Adrian‘s uptown client. A failing artist who seems to have once clung to the idea that heroin will spark his artistic vision is now just uncomfortably numb. He finds Margaret’s androgynous beauty alluring, but he is far too concerned regarding her sexual preference. To Margaret and Adrian this junkie is normal and dull.

"What kind of drugs will you have?" Anne Carlisle Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“What kind of drugs will you have?”
Anne Carlisle
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Adrian clearly identifies as lesbian and seems to be disgusted by Margaret‘s promiscuity. And like Margaret she too has dreams of fame and success. Both women are damaged, but while Margaret has soaked up her sadness — Adrian funnels an insane level of sadness and rage into her work. Theirs is a dysfunctional relationship beyond reason, but they seem to cling to each other. Sex is merely fun and a tool. All of these characters trade in sex and shared works. Adrian is repulsed by the idea of her client wanting to have sex with Margaret but is totally cool with sharing her spoon, syringe and rubber band. Margaret attempts to procure cocaine by snuggling up to straight dude at the club. In the end she is brutally raped. She seems to accept this act of cruelty as a dark part of her life with which she must deal. She also seems totally committed to being mistreated by her girlfriend.

"I am a stranger in this country. How can I see what they do on private property?" Otto von Wernherr Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“I am a stranger in this country. How can I see what they do on private property?”
Otto von Wernherr
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Both Anne Carlisle and Paula E. Sheppard are highly effective in their respective roles. We may not know these two characters but they feel genuine. The same is true for much of the cast. Otto Von Wernherr would never win an award for acting, but he is believable as the befuddled West German scientist trying to understand what these space aliens are doing in this circle of artists. At first he suspects the aliens are only interested in the heroin which shoots so freely among these characters, but soon it is revealed that these invaders are even more interested in the chemical reaction that orgasm creates within the brains of these humans. The interesting trick of the film is that while the film is never formerly concerned with character development, it fully utilizes the skills and charisma of the actors.

"For me it's easy. Hell to Hell. I'm not dancing in marijuana jungles. I live in concrete mazes. Stone and glass hard like my heart. Sharp and clean. No romantic illusions for changing  the world. I don't lie to myself that love can cure because I know I'm alone. And you fought that every day. You lied. You lied. You go to hell. Suits you well."  The nihilism of the slam poet runs deep. Paula E. Sheppard Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“For me it’s easy. Hell to Hell. I’m not dancing in marijuana jungles. I live in concrete mazes. Stone and glass hard like my heart. Sharp and clean. No romantic illusions for changing the world. I don’t lie to myself that love can cure because I know I’m alone. And you fought that every day. You lied. You lied. You go to hell. Suits you well.”
The nihilism of the slam poet runs deep.
Paula E. Sheppard
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Sex has become an empty act. It no longer means anything to Margaret. So when the people who force their way with her sexually begin to die at the instant of orgasm she has little to no concern for the deaths. She is more curious than concerned. When an older artist brushes aside her need for conversation, she barely puts forward an argument as he rapes her. Thing take on a perverse edge when Adrian walks in do discover the nude male body. She slips into a sort of trance and begins a grim sort of rap to the beat of her fist on her thigh. When she reveals her deepest sexual fantasy is to have sex with a dead man, Margaret is repulsed. However it takes a good deal of necrophiliatic  attempt before she tries to stop Adrian.

All the more upsetting when we realize that Margaret mistakes the aliens murdering her sexual partners to be a sign of power. For the first time in her life she thinks she is found her awakening. Her sex is no longer something to be traded or abused. Alien intervention has allowed her sex to become a threat. A threat she is more than happy to put to work.

"How many of you want to see me fuck Margaret and not die?" Paula E. Sheppard & Anne Carlisle push past the R-rating of the day... Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“How many of you want to see me fuck Margaret and not die?”
Paula E. Sheppard & Anne Carlisle push past the R-rating of the day…
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

The characters of Liquid Sky are sick, twisted and sad. And yet we feel compelled to watch. This is not the sort of interest one experiences while watching a John Waters movie. Despite a few goofs and a low-budget, Liquid Sky is an interesting film. Once the movie begins, the viewer is going to be in for the long haul. The alien aspect of the film is largely secondary. We are concerned with the people. Margaret‘s misguided interpretation of the strange events that have started to happen all around her lead her down a very dark alley of self-examination.

And it doesn’t take deep thinking to discover that Slava Tsukerman’s film serves most effectively as horrific predictor of the AIDS epidemic.

"I was taught that to be an actress one should be fashionable. And to be fashionable is to be androgynous. And I am androgynous not less than David Bowie himself. And they call me beautiful. And I kill with my cult. Isn't it fashionable?" Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“I was taught that to be an actress one should be fashionable. And to be fashionable is to be androgynous. And I am androgynous not less than David Bowie himself. And they call me beautiful. And I kill with my cult. Isn’t it fashionable?”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Liquid Sky is not a movie for the squeamish, but neither is it actually an example of “shock cinema.” Much of what we think we see is never really shown. And what is shown is potent. This is a horror film, but it is less a horror film about alien invasion than it is a horror film about human nature. Before everything goes inside out and upside down, Margaret is offered the chance to be interviewed for a cool underground fashion magazine. The reporter who would appear to be totally linked in with the whole gang takes a cruel turn when she interviews the would-be model. The aggressive reporter informs Margaret that her style of dress, make-up and living are tacky. Even though she is able to put the reporter in her place, her privilege is not granted or acknowledged. Margaret dares to be different, but ultimately she only finds power in what she thinks is her ability to kill.

"You wanted to know whom and what I am? I'm a killer." Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“You wanted to know whom and what I am? I’m a killer.”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Liquid Sky finds a surprising, clever and fitting conclusion. But the film’s resolution is not so easy that it makes the viewer comfortable. As low-fi as it sometimes is, Liquid Sky disturbs. It also entertains, informs and inspires. Going on 35 years, it continues to enlarge its following. Over the last couple of years there have been screenings held at BAM, MOMA and other venues. Slava Tsukerman and Anne Carlisle have always made themselves available to discuss the film, their work and their hope to find funding to restore and preserve Liquid Sky‘s original negative print.

It is decaying. Literally.

"This subculture is not like 'The Mods' or 'The Rockers.' The punks don't need help from the outside to kill themselves..." Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“This subculture is not like ‘The Mods’ or ‘The Rockers.’ The punks don’t need help from the outside to kill themselves…”
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

The VHS tape still fetches a good price on the market. Several DVD’s are floating around, but the quality is not good. Unlike most film art, Liquid Sky has actually managed to become more controversial with time. It also has the rare distinction of having aged like fine wine. This movie is more interesting every time I see it.

Despite the film’s strong following and the fact that it continues to inspire new generations of audience, there have been no takers to restore, preserve and redistribute. When the 1970’s slasher film, Alice Sweet Alice, began receiving some delayed glory there was hope that it might help Liquid Sky find a new life. After all  Alice herself is one of the key stars of this movie and Paula E. Sheppard has a cult following of her own.

A strange little girl. Before she slammed with her rhythm box she was "Alice." ...And she was scarier than the mask. Paula E. Sheppard Alice Sweet Alice Alfred Sole, 1978 Cinematography | Chuck Hall

A strange little girl. Before she slammed with her rhythm box she was “Alice.” …And she was scarier than the mask.
Paula E. Sheppard
Alice Sweet Alice
Alfred Sole, 1978
Cinematography | Chuck Hall

However she has always run from attention and rumor is that she found the experience of Liquid Sky negative. And sadly, Alfred Sole’s under rated horror film is still more famous for featuring a young Brooke Shields than it is for being an interesting and unusual genre film.

Liquid Sky continues to flow... "I stand here waiting for you to bang the gong. To crash the critics saying, "is it right or is it wrong?" If only fame had an IV, baby could I bear Being away from you, I found the vein, put it in here..." Lady Gaga Applause, 2013

Liquid Sky continues to flow…
“I stand here waiting for you to bang the gong. To crash the critics saying, “is it right or is it wrong?”
If only fame had an IV, baby could I bear
Being away from you, I found the vein, put it in here…”
Lady Gaga
Applause, 2013

Even still, there is always hope. Tsukerman and Carlisle have even scripted a sequel that is ready to roll. No matter what the future holds for Liquid Sky, it is a movie that deserves attention. Seek it out if you dare.

Matty Stanfield, 1.31.2016

"Killing all the teachers..." Rebellion, Fashion, A Warning, Electroclash and a bit of history all in one VHS tape... Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Killing all the teachers…”
Rebellion, Fashion, A Warning, Electroclash and a bit of history all in one VHS tape…
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

from 2015 Slant Magazine piece by MARC SPITZ

“A glowing spaceship appears over the New York City skyline as dissonant New Wave music fills the multiple ears with their dangling rings. Junkies, models, poseurs and performance artists feed off each other in a battle to be the most fierce, all the while unaware that tiny aliens are harnessing their ecstasy. Most visitors to New York go to Serendipity for a frozen hot chocolate — these buggers are literally fueling their space ship with the power of the human orgasm, which turns the screen electric blue and red and green and purple.

“Liquid Sky” is set in New York City in the few years between disco and AIDS when young denizens indulged in exhibitionistic sex and hard drugs and took their fashion cues from the gleefully androgynous English New Romantic movement (big hair, frills, ruffles, theatrical make up). They danced like rusty robots in neon lit nightclubs. Within this odd demimonde Margaret (Anne Carlisle) lives and works as a successful model. She has the perfect life, with one exception: she kills everyone she has sex with, whether that sex is loving, non-consensual or even with her male doppelganger “Jimmy” (also played by Anne Carlisle, then a face at the Mudd Club, a key hangout of the period). Margaret is high maintenance (“You know this bitch takes two hours to go get ready to go anywhere,” says girlfriend Adrian, who nearly steals the film with her performance of “Me and My Rhythm Box”).

Shot in Ed Koch’s crumbling New York on a tiny budget, “Liquid Sky”’s now highly-influential look, which has informed the costumes of everyone from Karen O to Lady Gaga and Sia, came largely from Carlisle’s closet or thrift shop shopping bags. Carlisle, director Slava Tsukerman and co-producer Nina Kerova created a new kind of glamor queen who, Bowie-like, quite easily stokes the desire of the men and women — before leaving a crystal spike in the back of their brain. “I kill people that fuck me,” the character confesses. Is it worth it? Almost. Is it almost ghoulishly predictive? Absolutely. This was 1982.

“They already had AIDS, but it wasn’t that publicized,” says Tsukerman, who swears the film was conceived as science fiction. Tsukerman, who traveled from Moscow to Hollywood and then found himself in Carlisle’s fast-fashion world, where it seemed that everyone was a dancer, painter, band member, filmmaker or actor, adds, “The information about AIDS came after Liquid Sky.”

Carlisle was equally aghast when her real life friends began dying of this new sexually transmitted disease. “It was so amazing, because the film is really about dying from sex and then everyone started dropping. It was really, really eerie. That happens sometimes in creative life. You do something and it’s an accident that it actually comes true. It’s mystical.”

The two were already well established in the world of downtown film before “Liquid Sky” was co-conceived. Tsukerman had a film called “Sweeet Sixteen” which was nearly financed. “It was about a girl who was killed in a car accident in 1935 and her father, a crazy scientist, saves her head and makes a mechanical body,” he says. Andy Warhol was supposedly committed make an appearance. Carlisle had a film called “The Fish” which she was showing around the clubs. When the pair met, it was clear that Tsukerman found his muse — but he had reservations, once “Liquid Sky” began pre-production, that Carlisle, primarily a painter, model and self described “nihilist” who attended the School of Visual Arts, could handle the role of both Margaret and Jimmy, even though, as she recalls, “I had a boy’s haircut and a mini skirt. No one else was doing that.” Carlisle convinced him one day. “We were scouting locations and I dressed as a man and I picked up a girl in front of him and that was my audition,” she says. “She thought I was a boy. I admitted I was a girl and she said she was still into it.”

“Liquid Sky” has a pre-apocalyptic feel of the Cold War sci-fi with the slickness of much more expensive films like its contemporary “Blade Runner,” but the budget (about a half-million) nearly sparked a mutiny. “The crew was paid very little and they did revolt at one point over the food,” Carlisle says. “They were worked day and night. We worked terrible hours. That the film got made at all was a miracle. It was really — at one point, I was arguing with them, we’re making art here and you’re worried about food. And he said you’re making art here. We want pizza!”

Laura Dern as a woman in deep trouble... INLAND EMPIRE David Lynch, 2006

Laura Dern as a woman in deep trouble…
INLAND EMPIRE
David Lynch, 2006

There is an early key scene in David Lynch’s Inland Empire. It is between one of several characters played by Laura Dern and another played by the great Grace Zabriskie. A neighbor has dropped in to introduce herself to her movie star neighbor. A bit uncomfortable, but friendly — Nikki invites the woman in for a cup of coffee. After the neighbor sips a bit, she begins to enquire about Nikki’s next movie role. A role that the neighbor feels Nikki has most certainly secured Though it is clear that Nikki is unaware she has been cast.

It only takes a few minutes before Ms. Zabriskie gets to the actual reason for her unannounced visit:

“Is there a murder in your film?”
“Uh, no. It’s not part of the story.”
“No, I think you are wrong about that.”
“No.”
Brutal fucking murder!
“I don’t like this kind of talk; the things you’ve been saying. I think you should go now.”
“Yes. Me, I… I can’t seem to remember if it’s today, two days from now, or yesterday. I suppose if it was 9:45, I’d think it was after midnight! For instance, if today was tomorrow, you wouldn’t even remember that you owed on an unpaid bill. Actions do have consequences. And yet, there is the magic. If it was tomorrow, you would be sitting over there.”

Her finger points across the room. Laura Dern’s Nikki’s eyes turn following the direction of her neighbor’s finger.  And with a turning pan of the cheap digital camera we and Nikki are transported to a different time. Maybe even a different side of reality. Maybe…

Grace Zabriskie points toward the unknown brutality... INLAND EMPIRE David Lynch, 2006

Grace Zabriskie points toward the unknown brutality…
INLAND EMPIRE
David Lynch, 2006

Way back in 2006 after experiencing David Lynch’s Inland Empire for the first time I wrote this:

Well, kids — I saw the new David Lynch movie today. Yes, INLAND EMPIRE is almost a full 3 hours of Lynchian assault.

Did I like it? Yes, I think I did. Actually, I may love it. I think I am still processing the experience. Trust me. This is a cinematic experience.

While I did find it a bit long, I was never bored.  My eyes, ears and mind were stuck to the screen the entire duration. There were more than a few people in the audience who had seen it twice already. I have to agree with those audience members — this is a film which seems to require multiple viewings. 

I am still trying to figure it all out in my head. What did all those symbols mean? Most importantly, what does it symbolize to have Nastassja Kinski sit on a sofa while Suicide Girl types dance and lip sync to the late/great Nina Simone? I guess she and them could symbolize a lot of things.  And, why the Beck song?

Word to the wise: if you do see it — stay thru the final credits.

I love that the cinema in which I saw the movie was playing selections from the new Tom Waits compilation CD, Orphans: Brawlers, Bawlers & Bastards. This turned out to be quite right for setting the tiny San Francisco cinema’s atmosphere.

Hypnotic, oddly gorgeous, without linear thought/plot and featuring a brilliant performance from Laura Dern — INLAND EMPIRE is horrific, beautiful, confusing, perverse, sad, funny, lost and ultimately a brilliant cinematic slight of hand.  If you like David Lynch you will not want to miss it. I plan on seeing it again with a couple of my pals.

 

"Come on, baby Jump up Jump back Well, now, I think you've got the knack Wow, wow!" Laura Dern & Friends(?) INLAND EMPIRE David Lynch, 2006

“Come on, baby
Jump up
Jump back
Well, now, I think you’ve got the knack
Wow, wow!”
Laura Dern & Friends(?)
INLAND EMPIRE
David Lynch, 2006

Three years later, I wrote this:

David Lynch at his very best. This is the first film he has made which rivals the brilliance of Blue Velvet. Tho quite long, the movie is NOT dull.

Blessed with an incredible acting turn by Laura Dern who seems to be wandering through the consciousness of an actor in way over her head and possibly sharing that space with a demented film maker, INLAND EMPIRE is almost impossible to describe.

This experimental film shows how much a filmmaker can do with equipment available to all of us. It also serves as a reminder that just because we have access to the equipment — no one without such untethered genius can use it as well.

Sound and image have seldom merged better.

INLAND EMPIRE is a puzzle of a film that will be pulling in viewers for decades to come. Without question, this is an important film.

"Ye-ye-ye-yeah Move around the floor in a Loco-motion!" INLAND EMPIRE David Lynch, 2006

“Ye-ye-ye-yeah
Move around the floor in a Loco-motion!”
INLAND EMPIRE
David Lynch, 2006

Not too long ago on Letterboxd I wrote:

One of my all-time favorite films is also one of the most experimental I’ve ever seen. This is a brilliant motion picture experience captured with cheap video cameras.

Interpretation is certainly open-ended. Even still, I’ve always viewed this as an actor who has lost her identity in a role.

But even more unsettling is the proposition that manipulation of “identity” could potential lead one into some horrific alternate realities. Are they real or are they each operating in some sort of parallel universe?

Best to just pretend you’re seated in dark cinema.

Turn out the lights. Turn up the volume. Just watch and listen.  Allow Inland Empire to wash over you. As it does, you are probably going to discover some vague connection that is as surreal as the film itself.

If you are not someone who does not appreciates David Lynch, experimental art or if you’re afraid of the dark — do not even attempt to watch it.

Laura Dern On the run and lost... INLAND EMPIRE David Lynch, 2006

Laura Dern
On the run and lost…
INLAND EMPIRE
David Lynch, 2006

 

Having recently watched Inland Empire the other night on a pristine German-imported blu-ray, the film remains fresh, disturbing and enigmatic as ever.

The film floods over me like some sort of brilliant wave of sound, paint and amplified humanity. I find it difficult to articulate what grabs me. But it grabs me every time I see it.

As someone who has dealt with panic attacks and disorientation, there is a spastic sort of resonation. However, this would be me, a member of the audience, projecting myself onto David Lynch’s carefully crafted and often grubby Epic of Surreal Cinematic Masterpiece.

Yes, that is what I wrote. I used the “masterpiece” word. For me, Inland Empire is a cinematic masterpiece.

I refuse to be swayed.

It is filled with odd sort of “clues” that seem to dangle and blow like thin strings refusing to tie together.

The logic is circular and filled with menace.

There is more symbology going on than one can ever hope to rattle even with the sturdiest of sticks.

A meta-film to beat all meta. A cinematic experiment without a clearly stated thesis beyond the posters tagline: “A Woman In Trouble.”

"What the fuck happened here?" I say: "He come to a reapin' what he had been sowin', that's what." They say: "Fucker been sowing some kind of heavy shit..." Laura Dern INLAND EMPIRE David Lynch, 2006

“What the fuck happened here?” I say: “He come to a reapin’ what he had been sowin’, that’s what.” They say: “Fucker been sowing some kind of heavy shit…”
Laura Dern
INLAND EMPIRE
David Lynch, 2006

As the woman (or women) in trouble, Laura Dern was given an amazing task as an actor. A task that she not only managed to achieve — Laura Dern rose above any sort of expectation. The lines between acting and reality are simultaneously drawn, twisted, subverted and blurred beyond recognition. Dern seems to literally become entwined with digital signals that form the movie itself. By stating this, I mean to write that this actress is not simply the focus of most of the film’s images —  Laura Dern’s performance and presence folds into digital images that David Lynch’s cameras capture.

This performance even amps itself beyond Dennis Hopper’s brilliant turn in Blue Velvet. The only reason it has never been given similar credit is because of the often exasperating “lengths” to which Inland Empire stretches, bends, loops and merges to form and invert itself.

For various reasons, I’ve found myself spending time with this particular movie.

I have to confess I was relieved when viewings were no longer required. But with the arrival of this blu-ray, I jumped back into the surreal madness of Lynchian Vision. I did so without request or hesitation.

"So, you have a new role to play, I hear?" Laura Dern INLAND EMPIRE David Lynch, 2006

“So, you have a new role to play, I hear?”
Laura Dern
INLAND EMPIRE
David Lynch, 2006

In the end, for me Inland Empire is a complex exploration of human identity. The identity of an artist who finds her non-professional actor’s life begins to morph, twitch, mingle and merge with those of her roles. So vested in her performance, the complexity of a new film’s character splinters into creation of multiple versions and films. The ultimate artistic nightmare.

Forever chasing her selves through horrific and dismal set-ups. Just as she might be about to latch on to the core of herself she is sent running after another lost figment. A rambling psychological, visceral, emotional and dangerous trap. Her identity becomes so fragmented and polarized that the audience shares in her existential conundrum.

"This is a story that happened yesterday. But I know it's tomorrow." Laura Dern INLAND EMPIRE David Lynch, 2006

“This is a story that happened yesterday. But I know it’s tomorrow.”
Laura Dern
INLAND EMPIRE
David Lynch, 2006

I could not help but feel slightly alarmed when a person on Twitter, known as The Movie Shrink,  sent me a link to a new viewpoint regarding a movie. The movie happened to be Inland Empire. @Plisskenboon’s translation of David Lynch’s strange epic is precise and self-assured.

I can’t state that I’m in full agreement, but it is an impressive deconstruction and evaluation of this Lynchian World that forever runs about within the confines of The Inland Empire. Um, yeah, it is a real place.

(You would be surprised how many people do not realize this.)

Splintered, fragmented and distorted... Laura Dern INLAND EMPIRE David Lynch, 2006

Splintered, fragmented and distorted…
Laura Dern
INLAND EMPIRE
David Lynch, 2006

Check it out. …if you dare:

http://plisskensmovies.blogspot.co.nz/2015/03/inland-empire.html

A person, a woman, an actor, her character(s) and shared identities are forever trapped... Laura Dern INLAND EMPIRE David Lynch, 2006

A person, a woman, an actor, her character(s) and shared identities are forever trapped…
Laura Dern
INLAND EMPIRE
David Lynch, 2006

This is a story that happened yesterday. But I know it’s tomorrow.”

Matty Stanfield, 11.20.15

 

 

FELT Jason Banker, 2015

FELT
Jason Banker, 2015

I was well acquainted with Jason Banker’s fist film, Toad Road. I love his first film. If you have not seen it, seek it out. Toad Road is streaming via Netflix and AmazonPrime. So I was excited when I had a rare opportunity to see his second and latest movie, Felt, last year. At that time Felt had only had two official screenings. I had no idea regarding the subject of the film when I first saw it.  Felt was so such a jolt of the senses my jaw had fallen leaving my mouth open in a mixed state of awe, confusion and shock. I knew I liked Banker’s new film, but it filled my head with so many ideas, challenged my personal ideas of cinematic reality and was deeply unsettled. I was unable to form a clear opinion to write anything that would matter. This didn’t thrill the individuals who had asked me to write a summary and review. As promotion for the film began I avoided reading any reviews or much in the way of commentary. Aside from a couple of interviews with Jason Banker, I only watched the two trailers.

It would be June of 2015  before Felt would reach San Francisco’s Roxy Cinema. I do not enjoy The Roxy. I’m sorry. I just don’t like seeing movies there.

The Roxy Movie Theatre is a historical building. It is actually the second oldest continuously operating movie theater in the country. The Roxy is an odd experience within and of itself. No matter how hard the owners and the city have tried, years of decay have created an odd atmosphere. There are two screens. One of the screens is sort of disconnected from the other. It almost feels like an after thought from the late 1970’s or the early 1980’s. I’ve never had an enjoyable viewing experience there. I think this is because of all our cinemas, The Roxy tends to attract all groups of The San Francisco Cinematic Audience under one roof.   The San Francisco Cinematic Audience can be a strange mix and one is most likely to encounter it at The Roxy. Situated in the prime real estate of The Mission it is a natural magnet. I break down the SF Cinematic Audience into 3 stereo types:  Hardcore Film Art Cinephiles, SF Hipsters and Fringe Art Eccentrics. Reactions and interactions tend to be “extreme” or “muted dissonance” —  you never quite know what to expect. The one thing you can expect if you see a intense, controversial or polarizing work of art at The Roxy you can anticipate debates and even arguments as you make your way back to Mission Street.

As an example, I attended a screening of Christophe Honoré controversial 2004 film, Ma Mere, at The Roxy.

Ma Mere Isabelle Huppert Christophe Honoré, 2005

Ma Mere
Isabelle Huppert
Christophe Honoré, 2005

It was not even a new film. I has seen several years earlier at another old cinema which is now long gone and forgotten. Ma Mere is a challenging and polarizing movie on its own without the added projection of our SF Audience baggage. The theatre was not full. The audience seemed to have an equal number of men to women. All of my Roxy stereotypes were present. Cinephiles, Hipsters and Eccentrics were sharing the space.  The entire audience sat in silence as the credits rolled. I was ready to leave, but I didn’t want to be lectured. So I sat. No one stood up or shuffled in their seats. It was total silence. And then it happened. A long and exaggerated “hiss” was aimed at the screen. Then two more “hissers” joined in.

This is the dreaded San Francisco Hiss. A prime example of our city’s strange sense of entitlement that often “requires” the SF individual to feel the need to hiss at movies, performers or artists if their viewpoints do not align with his/her own. It is as annoying as it is funny. But make no mistake, The San Francisco Hiss is quite serious in intend. It carries more impact here than a “Boo” or a tossed cup. The tricky thing about The San Francisco Hiss is that it tends to set off a chain reaction of one sort or another. I often feel like my fellow citizens feel that his/her own individual opinion is far more important than any other. All one needs to do is ride a MUNI bus from the beach to Union Square to see these clashing “entitlements” go to battle. This often evolves into full-on-rage fueled rants. Inevitably someone is asked to exit the bus. The bus driver must firmly stand his/her ground. The bus stops. It will not move until the one or two individuals who have gone too far step out. Traffic jam ensues. Everyone is late.

Welcome to The New French Extreme Ma Mere Louis Garrel and Isabell Huppert Christophe Honoré, 2004

Welcome to The New French Extreme
Ma Mere
Louis Garrel and Isabell Huppert
Christophe Honoré, 2004

As one would expect this “hiss” aimed at Ma Mere created anger toward the hissers. By the time the lights came up a highly encaged debate was in full tilt boogie. The hissers were  white male hipsters. Of the five annoyed hiss protestors were two females of the Cinephile type, one male of the Team Eccentric and the other was a woman of the Hipster variety. It was the only screening of the day. I sat and listened in. And I took notes.

“You’ve no right to ruin the experience for the rest of us!’

“Dude! It was the credits!”

“This is an important film! You are both too ignorant to understand it!”

“Oh I think we know pornography when we see it!”

“Fuck you!”

“No Fuck you!”

At this point it was best to quietly walk past them as the poor Manager (of Team Cinephile) was about to attempt to guide the argument out to The Mission. I’m sure everyone made it out fine. It is just the way it tends to be when you go to The Roxy. Especially if it is the last evening screening.

If Ma Mere is polarizing, I’m not sure where this would leave Felt. Jason Banker’s film is beyond “polarizing” — it is an intentional and intense provocation. I decided I would never get to see Felt on a big screen.

I made the right decision. A pal emailed me of his experience at The Roxy after watching Felt. The film profoundly disturbed him. The mixture of hissing and shhh’ing made him leave before the credits were done. As he walked back out to the reality of Mission Street, he noticed three women gathered together discussing the movie. I asked him of which “group” they were members. He was not sure, but he guessed they were fellow Art House Cinephiles. Because of the nature of the film he had just seen he was hesitant to approach these three women who were all hugging themselves. He guessed that all three women were probably somewhere between the ages of 24 and 28. He was most definitely sure that all three of these women were intelligent, cool and “casually” beautiful. My friend put his hands deep into his hoodie’s pockets and asked, “So, how do you all feel about ‘Felt‘?”

Amy Everson  FELT Jason Banker, 2015

Amy Everson
FELT
Jason Banker, 2015

Luckily none were offended. He told them about a friend of his having already seen Felt (that would be me) and that I had yet to be able to articulate an opinion. All three women agreed. Felt had left them with a great many mixed emotions. As he prepared to walk away one of the women volunteered, “It’s so weird I hardly ever allow myself to think about it. But I’m always so uncomfortable when I’m in a room with more than a few men.” The other two women nodded in agreement, but none could articulate why. He agreed and mentioned that he got a sense of that feeling in the movie, but he couldn’t find the words. No wanting to seem “lame” he said he thought the movie offered a lot of ideas but didn’t clearly answer why women feel so threatened by men. Mistake.

He wished them a good evening and started walking away and the more assertive of the women called out to him, “Actually, it was in that movie.” The reason is actually very clear in Jason Banker’s movie.

Amy Everson  FELT Jason Banker, 2015

Amy Everson
FELT
Jason Banker, 2015

Felt became available for purchase as VOD via iTunes this week. I bought a copy and watched it again.

I hit the Internet and read opinion from Film Critics, fellow bloggers, Letterbox and the fun world of IMDB user postings. Film critics are divided when it comes to Felt. What I find interesting about The Film Critic Response is the information one discovers by reading between their lines. The majority of the reviews seem to be afraid to either fully dismiss or fully praise Felt.

Ben Kenigsberg’s New York Times review stuck me as being particularly off-mark. Due to The Times recent policy change related to which films are reviewed, it says a lot that they opted to even review Felt. Their current logic in what films they will review and which films they will not review is more than a little confused, but I am impressed that Felt was considered.

Amy Everson Super Hero? FELT Jason Banker, 2015

Amy Everson
Super Hero?
FELT
Jason Banker, 2015

Kenigsberg summed up Felt, “Reading about the filmmakers’ intentions is more rewarding than watching the results.”  Meaning that The New York Timesfelt” that Felt‘s cinematic intention had to be praised, but this critic seemed to need to find something about Jason Banker’s movie that would allow him not to praise the over-all result. I write this because Kenigsberg’s deconstruction of Felt feels almost painfully weak. He assigns a generally unfavorable review by taking aim at Banker’s “ambiguities.” Mr. Kenigsberg  even goes so far as to challenge the title of the film. He expressed confusion about whether he should view the title as a noun or a verb. The title is no riddle. There is nothing “ambiguous” about it. A sixth grade child would be able to understand that the title of this movie is intentionally both a noun and a verb. Felt is filled with ambiguities. The title is not one of them. Felt‘s ambiguities are intentional. Even if an individual dislikes the film, he/she will note the the “ambiguities” are a major reason that the film holds interest. The “unstated” within Banker’s Felt is what makes it a true cinematic experience.

As I read Ben Kenigsberg’s review two points emerged:

1. It is not the ambiguity that bothers him, his real issue is the uncomfortable cultural statement Felt asserts.

2. He doesn’t care for Amy Everson’s artwork. He actually seems to hate it. It disturbs him.

Everything about Jason Banker’s Felt is intended to unsettle, uncomforted, disturb and it requires both women and men to think about the ways in which we play into a system not of our own design. What the film presents is not a new problem. It is both a cultural and societal issue that has become so deeply entrenched that a jolt is needed to wake people up. I’m not trying to state that a movie is going to change anything, but this film just might be a catalyst for many to reconsider how they interact with the opposite sex.

Please note: I’ve nothing against Ben Kenigssberg. I think he is a sound, educated and professional Film Critic. His intelligence shines, but if he dislikes Felt he has failed to actually defend his position. I wanted to highlight his review because he is a member of a team of film critics who I admire. Unfortunately, he is one of many who have chosen to take the “safest” route to disregard this film. Most of these “safe-routed” dismissals fail to point out any credible reason to dislike the film. In fact the majority of bad reviews are not hinged on any real merit.

Only a handful of the bad reviews took a firm ground.

A Borrowed Gender Amy Everson FELT Jason Banker, 2015

A Borrowed Gender
Amy Everson
FELT
Jason Banker, 2015

Marjorie Baumgarten of The Austin Chronicle is reasonable in her dismissal of Felt. While she has no problem admitting to the film’s intended provocation and import of ideas, she found the movie to be stylized in a manner too obvious for her taste. There were also a couple of Film Critics who saw the potential of a great film, but disliked Jason Banker’s choice of improvisational dialogue. I don’t agree with either viewpoints, but I can understand these opinions. This is logical film criticism. It is also the sort of criticism that often met John Cassavetes. None of his films were actually “improvised” but they all felt like it. And Cassavetes never “rushed” the pace of a movie. Many critics disliked a great deal of his work. But those who were brave enough to embrace it bear out the winners in Film Theory. You would be hard pressed to find a Film Critic who would trash a Cassavetes film now. Robert Altman also received a number of negative reviews in his day for many of the same reasons.

Film Critic, Jenni Miller of A/V Club gave Felt a positive review. Her summation is that Jason Banker’s movie might be a little too close to the bone to enjoy, but this is outweighed by the significance of what is being conveyed. Miller doesn’t need to “enjoy” a movie to see its value. When she writes that Felt “sneaks up on you and lingers…”

Amy Everson FELT Jason Banker, 2015

Amy Everson
FELT
Jason Banker, 2015

she is able to state the power of the film. In the end she assigns a “B” rating, but it seems given with a firm warning that this was no fun for her — and it may be equally un-fun for you.

Of the few truly positive reviews Felt received, The Village Voice‘s Diana Clarke actually formulates her words in the way I so wish I could formulate my own.

Her review can be found here: http://www.villagevoice.com/film/in-daring-indie-felt-a-young-woman-seizes-rich-dudes-masculinity-7290019

Andrew O’Hehir of Salan.com is one of the few critics who liked the film. He clearly put some thought into what he wrote. Of course, this is his job. He also makes a potent reference to recent mainstream movies that almost seem to celebrate Rape Culture. Like Ted 2. I was particularly impressed when I saw that Rotten Tomatoes chose this O’Hehir quote: “Some viewers will no doubt find “Felt” maddening because it never answers seemingly crucial plot questions that a normal movie or TV show would feel compelled to clear up. That ambiguity is precisely the source of its power, and its cinematic quality.”

Ben Kenigssberg, can you hear Andrew O’Hehir? This is Film Theory 101. Ouch. Maybe I am picking on Ben. I’m sorry.

If any of the Film Critics I know happen to read this, please start assigning a rating to your reviews. It sucks, but this is now a full world of Film by Consensus. Rotten Tomatoes is assigning their own rating to many of your reviews. And they are not accurate most of the time. Take head of The New York Times and A/V Club. Do not let RT decide the rating of your review.

Playing with fire... Amy Everson FELT Jason Banker, 2015

Playing with fire…
Amy Everson
FELT
Jason Banker, 2015

The most disturbing thing I noticed regarding The Public Reaction was the number of women who were angered by not only Banker’s film but by the idea of Feminism itself. There are a lot of women out there who view Amy Everson as the enemy. This caught me off guard. It doesn’t surprise me that a number of “dudes” out there hate the movie. It would also not surprise me if a good number of women disliked it. Art is subjective. And Film Art this provocative is not always going to win everyone’s heart. But I am shocked at the level of female anger toward Feminism. I don’t get it. But then, I am puzzled by hate in general. It is so very extreme. The level of hate “out there” is staggering, but the level of misogyny and self-loathing is even more horrifying.

Jason Banker, the filmmaker who made the most out of a tragic and senseless tragedy into a surrealistic experimental horror film we know to be Toad Road, has now matured into a far more self-assured Film Artist. A potent Cinematographer as well, Banker brings a great deal of talent to the table. Felt came about thanks to accidental meeting between Amy Everson and Banker. During a visit to San Francisco, Everson caught Banker’s attention because of her playful yet aggressive demeanor — and the fact that she was running around the city in one of her provocative costumes.  As I understand it, Everson showed her artwork to Banker. The work he first saw was all contained in her bedroom. A hybrid of “Sesame Street” kitsch intertwined with sex toys, phallic symbols, dildos, vaginas, assholes and soft doll-like re-enactments of menace. All or much of the work utilizing felt as a key media. Amy Everson is brilliantly talented, fearless and a provocateur. Even the seemingly most innocent creation achieves a vaguely erotic danger.

Art by Amy Everson FELT Jason Banker, 2015

Art by Amy Everson
FELT
Jason Banker, 2015

Her work is often tinged with a twisted sort of humor and some of it is just deeply disturbing.

Although, I share my life with a San Francisco artist and know a good many, I’ve only heard/read her name a couple of times. There is a whole other aspect to her work which incorporates Performance Art with her costume creations. Jason Banker was equally impressed as he was disturbed. It was from this jumping point that the two artists began to collaborate toward what would become Felt.

Amy Everson FELT Jason Banker, 2015

Amy Everson
FELT
Jason Banker, 2015

If you are interested in Amy Everson’s art, a link to her website is below. She is a completely unique and important voice. Check it out, but please don’t “flame” her. It takes a whole lot of guts to lay your soul out for all to see. As I look at her work, it seems to me she is sharing some very intensely intimate glimpses into her being. I’m sure the recent release of Felt has been more than a bit challenging. Though, I hope it has been rewarding.

http://www.amyeverson.com

And now, my opinion/review for Felt:

Jason Banker’s film begins with a painfully thin young adult woman who appears to have fallen into a deep depression. We first hear her voice in the form of narration. Her voice sounds a bit like “a little girl” yet what her voice delivers is a firm thud of certainty  “My life is a fucking nightmare.BAM! It is this line that propels us forward into not only into the film, but her mind.

Amy Everson is more than the film’s lead actor. She also shares “co-writing” credit with Jason Banker.  And she is doing more than playing a character, the film’s core ideas are based not only on her artwork, but certain aspects of her  personality. Amy Everson is playing a “fictionalized” version of herself. While it is sometimes clear she is not a trained actor, she carries a great deal of charisma. You want to watch and understand this character. You want to try and like her.

"My life is a fucking nightmare." Amy Everson FELT Jason Banker, 2015

“My life is a fucking nightmare.”
Amy Everson
FELT
Jason Banker, 2015

Felt‘s Amy has survived some form of sexual abuse. The actual abuse is never stated or confirmed, but it seems obvious. Her friends want to help her, but are growing weary of her artistic and creative coping skills. Not only have these coping skills become isolating, they seem to have opened some dark portal into which she falling. These pieces of art and the costumes she creates are disturbing, provocative and somehow menacing and they are fusing into her identity. She has become dazed, lonely and nihilistically numb. Amy’s costumes allowed her to access inner-strength. Their designed to not only give her a sense of worth and purpose, it feels as if they were initially conceived to act as healing tools with which she might be able to push away her fears of men.

Amy” has found a way to funnel her anger and fears through her art. But now, these subversively-twisted anatomically-“correct” costumes offer no comfort. By the time we enter her story what were once empowering tools for healing have turned against her as well as against others. She has taken on an inappropriate role of “protector” for her friends from the men in their lives. Her artistic expression of comfort are turning into a weapon. Her isolation within these “armors” made of felt and other materials is starting to fuel a fantastical idea which is taking over her reality. She has taken to wearing her costumes beneath her street clothing. She wanders off into private corners of nature within the Bay Area and Redwood forests where she can strip down and assert her power with a wooden sword. While on a walk with a girlfriend, the friend tries to encage Amy in a conversation about her friends’ concerns.

"You have to be very delicate..." Amy Everson FELT Jason Banker, 2015

“You have to be very delicate…”
Amy Everson
FELT
Jason Banker, 2015

But Amy has already put on her mask and just as quickly has unzipped her pants to brandish her swollen plastic penis. Her friend tries to reason with Amy to no avail. All her friend can do is force her keep her clothes before she can make a break and run away. Before she rushes off Amy shares an alarmingly sincere desire for the two of them to become “Super Heroes” committed on seeking vengeance against all the predators society calls men.

Jason Banker is very careful to limit the information we receive and how we receive it. At times Felt may not be “linear.” Other times it could be argued that what we see may only be within the confines of Amy’s damaged psyche.  This is not a flaw. This is a smart move on Banker’s part. It allows the audience to form individual conclusions and to assess the situations as they unfold. We see Amy in several scenes with single men of her own age. In one scene she is alone with an ill-advised OKCupid Match-Up from Hell. Other scenes she shares these experiences with her girlfriends. These scenes of interaction with ‘normal’ men feel so real it almost hurts to watch. Each interaction reveals aspects of male behavior about, toward and with women that we might not always pick up were it not for Banker’s camera. The truth is these scenes feel “real” and it is alarming to note the way the men attempt to manipulate, control and harass the women. What might feel “normal” is now unsettling. The men Amy meets are dismissive, aggressive, inappropriate and passively menacing. If there is even an initial “friendliness,” it quickly feels false.

Is this hope? Amy Everson / Kentucker Audley FELT Jason Banker, 2015

Is this hope?
Amy Everson / Kentucker Audley
FELT
Jason Banker, 2015

In another scene she meets her best friend’s new boyfriend. Amy is nervous and is unable to adequately hid her insecurity. Her friend’s boyfriend immediately chooses to make fun of her and insinuates that she is nothing more than a spoiled entitled bitch. A few minutes later the boyfriend is pissed as Amy’s girlfriend chides him for being mean to her best friend. His response is in the form of humor. He disagrees. He wants to know why his girlfriend is friends with such a “freak” and he teasingly wraps his hand around her neck warning her to not to hang out crazy “bitches.” Amy immediately attempts to attack him for threatening her friend. This new boyfriend chooses to meet her aggression with an even stronger level of anger and threat. To him, Amy is a “crazy bitch” and he informs her that just because she is a “girl” will not prevent him from taking her down.

Later, her girlfriends sit down with her. One attempts to “lay hands” on her with a prayer for healing. Once again they try to reason her to understand that these men are “not all that bad” — they just want sex. But the hope is that they might want more down the road. Their intervention backfires on them as Amy stays calm and points out the obvious. Her girlfriends seem to be “aware” of the cruel, debasing and threatening attitude. It appears it is easier to just “accept” this cultural misogyny. Amy’s more well-adjusted and functioning friends have and are assimilating into “Rape Culture.”

Kentucker Audley plays “Kenny.” Kenny’s arrival into Amy’s life comes with tenderness, understanding and concern. He comforts her. He cares about her. He is able to show that he is impressed with her art while also expressing sadness for whatever pain life has given her. Kenny never does this in a patronizing way. He truly appreciates her artistry and her.  When she speaks to him he actually listens. Eventually, Amy is not threatened by Kenny. She seems to be healing as she discovers that she can be herself with him and he offers no judgement. He offers no threat. Kenny seems to offer only love.

Amy Everson and Kentucker Audley FELT Jason Banker, 2015

Amy Everson and Kentucker Audley
FELT
Jason Banker, 2015

It is never clear if Amy and Kenny have consummated their relationship. Just as it seems we might be given this information regarding their romance, we discover that Kenny is not what he seems. It is unclear, but he has not been deceptive with Amy. When he attempts to open up and discuss this deception, it is too late.  Amy’s discovery of Kenny’s “deception” alters not only her perception of him. It seems to send her off-the-rails of sanity. And everything Amy shifts. Every little gesture seems to convey something different than before. We see everything about her change.

As she leads the audience into an act of horrific violence, it is not a surprise. Everything seems to be pointing to something horrible, but witnessing it is profoundly unsettling.

Playing 'Dress Up' Amy Everson / Kentucker Audley FELT Jason Banker, 2015

Playing ‘Dress Up’
Amy Everson / Kentucker Audley
FELT
Jason Banker, 2015

Jason Banker’s film leaves the audience in a state of shock that is not scary. It is far more serious. We are left adrift in Amy’s madness. The “victim” has become an even worse “victimizer.” It brings us back to a scene in which she explains to Kenny that most forms of rape “are perpetuated by people you know and trust.”

There is no way Kenny would have interpreted Amy’s comment as a warning. It might not have even been clear to her.  Amy’s decision is not rational. It is insane.

Provocative, disturbing, challenging, oddly beautiful and repulsively ugly, Felt is one of the clearest articulations of our culture’s continuing escalation of violence against women. “Rape Culture” is not some “hip” catch-phrase. It is a sad reality in which many of us play without even realizing. Jason Banker has crafted a firm depiction of cultural misogyny that never seems to wain. He has done so within the framework of Art Horror. The artistic mastery of this film can’t be denied.

Into the woods... Amy Everson FELT Jason Banker, 2015

Into the woods…
Amy Everson
FELT
Jason Banker, 2015

The implications of Felt‘s result leave us with one question:

How does a sexual assault victim heal in a world that almost seems to support the assault?

Amy Everson FELT Jason Banker, 2015

Amy Everson
FELT
Jason Banker, 2015

And for those who thought Jason Banker’s feature film directorial debut, Toad Road, was an accident or a “one hit” cinematic wonder, Felt blows any doubt of possessing an important cinematic filmmaker out the window.  This Film Artist is not limited in his scope of obtaining  understanding from more than one perspective. This is a filmmaker to watch.

matty stanfield, 7.22.2015