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I shall tell of another adventure that is all the more strange...” — Witold Gombrowicz, 1965

A film by Andrzej Zulawski Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

A film by Andrzej Zulawski
Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

This sentence was more or less lost in a late 1960’s translation of Kosmos. Sadly it would be that sentence that served not only as my introduction to a novel but to the Polish writer. Memory is a funny thing. While I forgotten most of the novel, it is that first sentence that stayed forever branded into my mind. I decided I needed to revisit  When I learned that Andrzej Zulawski was about to shoot a film adapted from Witold Gombrowicz’s Kosmos, I decided to refresh my memory beyond a single sentence. I expected to be confused as I did remember it had been clunky regarding translation. I was excited to discover that the novel that had been warded the 1967 Prix Formentor Award for literature had been re-translated from Polish into English. Yale University Press published Danuta Borchardt’s new translation of Gombrowicz since I had last thought of it.

Kosmos Witold Gombrowicz, 1965

Kosmos
Witold Gombrowicz, 1965

Witold Gombrowicz has always interested me. While he was a fiction writer he is equally known as a diarist. Where does his fiction merge into his reality and experience? How does the English reader know he/she is able to understand his prose’s complexity? German and French readers had better access to his work thanks to more accurate translations. My introduction to his work came with an understanding that he had to firmly defend his most popular work, Ferdydurke, from critics who felt it was satire. Satire had not been Gombrowicz’s purpose. His novels are known for exploring issues of identity and existentialism under the pressures of Nationalism and fast social change. But these explorations were made with a sense absurdity that tied closely to dark humor.

His characters are not fully developed. Their identities are fragmented by the repression, oppression and tyranny imposed by both culture and society. These characters roam about trying to formulate understanding of self/life under the strain and disturbing acts that forever alter the circumstances of being. And while there is a grim level of pessimism that leans against established institutional rule — Gombrowicz disagreed that his work was connected with nihilism, but the darkness is most definitely waiting.

Translated from Polish to German into French and fused into English. Witold Gombrowicz's often mistranslated "Kosmos" is resurrected through another lens. Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Translated from Polish to German into French and fused into English. Witold Gombrowicz’s often mistranslated “Kosmos” is resurrected through another lens.
Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Revolutions, wars, cataclysms — what does this foam mean when compared to the fundamental horror of existence? …My literature must remain that which it is. Especially that something which does not fit into politics and does not want to serve it. I cultivate just one politics: my own. I am a separate state.” — Witold Gombrowicz, Diary. Published 1988.

The improved translation helped me in understanding that much of my frustration was something Gombrowicz intended. The characters navigating within his Kosmos are never fully fleshed out. We know that our protagonist, Witold  has trouble waiting to crush him back in Warsaw. We also know that Fuks hates his boss. But we never know what the trouble is or why the boss is hated. In fact we are given limited information about every character. The novel’s extremes and paranoias begin to feed the reader’s imagination. Every action and decision seems to be a reaction to matters we can never fully understand. This vastly improved translation offers more insight into Gombrowicz’s complexity but it also grants permission to not second-guess the awkward phrasing.

The new English translation for Kosmos provides an entirely different read. In the novel two young men seek refuge from the pressures and hardships they experience in Warsaw. They escape the city to what they anticipate will be the nourishing warmth of the country, but they arrive with mutual respective existential crisis and life fatigue. They will soon face a series of random incidents that begin to shift Wiltold further into paranoia, existential crisis as he feels threatened. Gombrowicz brings humor into the equation. Paranoias, fears and angst begin to leap off the charts of rationality. The characters magnify the situations and incidents. They soon feels less coincidental and can be assumed to be intended threats. Witold is unable to consider these incidents as “random.” The unexpected chaos signals pending doom.  His ideas of existence and identity are as fragile as they are extreme.

"Tolstoy wrote that our biggest mistake is to confuse 'the pretty' with 'the good.'" Jonathan Genet Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

“Tolstoy wrote that our biggest mistake is to confuse ‘the pretty’ with ‘the good.'”
Jonathan Genet
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Isn’t it true? I thought, that one is almost never present, or rather never fully present, and that’s because we have only a halfhearted, chaotic and slipshod, disgraceful and vile relationship with our surroundings.” — Witold Gombrowicz, 1965

Boris Neleop interviewed Zulawski after Cosmos had received its world premiere at Locarno International Film Festival receiving the Best Director honor. Neleop discussed the difficulty of finding accurate translations of Kosmos. The director agreed and pointed out that the film was based from the novel’s original Polish language.

Luckily, I’m Polish so I can read it. More luckily still, words like “bleurgh” in Gombrowicz mean nothing. What is it? Alban Berg, the composer? A cliff maybe? But in French it means the retching sound—bleurgh. Meaning you want to vomit. If you see a bad movie and someone asks you how it was, that’s what you say: bleurgh. So, it’s a happy coincidence.

Neleop attempted to engage the artist into a discussion regarding what he perceived to be a shared sort of spasmodic manner in both Gombrowicz’s novel and the great filmmaker’s work. Zulawski disagreed with the connection and seemed intent on avoiding the spasmodic with either work.

I don’t agree with you. I don’t think Gombrowicz is spasmodic: he’s quick, he’s rapid, he’s short and extremely rhythmic and… Do you know the word “caustic”? His writing is never hysterical. It’s caustic. It’s galloping but dry. I don’t think the actors are spasmodic at all. They are in their own delirium, but for them this delirium always has a profound logic. It’s not a bunch of mad men in an asylum. They are petit bourgeois. Witold wants to write a novel until he falls in love with this girl, who never has anything intelligent to say. His relationship with his young friend is really close, almost homosexual. So, it’s a complicated little cosmos.”

Andrzej Zulawski, 2014 Photograph by Marek Szczepanski

Andrzej Zulawski, 2014
Photograph by Marek Szczepanski

In answering a question regarding his decision to lift the novel out of its pre-war Polish context and moving it to 21st Century Portugal where a group of French people are living, Zulawski responded:

If Cosmos had been filmed according to the novel, it would’ve been a very depressing and ugly film. Why the hell should I see those terrible people? Sounds like a basically stupid question. It’s not. It’s like life. Why should I spend my life with ugly stupid petit bourgeois people? I won’t. I won’t spend my life in Hollywood either. I don’t like these people, I don’t like their stories. So it leaves you to stay alone for fifteen years. In my forest.”

Zulawski’s rejection of cinematic norms is nothing new, but after he made La fidélité he retreated. That film was released in 2000. He never retreated into a forest of seclusion, but it would be fifteen years before he made Cosmos. His return to cinema was not a safe one. Adapting a complex work like the Polish novel, Kosmos, was never going to be an easy cinematic proposition. And while his final film does articulate itself with some newly discovered levity, Cosmos has a great deal in common with some of his key works.

"Love me." Romy Schneider That Most Important Thing / L'important c'est d'aimer Andrzej Zulawski, 1975 Cinematography | Ricardo Aronovich

“Love me.”
Romy Schneider
That Most Important Thing / L’important c’est d’aimer
Andrzej Zulawski, 1975
Cinematography | Ricardo Aronovich

This film’s title is actually translated as The Most Important Thing is Love and Romy Schneider’s performance would have been enough to secure the film’s place in French film history. But there is far more continued within the frames than an iconic actor’s work. The film marked a new turn in filmmaking. Zulawski’s examination of the artist finding fulfillment in France’s mid-1970’s theatre scene leaves a mark. It is not so much the point of the movie that matters but they way in which that point flows off the screen. Visceral, angry, obsessive, compulsive and often frantic — L’important c’est d’aimer takes the concept of a tragic love story to poetic heights. The film’s fever-pitched passion and energy haunt the viewer long after the film ends. A contemplation regarding abysmal cinematic opportunities, the protagonist is often looking directly into the audience. While the film is realism it wants to push itself off the screen, into the theatre and run rampant. The characters Zulawski presents are not really all that odd, but the way in which they move, speak and propel is most assuredly eccentric.

"It doesn't hurt." Isabelle Adjani goes beyond the distance... Possession Andrzej Zulawski, 1981 Cinematography | Bruno Nuytten

“It doesn’t hurt.”
Isabelle Adjani goes beyond the distance…
Possession
Andrzej Zulawski, 1981
Cinematography | Bruno Nuytten

Isabelle Adjani gave Zulawski the performance of a lifetime in one of the most confounding films of all time. No one was prepared for 1981’s Possession. Adjani’s work on this film was so taxing that it triggered a very real emotional break. It only takes one viewing to underscore this as valid truth. Adjani was dancing on a high wire without a net. Zulawski was able to inspire her to start her performance with emotional hysteria set at Level 5 and then required her to turn it up to Level 21 before the experimental film comes to a crashing end. It is a performance that has to be seen to be believed. Possession remains a testament to the talents of both the leading actor and its creator.

There are several ways to interpret Zulawski’s 1981 film. At its most obvious level it is an exorcise in Horror Surrealism hinged to turmoils of the psycho-sexual. And, from another perspective, it is a metaphorical depiction of divorce. And it is a matrimonial breakup that takes on apocalyptic proportions. Possession is completely unique, surreal and metaphorical study of identity it extreme crisis. And it is fueled by an inhuman and intolerable repression of control. This control might be that of a stifling marriage or one propelled by government control. Or it could be a combination of both. It doesn’t matter how one chooses to interpret Andrzej Zulawski’s Possession — it works from any vantage point.

The passage of time has not dulled its sharp edges. The special effects and gore are still jaw-dropping. This is an Art Film that has become Cult and it continues to spark provocative reaction. It took decades for this very personal film to find its audience. There are several different versions of Possession floating around — all the result of censorship. Mondo Vision beautifully restored this film several years back. It is an essential film for any fans of Surrealism and Horror.

"Are you lost?" Francis Huster is the idiot gone mad with love. L'amour braque / Mad Love Andrzej Zulawski, 1985 Cinematography | Jean-Francois Robin

“Are you lost?”
Francis Huster is the idiot gone mad with love.
L’amour braque / Mad Love
Andrzej Zulawski, 1985
Cinematography | Jean-Francois Robin

Andrzej Zulawski’s adapts Dostoyevsky’s The Idiot in a neon-drenched fever dream. 1985’s L’amour brace’s characters, sets, cinematography, editing and acting indicate that we might have landed in some alternate world. The film moves as if it was pulsating forward via an amphetamine, cocaine and whiskey fueled injection of psychotic convulsions. Zulawski’s experimental film is a twisted Neon and most certainly avant-garde. The film is violent, but the violence never feels “real” and the graphic sexuality is presented in paradoxically restrained ways. The only time the film seems to be able to slow down is when Sophie Marceau and The Idiot consummate to a point of erotic “enjoyment” — And, even then, it almost feels like the camera is so jacked-up it can barely wait to continue it’s frenzied trajectory.

Easily one of the most stylistically influential films to ever come out of French cinema — Kathryn Bigelow and Christopher Nolan among them. And it had an impact on music videos of the day. This world of thieves, addicts, artists, whores, drug dealers, pimps, terrorists, anarchists, perverts and lovers is chaotic but somehow organized. Mutually-conflicted screeching rants, dances and terrorism form into a sort of dancing race against time. Zulawski seems to be inspecting everything from political activism, perversion, addiction, insanity, rage, the theatre, criminal motivation, rebellion, sex and love — but through a camera that is dependent on hallucinogenics for vision. Like PossessionL’amour braque is completely unique unto itself. It is safe to state that no other filmmaker will manage to make a movie remotely like these two.

"That's why there are common saints. God's morons with a soul but empty brains." Boguslaw Linda and Iwona Petry fall into mutual insanity... Szamanka / She-Shaman Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

“That’s why there are common saints. God’s morons with a soul but empty brains.”
Boguslaw Linda and Iwona Petry fall into mutual insanity…
Szamanka / She-Shaman
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Andrzej Zulawski returned to Poland for 1996’s SzamankaShe-Shaman. Filmed in the newly freed Poland, the director brought the level of intense sexual obsession beyond expectation. It earned the nickname The Last Tango in Warsaw. While it is true that this film pushes further with graphic sexuality, it is seldom actually erotic. Boguslaw Linda and Iwona Petry push themselves to the extremes that are defined within the script. This might very well be the most challenging of Zulawski’s work. The cinematic provocation is not within the frantic obsessive actions and sheer frenzy, but lies far deeper within the film’s political and philosophical context. The two protagonists pursue their sexual and existential needs toward a deeply nihilistic end. Szmanka aches toward a brilliance that is almost impossible to endure.  Inexperienced actress, Iwona Petry, is near brilliant in her role, but she opted to end her acting career after Szamanka‘s release. Another interesting example of an artist agreeing to join the director on his journey but emotionally exhausted to the point of breaking once arriving at the destination.

Capturing "reality" in photography while emotional intensity pushes it out of frame. Sophie Marceau and Pascal Greggory La fidélité / Fidelity Andrzej Zulawski, 2000 Cinematography | Patrick Blossier

Capturing “reality” in photography while emotional intensity pushes it out of frame.
Sophie Marceau and Pascal Greggory
La fidélité / Fidelity
Andrzej Zulawski, 2000
Cinematography | Patrick Blossier

Zulawski’s La fidelity / Fidelity was released in 2000. The film’s plot is more conventional, but once again his characters burn with almost convulsive urgency. This film forges a path that left many viewers cold. Its highlight is Zulawski”s great love and former muse, Sophie Marceau. She is brilliant in the role and her director understands how to capture not only her beauty but her energy. Years later I remember thinking that it seemed a pale sort of entry to serve as this filmmaker’s final work. Luckily it wasn’t.

Available from Mondo Vision La femme publique Andrzej Zulawski, 1984 Cinematography | Sacha Vierny

Available from Mondo Vision
La femme publique
Andrzej Zulawski, 1984
Cinematography | Sacha Vierny

My admiration for Andrzej Zulawski runs deep and it is based within the realm of the personal. He was a brilliant artist who refused to be repressed, suppressed or held to any strict rule when it came to his art. And despite what some have attempted to insinuate, Zulawski was an admirable and kind person. His heart and passion shine through all of his films. Zulawski was always reaching into, under, over and well above the human need for love and understanding.

Even within the bleakness of Possession and Szamanka beats the heart of a very human filmmaker. I’ve decided not to touch on Diabel, La femme publique or On the Silver Globe  — these three films are unique masterworks that I am unable to address in a short blog. I will note that these three films are not really the best starting points for a Andrzej Zulawski neophyte, but then again — maybe they exceptional places in which to take that first plunge.

Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Boris Neleop’s attempt to engage Zulawski in a conversation about “spasmodic” characters is valid. Nearly all of Zulawski’s characters are extreme. While everything around them might be pushing inward to restrict / oppress — his characters refused to stay within the bounds of circumstances had designed. The need for knowledge, satisfaction, love and understanding leave them no choice other than to be extreme.

This auteur was always a bit sensitive when pressed to discuss the hyper energy or over-the-top passion found in his films. A word like “spasmodic” would make Mr. Zulawski recoil. He shut this sort of commentary so far out of his mind that consideration was no loner possible.

Mr.Neleop is correct: Witold Gombrowicz’s characters are a bit, well, spasmodic. And I suspect that it was their very nature that attracted the great director.

Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Zulawski had grown up with Gombrowicz’s literary work. My initial knee-jerk reaction toward Zulawski adapting Gombrowicz was that these two thinkers formulated thought in direct opposition to the other. I do not think Gombrowicz liked people. He thought and wrote about the existential, but these pursuits seemed formed from an essential repulsion toward humanity. This is interesting because his fiction is more than a little autobiographical. The way in which Gombrowicz creates the characters of his Kosmos is not kind. Zulawski’s entire film career was focused on the darker aspects of human nature — yet he loved people. He was a fighter and a rebel, but he was never anti-social. And he most certainly was not a pessimist. And, unlike Gombrowicz, he was not vain or concerned when it came to criticism or reward.

decorating lips. Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

She paints her lips as if with blood because she really wants to be an actress…
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

I’m scared of the forests. In the midway of this mortal life I found myself in a gloomy world, astray. Gone from the path and even to tell, that forest, how robust its growth, which to remember only, my dismay. Renews in bitterness not far from death. All else will I relate discovered there.

Witold is frantically walking through the edge of a forest. Jonathan Genet has the look of someone from another era, but we already know that Zulawski’s Witold is a 21st century character. At first glance he could be a European fashion model, but his behavior is based within panic. He seems to be consistently on the verge of a mental break. When we meet Zulawski’s Fuchs, played by Johan Liberia, we discover they have traveled in a nice car. Fuchs’ name has been altered in spelling but he is still trying to escape the tyranny of two horrible bosses. In this new universe we know that his employers are high-end fashion designers.

While Wiltold is fragile and paranoid, Fuchs is robust and seemingly up for just about anything. Both behave in ways that lean toward the aberrant. Wiltold wants only to study, but he detests what he studies. Fuchs is primally focused on off screen violent sexual conquests. He reassures his friend that he plays safe, but bleeding wounds, bruises and other bodily issues are scars to his masochistic tendencies. And while it is never fully stated, these two friends would appear to share a bond that goes further than brotherly love. There are hints of a mutual sexual attraction and romantic fondness.

Something sinister is going on! Jean-Francois Balmer, Sabine Azema and Johan Libéreau Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Something sinister is going on!
Jean-Francois Balmer, Sabine Azema and Johan Libéreau
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Here, in Zulawski’s Cosmos, the two friends have run from France to Portugal. Fuchs is more lighthearted but still aches. Witold’s neurotic need to examine every move / object under his philosopher’s magnifying glass fractures his grasp of reality. The first thing Wiltold experiences after he secures his navigational balance is an encounter with a forest. It is one of the aspects of the world he hates most. As he rushes through the wilds of this forest he encounters the first of many grotesque encounters — a dead sparrow dangling from a string laced noose.

Soon he will discover ghost-like stains upon his rented room’s ceiling. These stains seem to be point toward something.

Fuchs also notices but is more curious than repulsed. The shape of a rake appears in the stain — and soon they discover an actual rake that directs their gaze upward to two small planks of wood hanging from a tree. The planks are tied together and hang by the same string from which the sparrow hangs. They hear talk of a chicken that was spotted hanging not too far away, but they never see it. And thus Wiltold and Fuchs begin to play a paranoid sort of game to attach meaning to these seemingly random signs. The game leads to an axe, a hammer, murder, death and metaphysical omens.

Madame is just overexcited... Sabine Azema Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Madame is just overexcited…
Sabine Azema
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

A murdered cat hangs in the courtyard of the Bed and Breakfast. An eccentric married couple have been renting two of their rooms to keep up with mounting expenses. The wife, called Roly-Poly in the Polish novel, is played with goofy  nervous energy by the ever stylish Sabine Azema. We never hear her referred to with the novel’s cruel nickname. Here she is known as Madame Woytis. We soon notice that the female head of the house has a tendency to abruptly shut off in mid speak / movement. Frozen like a photograph. Her beautiful daughter explains, “Oh, it happens to her when ever she gets overexcited.

The daughter is Lena who is married to a seemingly successful business man. He seems to be in constant meetings with a mysterious Russian client. Wiltold is immediately vexed by Lena. But it is her niece, Catherette, with whom he is smitten. Catherette has taken the position of housekeeper. She is devoted but worries her aunt, Madame Woytis, because she refuses to have her mutilated lip cosmetically re-defined. We are told she was in a bus crash. But her mutilation looks more biological in origin. Her lip holds an entrancing mix of disgust and erotic curiosity for both Wiltold and Fuchs.  The male head of the home is Lena‘s stepfather, Leon, played with unhinged lunacy by Jean-Francois Balmer.

"Tolstoy wrote that our biggest mistake is to confuse 'The Pretty' with 'The Good.'" Victoria Guerra and Clementine Pons Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

“Tolstoy wrote that our biggest mistake is to confuse ‘The Pretty’ with ‘The Good.'”
Victoria Guerra and Clementine Pons
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Interactions with the family are beyond eccentric. This is a house of organized lunacy and chaos. When Wiltold meets Lena they shake hands maniacally and for an extended time. Soon they are “secretly” copying each other’s animated hand movements. But their odd flirtation is painfully over-the-top. Yet everyone around them is too preoccupied with their own strange non-senscial conversations that only Fuchs notices. The antics of this family appear and sound like something one would see in a  slapstick comedy. There is only one catch: none of it is funny. It is simply strange.  

Unlike Gombrowicz, Zulawski has no interest in making us laugh. He aims to throw his audience off balance. As frantic action and illogical dialogues ape the gestures/sounds of Keystone Cops — the film quickly forms into absurd surrealism. And yet, the film’s cinematography and musical score tease that we are watching some fucked-up romantic mystery. And these are romances and mysteries that seem unsolvable.

As omens of sinister consequence begin to mount the two visitors only become more confused. Wiltold takes a worrying turn when he starts to adapt to sinister cruelty. Ants roam through their food, slugs slither in butter, creepy beetles crawl out of Madame Woytis‘ soup, animals are killed, midnight axe chopping, mutilated lips, fever dreams and a priest who lets loose a swarm of flies when he drops his pants — all of which formulate a sense of doom. Witold is certain that this pending doom threatens to push him into The Void.

When tragedy does strike it fails to register as anything of consequence to the family. Leon takes to the wilderness singing out into what he points out is The Void.

"Why seek the hand of another when we have our two selves?" Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

“Why seek the hand of another when we have our two selves?”
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

At the film’s mid-point Wiltold has abandoned his studies. Instead he obsesses over Lena and her family. He becomes a willing participant in the sinister happenings that bother him. He turns to philosophical rhetoric for comfort, but begins to chart ideas into some vague sort of story. When we finally see a bit of his writing it is presented on his laptop screen. It is in French and not translated for non-French speakers, but it translates as:

The weight of here and now has become, like the beurk, decisive.

This is in reference to the nausea that begins to overpower Wiltold. Of course we think that Wiltold is writing a story, but there are more than a few hints that he is as motivated by cinema as philosophy. Zulawski has Wiltold and Fuchs poke fun at his own films. At one point it is mentioned that all of these strange happenings might make a good book, but Wiltold disagrees and figures it wold serve better as a movie. Zulawski’s cinematic puzzle ultimately tosses us into meta-film, but this is not an easy-out. It is the only resolution available for Witold, Fuchs, Lena and all involved.

Zulawski takes a poke at Gombrowicz. Of course he has been poking all along. When Fuchs offers a suggestion to the mysteries that have taken place, Witold pulls a bit of met-fiction by explaining his name:

“There’s a reason I have Gombrowicz’s first name. He never knew how to finish his novels nor their meaning.”

 

Surreal, absurd, bizarre and without end. Welcome to Andrzej Zulawski's Universe... Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Surreal, absurd, bizarre and without end. Welcome to Andrzej Zulawski’s Universe…
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Andrzej Zulawski has said that Cosmos was not only his weirdest film — it was one of the strangest films he had ever seen. I do not agree, but his Cosmos does indeed present an alternative universe. And it forms and is presented in a bizarre range of ways and manner. There is an offer of love, but this universe refuses understanding. Zulawski’s Cosmos is simply idiosyncratic and would far prefer to leave its inhabitants with their own conclusions. But they should never give up or jump off into The Void. This universe is simply too magically odd to skip.

Find Boris Neleop’s interview with Andrzej Zulawski —  here

Mondo Vision’s restored Andrzej Zulawski’s films http://www.mondo-vision.com

Matty Stanfield, 11.22.2016

 

 

 

 

Master cinematographer, Christopher Doyle, was asked to comment on the way neon lights and lighting have impacted his work. As as part of the online exhibition from Mobile M+ and NEONSIGNS.HK, he revisited some of the locations in which he and Kar-wai Wong filmed some of iconic work:

The films we made at a certain period in the 80’s and 90’s wouldn’t be this way if it wasn’t for the space in which they were made…

Beauty hides in the shadows... Carina Lau Days of Being Wild Kar-wai Wong, 1990 Cinematography | Christopher Doyle

Beauty hides in the shadows…
Carina Lau
Days of Being Wild
Kar-wai Wong, 1990
Cinematography | Christopher Doyle

 

…And our space is a neon space. It’s a light space. It’s a space of energy that is electric. It’s the way people move. It’s the energy of Hong Kong. It’s the excitement of the encounters on the street. And it’s lit by neon, basically. Especially at that time.

 

Surviving in a Neon World Tony Leung Chungking Express Kar-wai Wong, 1994 Cinematography | Christopher Doyle

Surviving in a Neon World
Tony Leung
Chungking Express
Kar-wai Wong, 1994
Cinematography | Christopher Doyle

 

It’s a garish, exuberant possibly empty world if you’re not careful. I think that’s what neon is representing.” — Christopher Doyle, Filming in the Neon World.

For the full film/interview click here:

"Without any warning, she suddenly enters the store. I don't know how long she'll stay." Fallen Angels Kar-Wai Wong, 1998 Cinematography | Christopher Doyle

“Without any warning, she suddenly enters the store. I don’t know how long she’ll stay.”
Fallen Angels
Kar-Wai Wong, 1998
Cinematography | Christopher Doyle

Doyle’s work for Kar-wai Wong is some of the best cinematography one can ever expect to see. As he explains, it is exuberant — It is also erotic, unique, sensual, dangerous, disorienting and staggeringly beautiful. The shot posted above takes place in a space few of us would want to actually spend time. Much of Fallen Angels seems dirty and possibly even sinister, but eyes do not want to part with the visuals Doyle has captured. Less than a year later he would make his debut as a feature filmmaker. Away With Words featured one of Japan’s hottest  actors, Tadanobu Asano, and an impossibly cool use of music. Most importantly, it was visually amazing. The images of Away With Words imprinted on my brain. Sadly Doyle’s movie was never lucky enough to receive adequate distribution. But for those of us who did see it — the movie lives on.

The criminally neglected and forgotten... Tadanobu Asano Away With Words / San tiao ran Christopher Doyle, 1999

The criminally neglected and forgotten…
Tadanobu Asano
Away With Words / San tiao ran
Christopher Doyle, 1999

The world contained within Away With Words is magically infused with neon light. The movie actually seems to radiate much of the time. This film can still be found via DVD, though it has never received a proper transfer. It is still worth seeing. It is also almost impossible to find any screenshots that do it justice. I must disclose that Christopher Doyle is my favorite cinematographer. For me to write this is a big deal. I love cinematography and there are many artists I admire — but it is usually hard for me to pick out one artist above all others. I do not have this problem when it comes to cinematography. No one shoots a film like Mr. Doyle.

"Turns out that lonely people are all the same." Leslie Cheung and Tony Leung Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

“Turns out that lonely people are all the same.”
Leslie Cheung and Tony Leung
Happy Together
Kar-wai Wong, 1997
Cinematography | Christopher Doyle

The use of neon lighting for film has been going on for some time. It’s seem obvious that lighting is as key to a movie as editing, but it is far more complex than simply providing enough light to capture an image. Lighting allows the filmmaker and cinematographer to not only guide but to literally shape a film’s meaning. Cinematography incorporates all essential elements to form the essence of a movie. When one thinks of neon lighting for film, it would seem it best for creating either a sterile environment or a world of shadows with the intention of menace or horror. But the use of neon lighting is almost limitless in what it can convey. It all depends on how well the cinematographer understands lighting, is able to collaborate with lighting technicians and how creative he/she is in bringing a personal vision that highlights the essential one belonging to the film’s director.

Gallo horror has never been more beautiful or surreal. This is the perfect example of a great cinematographer. Jessica Harper suspects witchery. Suspiria Dario Argento, 1977 Cinematography | Luciano Tovoli

Gallo horror has never been more beautiful or surreal. This is the perfect example of a great cinematographer.
Jessica Harper suspects witchery.
Suspiria
Dario Argento, 1977
Cinematography | Luciano Tovoli

Argento’s Suspiria is a neon lit nightmare. Luciano Tovoli’s camera gives the gratuitous violence and paranormal horrors a sinister sort of beauty without getting in Argento’s way. The cinematographer works for the director, but he/she can bring forth magic that the director is often only able to imagine.

In a passive chronological order, take a look at the following shots that incorporate The Neon World into the frames and meanings of the respective films.

"How much?" American Gigolo Paul Schrader, 1980 Cinematography | John Bailey

“How much?”
American Gigolo
Paul Schrader, 1980
Cinematography | John Bailey

Bailey’s use of neon reds and blacks is the perfect concept for dark eroticism and ever-present danger and paranoia.

Neo-Noir / Neon-Noir meets The Beautiful / The Dangerous Rutger Hauer Blade Runner Ridley Scott, 1982 Cinematography | Jordan Cronenweth

Neo-Noir / Neon-Noir meets The Beautiful / The Dangerous
Rutger Hauer
Blade Runner
Ridley Scott, 1982
Cinematography | Jordan Cronenweth

I was too young when I first saw Blade Runner to be able to own the language of film, but when I noticed it was referred to as “Neo-Noir” I do remember thinking “Neon-Noir” seemed more sensical. A few years later I would begin to make the connection. I still like the term “Neon Noir” even if it isn’t real.

"This is not a marketplace." Thief Michael Mann, 1981 Cinematography | Donald E. Thorin

“This is not a marketplace.”
Thief
Michael Mann, 1981
Cinematography | Donald E. Thorin

Michael Mann had great luck bringing the neon world to Thief, but the same can’t be said for One From The Heart. Even still, it is a beautiful looking mess of a movie.

Suppose you had Tom Waits create an amazing score and perfected visuals to a neon-infused glow -- and nobody came to see it? Nastassja Kinski glowing... One From The Heart Francis Ford Coppola, 1982 Cinematography | Vittorio Storaro / Ronald Víctor García

Suppose you had Tom Waits create an amazing score and perfected visuals to a neon-infused glow — and nobody came to see it?
Nastassja Kinski glowing…
One From The Heart
Francis Ford Coppola, 1982
Cinematography | Vittorio Storaro /
Ronald Víctor García

Tony Scott’s The Hunger is seamlessly beautiful — the film’s opening moments/credits are unforgettable and immediately set the stage. Shadowed, cool, stylish and throbbing with electricity and hyper eroticism — this world is beguiling, but we all know that Bela Lugosi’s Dead.

"Nothing human loves forever..." Peter Murphy The Hunger Tony Scott, 1983 Cinematography | Stephen Goldblatt

“Nothing human loves forever…”
Peter Murphy
The Hunger
Tony Scott, 1983
Cinematography | Stephen Goldblatt

Ken Russell may have not had a big budget, but he understood how he exactly how he wanted to capture China Blue’s surreal world of fantasy, cheap thrills and escape.  Dick Bush was a master, but it was usually his director’s who pushed him forward. And he never failed them.

Welcome to the Neon Surrealism of Ms. China Blue... Kathleen Turner Ken Russell, 1984 Cinematography | Dick Bush

Welcome to the Neon Surrealism of Ms. China Blue…
Kathleen Turner
Ken Russell, 1984
Cinematography | Dick Bush

Wim Wender’s Paris Texas seems an odd fit for utilizing the idea of a Neon-drenched world, but Robby Muller brings the idea to glorious use more than a couple of times within Wender’s concept.

There is distinct beauty and sadness in every shot... Paris Texas Wim Wenders, 1984 Cinematography | Robby Muller

There is distinct beauty and sadness in every shot…
Paris Texas
Wim Wenders, 1984
Cinematography | Robby Muller

David Lynch’s collaborations with the great Frederick Elmes never fail to seduce, hypnotize and repulse. Blue Velvet is a classic example of Neo-Noir …and Neon-Noir Surrealism.

This is not your grandparents Film Noir... Isabella Rossellini Blue Velvet David Lynch, 1986 Cinematography | Frederick Elmes

This is not your grandparents Film Noir…
Isabella Rossellini
Blue Velvet
David Lynch, 1986
Cinematography | Frederick Elmes

Finding the image from Paul Verhoeven’s Basic Instinct was not as easy as I had expected. Most remember this film for Sharon Stone’s brave and no-hold-barred performance (and flash!) but I always think of that amazing scene where the detective enters a raving dance club to find his Femme Fatale. This is not a good example of the way Jan de Bont was able to capture the electric energy of this nightclub, but you can get the general idea. It was too masterful to leave out.

Forgive the poor quality image, but lighting intensity adds to the protagonist's adrenaline rush as he navigates a San Francisco night club. Basic Instinct Paul Verhoeven, 1992 Cinematography | Jan de Bont

Forgive the poor quality image, but lighting intensity adds to the protagonist’s adrenaline rush as he navigates a San Francisco night club.
Basic Instinct
Paul Verhoeven, 1992
Cinematography | Jan de Bont

Michael Mann had already established a magical sort of neon energy for the protagonist of Thief, but he found new ways to utilize it for the visually dazzling, HEAT.

A familiar story is captured in brilliant moments of light, shadow, form and reflection. HEAT Michael Mann, 1995 Cinematography | Dante Spinotti

A familiar story is captured in brilliant moments of light, shadow, form and reflection.
HEAT
Michael Mann, 1995
Cinematography | Dante Spinotti

Terry Gilliam and Nicola Pecorini bring neon, chaos, paranoia and delirium to Las Vegas of the late 1960’s.

The neon glow of Vegas seeps into the hotel rooms, desert and a drug fueled mind. Fear and Loathing in Las Vegas Terry Gilliam, 1998 Cinematography | Nicola Pecorini

The neon glow of Vegas seeps into the hotel rooms, desert and a drug fueled mind.
Fear and Loathing in Las Vegas
Terry Gilliam, 1998
Cinematography | Nicola Pecorini

Skipping ahead a few years and even Jason Statham gets the neon touch…

"Now I go back to the street and disappear." This spaces of this Neon World threaten with lighted colors. Jason Statham Steven Knight, 2013 Cinematography | Chris Menges

“Now I go back to the street and disappear.”
This spaces of this Neon World threaten with lighted colors.
Jason Statham
Steven Knight, 2013
Cinematography | Chris Menges

Yorick Le Saux adds a whole new context of meaning to Jim Jarmusch’s already cool vampiric world…

Love, Marriage and devotion in a world of neon light. Tilda Swinton and Tom Hiddleston  Only Lovers Left Alive Jim Jarmusch, 2013 Cinematography | Yorick Le Saux

Love, Marriage and devotion in a world of neon light.
Tilda Swinton and Tom Hiddleston
Only Lovers Left Alive
Jim Jarmusch, 2013
Cinematography | Yorick Le Saux

Just as one should never attempt to mention neon lighting in film without a discussion of Christoper Doyle’s masterful work — it would be tragic to not highlight Benoit Debie’s cinematography. Harmony Korine has always been astute regarding his cinematic visions, but Debie brings a hue to Spring Breakers that only he could create.

Teen rebellion and rape culture are satirized in a fusion of neon and electrified dub-steps... Spring Breakers Harmony Korine, 2012 Cinematography | Benoit Debie

Teen rebellion and rape culture are satirized in a fusion of neon and electrified dub-steps…
Spring Breakers
Harmony Korine, 2012
Cinematography | Benoit Debie

The critics may have dismissed Ryan Gosling feature film directorial debut, but I still contend they were wrong. If nothing else, Benoit Debie added neon drenched meanings, mystery and surreal horrors forward in Lost River. The film is not perfect, but it arches forward in simultaneously borrowed but eccentric uniqueness. In its own way, Lost River, if almost brilliant. This is no one’s standard coming of age movie.

"Live" Adult Entertainment takes a very glowing dark turn... Eva Mendes Lost River Ryan Gosling, 2014 Cinematography | Benoit Debie

“Live” Adult Entertainment takes a very glowing dark turn…
Eva Mendes
Lost River
Ryan Gosling, 2014
Cinematography | Benoit Debie

Just as Christopher Doyle will forever be linked with Kar-wai Wong — so will Benoit Debie with Gaspar Noe. It is a supreme compliment to both directors that they have been able to collaborate so beautifully with two distinctly brilliant cinematographers. While all four are linked respectively together — Wong and Noe have never been hesitant to share the credit for the power of the fieldwork.

Strong case in point, Noe actually shares cinematography credit with Debie for Irreversible. It says a great deal that I am never sure who is behind the camera in this deeply disturbing film. Irreversible is a remarkable work of cinematic art, but it is almost as problematic. One thing is most certain, the quality of the camerawork and use of lighting can only be praised. Even if you have opted to not put yourself through the inhumane horrors of this film — I suspect you will recognize this image.

Neon lighting radiates sinister energy as Monica Bellucci leads the camera to one of the most disturbing and controversial scenes of sexual violence ever put to film... Irreversible Gaspar Noe, 2002 Cinematography | Benoit Debie

Neon lighting radiates sinister energy as Monica Bellucci leads the camera to one of the most disturbing and controversial scenes of sexual violence ever put to film…
Irreversible
Gaspar Noe, 2002
Cinematography | Benoit Debie

And when it comes to the power of neon lighting within the context of filmmaking, one would be hard pressed to think of a better example than Gaspar Noe’s Enter The Void. Intentionally a trip of a film experience, Benoit Debie’s mark is ever-present.

"It's fucking cold." ENTER THE VOID Gaspar Noe, 2009 Cinematography | Benoit Debie | Cinematography

“It’s fucking cold.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie | Cinematography

 

"I can't believe this is real." ENTER THE VOID Gaspar Noe, 2009 Cinematography | Benoit Debie

“I can’t believe this is real.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie

And while Love may not be much of a movie, it is often amazing to watch for visuals alone. Once again, Debie infuses neon light throughout.

The Neon replaces the passion and thrills of romance and sexual release... Karl Glusman and Aomi Muyock Love Gaspar Noe, 2015 Cinematography | Benoit Debie

The Neon replaces the passion and thrills of romance and sexual release…
Karl Glusman and Aomi Muyock
Love
Gaspar Noe, 2015
Cinematography | Benoit Debie

And if there is one director who has spent a career studying and utilizing neon for filmmaking it would be Nicolas Winding Refn. Even under the constraint of a limited budget, his focus was on capturing the energy, insanity and terror of the drug underworld via lighting. The Pusher Trilogy shows what a skilled artist can do with very little.

Burning the image to neon is not new to Mr. Refn PUSHER Mads Mikkelsen Nicolas Winding Refn, 1996 Cinematography | Morten Soborg

Burning the image to neon is not new to Mr. Refn
PUSHER
Mads Mikkelsen
Nicolas Winding Refn, 1996
Cinematography | Morten Soborg

The film itself may be flawed, but Fear X is of note because it marks the first collaboration between Refn and Larry Smith. Paranoia, fear, rage, mystery and horror benefit from a very neon-ed space.

Accidental Death or murder? These spaces offer menacing paranoia. John Turturro Fear X Nicolas Winding Refn, 2003 Cinematography | Larry Smith

Accidental Death or murder? These spaces offer menacing paranoia.
John Turturro
Fear X
Nicolas Winding Refn, 2003
Cinematography | Larry Smith

2008’s Bronson is a cinematic marvel on more than a few counts — one of them is the way in which Larry Smith pushes neon to the limits to merge reality with the fantasy of Surrealism.

 

Realism, Surrealism, Desire, Isolation and fantasies bleed to form a life trapped in a neon-glow. Tom Hardy BRONSON Nicolas Winding Refn, 2008 Cinematography | Larry Smith

Realism, Surrealism, Desire, Isolation and fantasies bleed to form a life trapped in a neon-glow.
Tom Hardy
BRONSON
Nicolas Winding Refn, 2008
Cinematography | Larry Smith

Nicolas Winding Refn and Larry Smith use Drive to serve as the perfect synthesis of their shared vision. It is all about style and manipulation of light.

"Is he a bad guy?" Drive Nicolas Winding Refn, 2011 Cinematography | Newton Thomas Sigel

“Is he a bad guy?”
Drive
Nicolas Winding Refn, 2011
Cinematography | Newton Thomas Sigel

The envelope got pushed off the table and then blown toward the door for their next collaborative effort, Only God Forgives. While it is not a perfect movie, it is certainly not the flop that so many critics wanted us to believe. Only God Forgives is a metaphorical nightmare that often looks more animated than real. Odd and completely unforgettable — another exorcise in style and manipulation.

"Time to meet The Devil." Bathed in Neon, Kristin Scott Thomas isn't worried. Nicolas Winding Rein, 2013 Cinematography | Larry Smith

“Time to meet The Devil.”
Bathed in Neon, Kristin Scott Thomas isn’t worried.
Nicolas Winding Refn, 2013
Cinematography | Larry Smith

Sadly Larry Smith was not involved in Mr. Refn’s next experiment, but it is unlikely that Refn would have budged even the slightest. The title says it all. The Neon Demon is a cinematic error. This time Refn didn’t even bother to push the envelope. He simply refused to acknowledge that an envelope existed. Beautiful, seductive, twisted and so cool it is almost frozen  — The Neon Demon stands indignant and absolutely lost in the garishness of its own neon glow.

And, cue the tipping point... The Neon Demon Elle Fanning Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

And, cue the tipping point…
The Neon Demon
Elle Fanning
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Jenna Malone is the only actor who manages to walk away unscathed. Of course this Demon is so very neon, we sometimes can hardly see her.

Neon lighting so deep we can barely see it. This might be a good thing. Jenna Malone is full of beauty... The Neon Demon Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

Neon lighting so deep we can barely see it. This might be a good thing.
Jenna Malone is full of beauty…
The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

It may not work, but Natasha Braier is certainly up for the challenges her director presents.

The Neon Demon Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Matty Stanfield, 9.20.2016

 

 

 

 

Barbet Schroeder has always been interested in human obsessions and the dynamic of relationships, but when he got the idea to make Maîtresse he added something rather strange: Comedy. If you have never seen his infamous 1975 film, you should be aware of several things prior to watching it. The first of which is that this is essentially a very dark comedy about an unlikely love between a professional Dominatrix and a somewhat dim-witted would-be-thug.  The second is that it is probably the closest a film has come to capturing the true idea of BDSM as something more than a simple desire — for Ariane (Bulle Ogier) and her clients, it is a true obsession. While she might attempt to keep her professional life hidden in the strange world isolated in a cloistered series of rooms beneath her apartment, it becomes clear that this world is more than a way to earn money. Elements of her sadism have already worked their way into her sunny world.

Stylish lady with some secrets... Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Stylish lady with some secrets…
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Like her clients, this is an obsession meant to be hidden from the rest of the world to see. The third is that Maîtresse is a very graphic film. This is not a movie for the faint of heart. The final and most important general statement about Maîtresse is that it is a highly artistic and well-crafted film. While it does not deserve to be listed or thought of as Shock Cinema, it is a most certainly highly provocative work. Schroeder is an intellectually restrained artist, but he is most certainly putting himself in the role of provocateur when it comes to this unforgettable and odd movie.

When Barbet Schroeder began production of Maîtresse in 1974 he knew he was creating a provocative film, but he had no idea just how difficult it would be to secure distribution in 1975. It would be more than a couple of years before this infamous film would be seen much at all. The film was essentially banned and censored for over six years after the initial debut. The UK would prove the toughest nut to crack. Interestingly it was not so much due to the exploration into the world of a French Dominatrix which included graphic depictions of BDSM activities, nor was it actually due to anything tied up in fetish and kink and it certainly wasn’t the horrific visit to a Paris horse meat slaughterhouse. The bottomline reason Schroeder’s film was refused release into the UK was because it featured the back view of a vulva.

Maîtresse Barbet Schroeder, 1975

Maîtresse
Barbet Schroeder, 1975

To give the British Board of Film Classification their due — they were smart enough to actually state that the film’s refusal was related to the “excessive” degrees of fetishism. The real reason BBFC denied release to the film was not because a person was being whipped, it was because the audience could see her vulva. The board did not mind that the audience could see a penis being severely mistreated. They were upset that the man seemed to enjoy having his genitals mistreated.

Maîtresse was screened and received a limited release in the US. The distributor assigned the film an X-rating on its own. So limited was the release that very few film critics actually reviewed it. The New York Times quite liked it. But the film became notorious with relatively few people having ever actually seen it. That all changed when The Criterion Collection remastered and released it to DVD in 2004.

Maîtresse Barbet Schroeder, 1975 Criterion Collection, 2004

Maîtresse
Barbet Schroeder, 1975
Criterion Collection, 2004

While the uncensored theatrical cut of Maîtresse had been released to the UK via DVD starting in 2003, the transfers were not solid. Under their Flipside Editions, The British Film Institute released it to Blu-ray in 2012. Blu quality enhanced, the BFI release is actually superior to the Criterion Collection pressing. There has been some very loose rumors that Criterion may give the film another image/sound boost to re-issue to Blu-ray, but it is rather unlikely. The film’s graphic scene filmed in an actual horse slaughterhouse is truly horrific to watch. This scene is most likely intended to act as a sort of metaphor for a powerful beast being reduced to a powerless victim ultimately utilized as food. The scene arrives in the story when the leading man is feeling powerless and emasculated.

Even playing "footsie" takes a turn... Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Even playing “footsie” takes a turn…
Gerard Depardieu / Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Note: Even by 1975 horse meat had already become a taboo form of food in more than a couple of countries. However it should be noted that while it has dramatically shifted away from favor, there are still butcher shops in France specifically reserved for the sale of this meat. All the same this is an alarming scene that will most likely put off a good number of people. As an FYI, Schroeder’s use of the footage is almost tame when compared to Rainer Werner Fassbinder’s use of Goethe recitation as the audience is led through the horrors of a slaughterhouse in 1978’s In a Year of 13 Moons. Fassbinder employed this form of human brutality to create a metaphor for fascism and despair. Unlike Schroeder’s movie,  Fassbinder’s film is not even remotely a comedy. Still both films carry a repugnant reputation for screening graphic screening of animal slaughter. Consider yourself warned.

All the same, it is annoying that the Criterion transfer is inferior to the one released by BFI Flipside Edition.

Wig and make-up perfected as well as an enhanced transfer. Maîtresse Barbet Schroeder, 1975 BFI Flipside, 2012

Wig and make-up perfected as well as an enhanced transfer.
Maîtresse
Barbet Schroeder, 1975
BFI Flipside, 2012

While one might expect a 1975 French film to be dated, it really isn’t. Even the clothing is not particularly 1970’s tacky. Let’s not forget that Karl Lagerfeld was in charge of costume design. …And the line between S&M to Lagerfeld is fairly short in distance.

And speaking of Sadomasochism, Maîtresse is one of the few films to actually craft a realistic depiction of this subculture. While many speak of Sadomasochism, the reality is that a true Sadist is not going to derive much pleasure from role-play. And while one might think of a Masochist as passive or willing victim, the true master of S&M role-play is always the Masochist. In other words, there is a very dark side to the games that many adults play. In Maîtresse the role playing is most definitely in action, but the games are being played with the rules loose and usually hidden. During the first half of the film it would appear that  Ariane takes no particular pleasure in what she does in the lair beneath her bright apartment, but Schroeder slowly begins to reveal aspects of her true nature as the film moves forward.

Going down below to a domestic torture garden... Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Going down below to a domestic torture garden…
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Ariane seems to take true delight in feeding a collection of venus fly trap plants. Her high-scale bathtub has been crafted to include a bottom chamber that she has filled with water snakes or eels who feed off small fish which she her maid/assistant pours into the mix. And of course as the battle of the sexes ensues we see examples of her need to remain firmly in the position of dominance.

Tighten up the gimp... Bulle Ogier & Client Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Tighten up the gimp…
Bulle Ogier & Client
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

The film’s perspective belongs to leading man of the story. Gérard Depardieu’s Olivier appears to be a harmless sort of guy, but it only takes a small opportunity and he is ready to take up the grift as burglar. And it only takes another moment or two before we realize that this burly young man is a criminal. The film’s plot begins as Olivier and a pal break into what they think is an empty Parisian apartment. Like voyeurs, we follow these knuckleheads into a creepy dark space. With only a flashlight to provide limited perspective, we understand within a few seconds that this is no ordinary apartment. The small light reveals gimp masks, gas masks, latex & rubber suits, a hanging noose, a sinister looking dental chair, something like a torture rack, loads of odd surgical type equipment, dildos, baby bottles, diapers, a wide variety of torture tools and a terrified naked man shivering in a dog pen.  This might all read a bit funnier than it is. I first saw this movie in Cambridge back in the 1990’s and it was and remains a genuinely creepy opening sequence. Soon these two thugs find themselves handcuffed together and to a radiator as Bulle Ogier’s Ariane tends to her clients.

Sexual attraction, crime, money and a battle for control is about to begin... Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Sexual attraction, crime, money and a battle for control is about to begin…
Gerard Depardieu / Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

This is a filmmaker’s movie. Gerard Depardieu is well cast in the type of role for which he was best known in his youth — a sort of primally sexy gentle giant. It is really through Olivier‘s eyes that the audience sees the film. While this man is far from innocent, he clearly has no understanding of the world to which he has entered. But it is both comical and interesting that he finds himself deeply attracted to Ariane. His desire for her begins as she one-up’s both he and his pal by managing to cuff them together with no hope of escape. His attraction only builds as she offers him a chance to make some money and leads him further into the dark corners of her domestic torture garden. As they approach a man dressed in female bondage gear, she demands that the client get on all fours. She straddles him and positions Olivier directly in front of the masochist’s face. Olivier looks more curious than shocked. She unzips her burglar’s fly, pulls out his penis and demands that he urinate in the client’s face. Olivier‘s eyes never leave those of Ariane. As we hear the urine release he shares a passionate kiss with her. Suddenly this brute of a man is in love.

And now we begin your punishment... A Masochist Client & Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

And now we begin your punishment…
A Masochist Client & Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

After a night of what appears to be romance funded by Ariane, the two lie in bed. There are no professions of love, but it is clear it is there. Schroeder’s screenplay and Bulle Ogier’s careful performance require no words for the audience to understand that much of her attraction / fondness for Olivier is grounded in his mix of dull intellect, brutish but placid assertions of dominance. Of course the deal-sealer for Ariane is that this man is unabashedly almost worshiping in his adoration. There is also no need for discussion regarding Olivier‘s confusion regarding the downstairs world of his love’s professional life. All Depardieu need to do is offer a glance and we know that he is even more confused than those of us in the audience.

And this must be the naughty girl in need of punishment...

And this must be the naughty girl in need of punishment… Bulls Ogier / Wealthy Clients / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

When Ariane essentially tricks him into visiting a friend in the country, he has no idea that she is leading him into a Dominatrix scenario involving a group of wealthy devotees. Confused, unsure and fearful of being judged as less than a man Olivier agreed to remove his belt and whip the pretty and only female player in the chateau. It is clear that he simply does not understand why a tough whipping would provide pleasure. Eager to demonstrate his abilities to his new lover, he opts to softly tease the masochist’s vulva. Of course this only demonstrates his misunderstanding of this type of desire. The wealthy clients are amused as is Ariane. But Olivier and the audience are confused and worried that he is being used and reduced to some sort of walking joke.

When I saw Maîtresse for the first time back in the 1990’s I had been informed that it was a dark comedy. At this time it was hard for me to accept it as comedy. It seemed to me that the film was aiming far deeper than one anticipates from the genre. Despite my own desire to interpret the movie in a different way there were elements that simply did not seem to fit the action on the screen.

Meet the Whore-Madonna concept personified...

Néstor Almendros captures our Mistress in perfect frame to emerge with a halo for the man who will become obsessed. Meet the Whore-Madonna concept personified… Bulls Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Carlos D’Alessio’s musical score seemed odd. It is a rather charming bit of work that never fits into the world we and Olivier are exploring. In addition some of the darkest moments contained within the movie have no musical accompaniment. Seeing the film again after it had been added to The Criterion Collection, the comedy of Maîtresse hit me. Certainly not a comic experience that generates laughs as much as amusement — this is more a sense of bemusement. This is, of course, a French film. I love French cinema, but no one else presents comedy quite like the French. This level of dark comedy or comédie de l’ cruels has become more familiar outside of French cinema in the past decade. John Magary’s recent brilliant independent American film, The Mend, presents an incisive and rage-filled study of two brothers as the sort of dark comedy one might expect from France. Serious studies of humanity taking a turn toward the comical is not so odd to most of us anymore. Despite all of the transgressions and darker elements of identity, Maîtresse is most certainly a comedy.

Watching love's persona and identity change presents more than a little confusion for the boyfriend.

Watching love’s persona and identity change presents more than a little confusion for the boyfriend. Bulle Ogier / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

A key to understanding Maîtresse is to know that nothing we see is eroticized. This is not an erotic film.

When we are given glimpses into the Maitresse’s world of punishment and humiliation it is either directly related to Olivier‘s sneaking around peaking or listening. Schroeder spent a good deal of time researching the subject matter of the film as he felt no connection to the world of S&M. Much of Bulle Ogier’s character is based on an actual dominatrix. He gained her trust and she agreed to allow she and several of her clients to be used in the film itself. Long before the idea of digital effects existed, Schroeder carefully placed the actual dominatrix in relation to his actress/wife’s positions. The actual members of the 1970’s Parisian BDSM Underground wear masks to protect their identity, but they are willfully accepting their mistresses’ punishments. All is filmed to make it look as if Ogier is the one applying nails, needles and other manipulations. Filmed without typical movie lighting or other stylings, these transgressive acts are presented with only the sounds that were occurring at the time of filming. The result is often jarring and more than a little shocking, but never eroticized.

Nothing is ever explained beyond the most limited of discussion. Like Olivier, we are left with only what we see and might already understand separate from the film. Unlike Olivier, we are hopefully not quite so simple in our thinking and reasoning. And let’s hope we are not male chauvinist pigs. Olivier has a deep-seated need to dominate his woman. Having grown into a world of cruelty and crime, he has no trouble formulating the idea that his girl is a prostitute in need of a strong pimp. He wants the role of her pimp. And he wants to find a way to help her earn even more money. Because it is all about money. Right?!? 

One simple bully who has met his match without even fully realizing it... Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

One simple bully who has met his match without even fully realizing it…
Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Tragically for Olivier, he is unable to grasp that Ariane needs no protecting and certainly no pimp. Ariane never states an opinion, but it is clear that she does not identify as a prostitute and would never even consider the idea of pimp in her existence. As Olivier becomes more and more obsessed with understanding what Ariane does and why people pay her to do it — he becomes even more determined to know all of her secrets. The identity of a certain person constantly being mentioned in relation to money either with her maid or on one of her two phones consumes Olivier.

It is at this point of the story that we fully begin to understand the depth of Ariane‘s own perverse sadistic urges. It would not take much for her to simply explain it all to Olivier, but she has far too much fun watching him struggle for his grounding and fret over the details of her life.

Even when Olivier’s tendencies toward domestic abuse begin to flare up, she maintains her sense of control.

He's just royally screwed a lot up, but there is simply too much joy to be found in his desperate need for her love and forgiveness. Who has the power now?

He’s just royally screwed a lot up, but there is simply too much joy to be found in his desperate need for her love and forgiveness. Who has the power now? Bulle Ogier / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

When he puts his huge hands around her slender throat she plays it off as if a game. Poor Olivier doesn’t even pick up that he has failed to scare her. Later when he finally pushes things too far and our Maîtresse has had enough, she head-butts Olivier so hard blood begins to pour from his nose. Clearly shocked by her strength, his reaction is to attempt to warn Ariane that she too has been harmed. He is concerned. Ariane is unbothered by the self-damage inflicted by her head-butting. She is seething with anger.

It is the dim-witted Olivier who is emotionally crushed. This is not the first time we have seen this rough and huge man fall to pieces over his girl.  Control and cruelty are needs and that refuse to stay in that dark cave of torture secretly adjoined to her private home. These needs are not being fully satisfied by respecting most of her clients’ wishes and safe words. A Sadist wants real control and a victim. She is happy to play along with Olivier‘s limited view of women for the pleasure his pain provides.

She may look the part of angel, but this aspect is in appearance only.

Another key scene involves some personal and rather rough role-play between Ariane and Olivier. Schroeder wisely shoots this scene in a particularly ambiguous way. It looks like a violent public fight between the two characters as reality with the looming threat of rape. When the two end up in a garden shed of an elderly woman we hear Ariane‘s screams. As the poor old woman rushes to come to the aide of the petit blond woman, Olivier emerges with a switchblade pointed to kill. When Ariane walks out of the shed she is still pulling up her skirt. We might expect that she would feel empathy for the elder woman, but instead she merely leans into Olivier and mockingly suggests he leave the poor “old dear” alone. She skips away without even waiting to see what Olivier might do.

We never actually  know if this was a bit of role-playing or a real scenario that Ariane has manifested / navigated for some sadistic fun.

Punishing a key client, this is not a woman who needs or wants the protection of a man. Bulle Ogier  Maîtresse  Barbet Schroeder, 1975  Cinematography | Néstor Almendros

Punishing a key client, this is not a woman who needs or wants the protection of a man.
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Despite the dark elements of the on-screen actions, this is a story about the battle of the sexes. It is also an odd 1970’s twist on Feminisim. The key word here is “odd.” In many ways it almost seems a mistake that Barbet Schroeder opted to sculpt a very twisted romantic comedy from the BDSM clay of his story. There are so many aspects of Bulle Ogier’s Ariane it seems a bit of a waste of a great actress that she is unable to explore them. As I’ve stated several times, not much is ever explained about the title character.

Forever lingering with mystery...

Forever lingering with mystery… Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

The subplot of Ariane‘s situation is only mentioned in passing. I’m not sure I even fully noticed it upon my first viewing some 20 years ago, but it is wrought with dramatic potential. La Maîtresse is the mother of an elementary school age child.  An older gentleman (who may or may not be the child’s father) appears to have taken custody of the child. We may not know the full story here, but it would appear that Ariane is fine with this arrangement and most likely has intended it to be this way. When we see her with her child she clearly feels a stronger bond to her Doberman Pinscher. A beloved pet she has named Texas and claims to have trained to kill upon demand. We do not know if this is true, but it seems likely to be an accurate claim. Her young son appears to attempt to gain his mother’s attention, but Ariane is far more interested with Texas. When the boy walks off with his guardian/father, Ariane appears bored, but fixated on the dog. We never learn the name of her son, but she is more than happy to sneak away and join Olivier on a very strange drive in which the battle for power takes a surprising turn.

Orgasm without brakes! Hey, who is really driving this car anyway?!?!

Orgasm without brakes! Hey, who is really driving this car anyway?!?! Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Barbet Schroeder’s Maîtresse is an uncomplicated film about some very complicated people. The choice to keep it unexplained and unexplored is intentional. And as it turns out this was a very clever and wise decision. Maîtresse pulls us in just deep enough to make us squirm but never so far out that we need to grasp for air. It also prevents the film from slipping into a psychological realm that would ultimately prove disappointing.

Why?

Well sometimes life’s complications and the obsessions to which it leads are too murky to actually articulate.

Matty Stanfield, 1.28.2016

 

 

 

 

 

 

Who's Afraid of Virginia Woolf? Mike Nichols, 1966 Cinematography | Haskell Wexler

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

Cinema is many things, but it is a visual medium. The Cinematographer weaves magic of light, composition, perspective and frames which capture the vision of the film’s director. Here are a few of my favorite cinematography moments. There are other cinematic moments that are better and equally loved, but this are a few that came into my mind…

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Fate is written in the face.”Federico Fellini

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Our job isn’t to recreate reality, our job is to represent reality.”Gordon Willis

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Klute Alan J. Pakula, 1971 Cinematography | Gordon Willis

 

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Manhattan Woody Allen, 1979 Cinematography | Gordon Willis

 

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September 30, 1955 James Bridges, 1977 Cinematography | Gordon Willis

 

“The idea is to find the space and then to light it in such a way that the actors can go wherever they like, and then to respond to what the actors have done. Only at that point are the final frames decided upon. So it can be very spontaneous.” Sean Bobbitt

 

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Shame Steve McQueen, 2011 Cinematography | Sean Bobbitt

 

 

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12 Years A Slave Steve McQueen, 2013 Cinematography | Sean Bobbitt

 

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Hunger Steve McQueen, 2008 Cinematography | Sean Bobbitt

” When we came to film Persona, we virtually discarded the medium shot. We went from wide shots to close-ups and vice versa. Ingmar had seen a certain resemblance between Liv Ullman and Bibi Andersson, and the idea had dawned of making a film about identification between two people who come close together and start to think the same thoughts. The film gave me the opportunity to explore my fascination with the face…” — Sven Nykvist

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

“For me, movies should be visual. If you want dialogue, you should read a book.”

Vilmos Zsigmond

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

Mark Rydell told Zsigmond that The Rose should “look like an abdominal operation.” — Noel Murray of The Dissolve

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“Photography is truth. The cinema is truth twenty-four times per second.”

Jean-Luc Godard

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“A film on prostitution about a pretty Paris shopgirl who sells her body but keeps her soul while going through a series of adventures that allow her to experience all possible deep human emotions, and that were filmed by Jean-Luc Godard and portrayed by Anna Karina. Vivre sa vie.”Jean-Luc Godard

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“The more one talks, the less the words mean.”Vivre Sa Vie

 

Invisible Waves Pen-Ek Ratanaruang, 2006 Cinematography | Christopher Doyle

Invisible Waves
Pen-Ek Ratanaruang, 2006
Cinematography | Christopher Doyle

 

“I think the point of cinematography, of what we do, is intimacy. Is intent, is the balance between the familiar and the dream, it is being subjective and objective, it is being engaged and yet standing back and noticing something that perhaps other people didn’t notice before, or celebrating something that you feel is beautiful or valid, or true or engaging in some way.” Christopher Doyle

 

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Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

 

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Dumplings Fruit Chan, 2004 Cinematography | Christopher Doyle

 

“There’s always a shot or a moment you missed; it informs your work rather than takes from it.” Christopher Doyle

 

Away With Words Christopher Doyle, 1999

Away With Words
Christopher Doyle, 1999

 

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A Woman Under the Influence John Cassavetes, 1974 Cinematography | Al Ruban

 

“Mabel is not crazy, she’s unusual. She’s not crazy, so don’t say she’s crazy.”A Woman Under The Influence

 

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Bronson Nicolas Winding Rein, 2008 Cinematography | Larry Smith

 

“I’m colorblind, I can’t see mid-colors. That’s why all my films are very contrasted, if it were anything else I couldn’t see it.”Nicolas Winding Refn

 

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Only God Forgives Nicolas Winding Rein, 2013 Cinematography | Larry Smith

 

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Calvary John Michael McDonagh, 2014 Cinematography | Larry Smith

 

“I shot much of the film with a handheld Arriflex with a very wide lens and a tiny tobacco tin on the front fitted with a wee bulb to add a bit of fill, just enough to see Catherine Deneuve’s skin in the shadows until I moved in close.”Gilbert Taylor

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

“I believe the look of the picture is inherent in the material. The material will tell you what the picture should look like. Roman [Polanski] took the audience and led them by the nose to a point, then he left it up to you, and let the audience run with their imagination.” — William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“Cinema should make you forget you are sitting in a theater.”
Roman Polanski

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“I love my work. It’s a passion because otherwise you can’t do it.” — Benoît Debie

 

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Irreversible Gaspar Noé, 2002 Cinematography | Benoît Debie

 

“When you see a movie, it’s like you’re attending a show of magic in which the magician pulls a rabbit out of a hat.”
Gaspar Noe

 

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Enter The Void Gaspar Noé, 2009 Cinematography | Benoît Debie

 

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Spring Breakers Harmony Korine, 2012 Cinematography | Benoît Debie

 

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Love Gaspar Noé, 2015 Cinematography | Benoît Debie

 

“You make the movie through the cinematography – it sounds quite a simple idea, but it was like a huge revelation to me.”
Nicolas Roeg

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“I think a cinematographer’s job is to put a director’s vision on the screen. Nic is very clear in his vision and how he wants a movie to look, to feel, to smell.”Anthony B. Richmond

 

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“During the minutes or seconds that this fleeting image is on the screen, you have to enable the viewer to see and especially to experience that there is a very rapid emotional shock. So the lighting has to be designed in such a way that its form can pierce through the screen and travel like an arrow into the viewer’s mind.” — Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

“The beautiful thing about Robby is that he starts the process by talking to you about what the film means, what the story is about, what the characters are about. He starts from the inside out, which is really, really such a great way.”Jim Jarmusch

 

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Down By Law Jim Jarmusch, 1986 Cinematography | Robby Müller

 

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Paris Texas Wim Wenders, 1984 Cinematography | Robby Müller

 

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Breaking the Waves Lars von Trier, 1996 Cinematography | Robby Müller

 

” I’ve had glasses since I was six. Back then, I’d wake up in the morning and do things without my glasses on, and I’d be pretty blind. I’m very comfortable getting up close to things. There’s a sense of discovery that comes with that and it’s something I’m really interested in in my work.”  — Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Thou Wast Mild and Lovely Josephine Decker, 2014 Cinematography | Ashley Connor

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

“Our working relationship is close because we think exactly alike photographically. We really do see eye-to-eye photographically.” John Alcott

 

 

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A Clockwork Orange Stanley Kubrick, 1971 Cinematography | John Alcott

 

 

“Style is something that’s extremely important, but it must grow naturally out of who and what you are and what the material calls for. It cannot be superimposed.”
William Friedkin

 

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The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

 

“The camera lies all the time — lies 24 times/second.”
Brian De Palma

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

Dressed to Kill
Brian De Palma, 1980
Cinematography | Ralf D. Bode

 

 

” It’s very pleasant to hear that because my conception of this job is to be a companion or a collaborator. It’s to complete something. It is also making the image as separate from the directing but to be part of the storytelling process. If you have some distance with the film you are watching, you’ll be just attracted. You’ll be swimming in it. Or enveloped, like music” Agnes Godard

 

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Beau Travail Claire Denis, 1999 Cinematography | Agnès Godard

 

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Trouble Every Day Claire Denis, 2001 Cinematography | Agnès Godard

 

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The Intruder Claire Denis, 2004 Cinematography | Agnès Godard

 

“Photographing Citizen Kane was indeed the most exciting professional adventure of my career.” Gregg Toland

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“The enemy of art is the absence of limitations.”
Orson Welles

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
Ingmar Bergman

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Cinematic images are the things of magic.

Matty Stanfield, 1.6.2016

 

 

 

Watching, thinking and studying from all perspectives. Separation Jane Arden Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Watching, thinking and studying from all perspectives.
Separation
Jane Arden
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

The collaborative work between artists and lovers, Jack Bond and Jane Arden, had become the thing of legend. While all three of their feature length films had been acclaimed and considered to represent two of the most important voices in British Cinema, this was largely thanks to the film reviews that lingered on long after they had screened. Jack Bond was coasting on the British New Wave film scene of the 1960’s seemingly destined for great success when he met Jane Arden. She proved to be the perfect match for the talented filmmaker both personally and professionally. Jane Arden was an actor and frequent BBC talking head when she met Jack Bond. Eccentric, intellectual, beautiful, talented, innovative and always controversial — Jane Arden flourished to great heights after she met Bond. Neither of these artists were content to go with the flow of their time. Arden proved to be an outspoken Feminist, provocateur and filmmaker. Jack Bond’s views often matched hers and while every bit as experimental as Arden, he seems to have possessed a key eye for editing that lent itself to giving shape to Arden’s visionary work.

Pain, Rage and Sanity are pushed to extreme limits. The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Pain, Rage and Sanity are pushed to extreme limits.
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Jane Arden committed suicide in 1982. Devastated by her death, Jack Bond quickly set out to secure and store all copies of their 3 feature length films and impressive short feature within the vaults of the British Film Institute. He did so with the legal restriction that none could be screened or released. It is easy to imagine most film artists rushing to promote and celebrate their work, but for Jack Bond these films were far too intimate, personal and revelatory. It was not until some 20+ years had passed that one of Jane Arden’s children contacted Jack Bond. It was her youngest son who convinced him to reconsider his infamous decision to lock away the films. It would not be until 2009 that these three films would be screened and another one to two years before BFI could distribute the newly restored prints to DVD/Blu-ray. Even still, this work remains largely lost to American audiences — and a good many Europeans as well. It was only in the last several months that I began to slip into the worlds that Arden-Bond co-created.

A totally unique cinematic language form this disorienting and disturbing psychological thriller... Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

A totally unique cinematic language form this disorienting and disturbing psychological thriller…
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

These films are all available via the British Film Institute on region-free Blu-ray. They can be found on Amazon or BFI‘s own website. If you truly love innovative, challenging and remarkable Film Art — viewing these three films is essential. Each film stands alone, but all three share a common thread of searching for equality, understanding and full formation of identity. The purpose of this blog post is to promote this work so that it can reach the audience who has not yet discovered it.

Transcendental Meditation and Video Experimentation lend toward an attempt to understand self and environment. VIBRATION Jane Arden & Jack Bond, 1975

Transcendental Meditation and Video Experimentation lend toward an attempt to understand self and environment.
VIBRATION
Jane Arden & Jack Bond, 1975

I will do my best to not provide spoilers. I will also do my best to restrain my enthusiasm so that this is shorter. I will rely upon more than a couple of images from the work. It is key to note that imagery is of utmost importance to the work of Arden-Bond. But it is also crucial to note that their work was not style over content. The content of these films is rich and urges repeated viewings. These films were made by rebellious thinkers and none fit neatly into categorization.

Separation

London's Swinging '60's is explored with equal amounts of intellectualism, style and unique innovation. Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

London’s Swinging ’60’s is explored with equal amounts of intellectualism, style and unique innovation.
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

While Jack Bond is credited as this film’s director, it is clear that Jane Arden was closely involved with almost every aspect of the film. Considered to be one of England’s first truly avant-garde films, Separation is actually a great deal more. Once the viewer adjusts to the film’s often dated but striking innovative method of storytelling, this experimental movie is a highly effective study of a woman falling apart — or away from life.  A middle-aged woman’s emotional and mental crisis results not so much from a failed marriage or poor choices — but from the societal and cultural judgements made against women as they age. Ideas of “reality” and “fantasy” are constantly blurred. Most certainly surreal but never dislodged from logic or realism.

The future, the present and the past all whisper our leading lady further into conflict... Iain Quarrier, Jane Arden and David de Keyser Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

The future, the present and the past all whisper our leading lady further into conflict…
Iain Quarrier, Jane Arden and David de Keyser
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

This is as close as Arden-Bond got to “light cinema.” It could be argued that the majority of this film takes place in the female protagonist’s inner self. As viewers we can only ever be certain of her past. Her present and future slip between what feels like cerebral fantasy to an alienated realism. Has she left her husband or has she left what appears to her idea of an out-dated Patriarchal Institution? Has she abandoned her child or has she lost the child? Is this good-looking, young and eagerly hip dude her new lover or imagined? And what of this other women who populate the film’s non-linear storyline?

Forever late or too early... Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Forever late or too early…
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

For a film shot on the streets of the ever-styling streets of late 1960’s London, Separation does not look like most of the British films that came out of this period. The editing is never self-conscious or overtly eager to confuse the eye. Procul Harum provide a good deal of the film’s music and Mark Boyle’s celebrated Pop Art lava lamp-like projections jolt the film with sporadic uses of vivid color. Unlike most movies of this era and place, these are not used to trip us out — but almost more to stumble us further into the protagonist’s crisis. Much of the film is filmed in lush black and white.

Groving by force or choice? Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Groving by force or choice?
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

At turns naturalistic and stiffly artificial, Separation brims over with ideas and theories. Jane Arden’s Feminist Theory has started to take form but is still growing. This is largely a film of questions, doubts and fear. Our character is falling apart, but it is unclear if this is headed toward Nihilism or hope. There is a strong possibility that Jane Arden’s character is not so much falling apart but might have already broken into pieces. She might actually be in the process of reformation from the ruins of oppression and conformity. This magical film is sharply focused toward the struggle of Feminist Equality. It is sometimes sad, but often quite funny. Separation offers more insight than can be caught in one viewing. The film’s power grows with repeated viewings. It is a cinematic work of surprises and insights.

Looking deeper into the self than the viewer might anticipate. Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Looking deeper into the self than the viewer might anticipate.
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

In many ways, Separation can be viewed as Jane Arden’s first step into understanding the self from both the intimate and cultural perspectives. She has latched on to the ideas and the importance of Feminism, but is still aching to understand how to grab it without breaking into a million tiny pieces. Jane Arden wrote the film and stars. Jack Bond’s hand as a filmmaker pulls all of it together into a cohesive cinematic work. Truly brilliant and way ahead of its time.

The battle of the sexes takes a darkly comical turn... Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

The battle of the sexes takes a darkly comical turn…
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

An artistic and Nihilistic study in Feminist Theory takes a truly cinematic dive into a woman’s subconscious. This film is fascinating, intellectual and surprisingly current. Tragically it was given a rather limited release after it was made. It says a great deal that the reputation of this film survived as the movie itself sat on shelves in the dark corner of The British Film Institute‘s vault.  If you like films that make you think and take you to unexpected places, this is not a film to be missed.

A man's death offers a woman a way out. She put a pretty ribbon on "it" Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

A man’s death offers a woman a way out. She put a pretty ribbon on “it”
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

Whether Jane Arden’s fictionalized Self is falling together or apart is debatable, but one thing is most certainly clear: she is separating herself from the constraints of her society and culture. She is looking outward for equality and refusal of oppression. She is looking inward for understanding her self and why her identity is so fragmented and torn. Another important element which has already taken form in Arden and Bonds’ philosophy is the teachings and theories of Jacques Lucan. Most correctly called Lucan Theory is most often referred to as The Anti-Therapy Ideology. This rejection of typical Freudian and psychoanalytical thought is certainly hinted at within the frames of Separation. Ideas of symbology, the real, the imaginary and the power of the mirror are present thought the film, but Arden-Bond would soon be pulling their audience full-on into these concepts with their next film.

Symbology, projection, imaginary and real mix to form not only a film, but an entire philosophical approach to the art of filmmaking. Iain Quarrier, Jane Arden and home movies... Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Symbology, projection, imaginary and real mix to form not only a film, but an entire philosophical approach to the art of filmmaking.
Iain Quarrier, Jane Arden and home movies…
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

As I’ve already mentioned, Separation was a critical hit at the time of release. Arden-Bond made a film that captured the Counter-Culture and Swinging London of the day but made something far more than a time capsule piece or celebratory work. It could have pushed both forward into the world of cinema, yet neither chose to go in that direction. Instead both continued their mutual and individual personal journeys. It would be over four years before they re-entered the filmmaking world. Arden focused on theatre. Her focus was the thing of legend. Never afraid or shy of controversy or public self-examination that she felt was important for other women as well as men, she wrote, directed and acted in several notorious experimental theatrical productions.

The most important of these were Vagina Rex and the Gas Oven and, most importantly, Holocaust: A New Communion for Freaks, Prophets and Witches. While these plays were carefully scripted, Arden loved collaboration. She encouraged her actors to follow their instincts. Improvisation and audience participation happened. These experimental pieces were controversial and pushed well past the British Theatre boundaries. Yet they were successful. Constantly on the verge of being banned and/or jeered, these performances are as discussed as the work of Joan Littlewood. Yet whereas Littlewood was concerned with finding ways for lost teens of East London to channel their anger, boredom and frustration into art, Arden was deeply and profoundly concerned with pushing forward Feminist Theory.

What is identity? The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

What is identity?
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Tied up within Lacan Theory as well as her own personal demons she felt and saw reflected back to her from the Self-Mirror, this Feminist work was more focused on shaking off the pain, rage and cruelty of centuries patriarchal oppression. Sexuality was discussed full-on and often turned from sex objectivity to sexual confrontation. Pain and Rage were explored from both the practical and a growing ideology of Arden’s in which she connected the oppression of women directly to colonialism. These two plays would lay the groundwork for a number of important artists and careers. Of the artists, Sheila Allen was become the most prominent. Natasha Morgan would go on to play a crucial role in the British Women’s Liberation Movement and is now a respected and sought-after psychotherapist. Both of these women gave oral histories for BFI at the time that Arden-Bonds’ next film was restored and re-issued. And what a film it is…

The Other Side of the Underneath

Born out of both of her successful experimental theatre pieces, this film was intended to a combination of both plays. Jane Arden wrote the screenplay and insisted that Jack Bond give her full reign as the film’s director. He would go on to participate as cinematographer and “actor.” He would hire David Mingay as the film’s editor. Both Arden and Bond worked closely with Mingay as the film was pulled together. Bond would also take on the responsibility of getting the funding and all the required “items” for filming. These “items” included a brown bear, participation of local Wales coal miners, community members, a band of roaming gypsies, participation of actual mental hospital patients, several mentally/physically challenged individual from government institutions and most famously — Bond would secure a steady supply of LSD. The production of this film is notorious.

Centuries of Cruelty projected on to the face of a bride... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Centuries of Cruelty projected on to the face of a bride…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Most shocking is the fact that there doesn’t seem to be any distortion or untruth in its infamy. The bear would break free and threaten the safety of the tripping cast, the locals would break into fist fights, the mental patient and the mentally retarded would run away. And the actors would trip out. Led by a drunken but self-assured Jane Arden, these trips often took dark turns. She seems to have been able to lead them all through it. The ethics of this film production are most certainly questionable. But this was also what Arden-Bond and friends were after: A deadly pursuit of understanding the pain and rage of the oppressed and repressed.

"Mine! Mine! Mine!" "She has a pretty face!!!" Sheila Allen taunts with her human puppet... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

“Mine! Mine! Mine!”
“She has a pretty face!!!”
Sheila Allen taunts with her human puppet…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Armed with an endless supply of wine and cigarettes, Jane Arden secured a number of volunteers to appear with her in front of the cameras. Both Sheila Allen and Natasha Morgan were present. The idea was that the entire cast and their director would live “on set” in a decaying old farm house for the duration of the filming. They also agreed to wear their costumes, Victorian Era type nighties, for the duration. Oh, and they also agreed to drop Acid repeatedly throughout all filming. Sheila Allen refused to live on set or to trip out on LSD. Accommodations were made for her to stay at an inn a few miles away. Natasha Morgan was initially hesitant to participate. She agreed to come along as the casts’ cook. However, she changed her mind and joined in. These two actors would figure prominently in the film. Penny Slinger was another actor and activist of import who participated. The lead role was given to an unknown woman who was new to the whole scene, Susanka Fraey. She would end up playing the leading character of the piece.

Susanna Fraey is the Protagonist... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Susanna Fraey is the Protagonist…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Sally Minford, a Cellist, and her daughter would also participate. Obviously the child did not receive drugs. And as far as I can tell, Ms. Minford declined to take part in the LSD tripping. However, her role was limited to that of Cellist. She would compose and perform the film’s musical score throughout. Clearly skilled, the musical goal here is not beauty or melody but danger and threat.

I do not view it as a bad thing that I have had to watch Jane Arden’s The Other Side of the Underneath three times before I could form a solid opinion. Quite the contrary, I love the fact that this film’s complexities run so deep that it requires a great deal of thought. There is nothing “easy” about this bold work of film art. This profoundly disturbing film goes places to which I’ve never seen filmed before. Reckless, Dangerous and Bad To Know, this movie rattles more than just cages. This film amps its way from frenzy to hysteria and on to a sort of free-form descent into hippie dystopian vagrancy. The film pulls no punches as it is far too busy bluntly plummeting the subject matter and the cast into a submission of unfettered pain and self-examination. This is a particularly collaborative work and everything in the film depends upon the female cast members who agreed to participate.

The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Decidedly not plot-driven, this film does present us with a protagonist. A young woman “played” by Susanka Fraey is “fished” from a lake where she has attempted suicide. She quickly finds herself in a sort of mental asylum where all the women are dressed in Victorian style nightgowns and roam about freely. Both patients and gate keepers, it almost appears as if this insane asylum is self-contained. Only one person seems to be “in charge” within this madhouse and that is a firm psychiatrist played by Jane Arden herself.

While the film is largely concerned with the Anti-Psychiatry Movement evolved from Jacques Lacan, it is actually far more concerned with the seemingly unbearable rage repressed within the women that takes on an epic level. The strong feeling is that this rage and pain has been individually and universal-shared history of oppression and patriarchal cruelty. Our unnamed protagonist is forever roaming the corridors, hidden spaces and grounds of a madhouse that is truly “mad” and in mortal danger from the pain it all seems to inflict. She along with her fellow inmates are searching through the wreckage of self and shared identity / identities. There is a constant and unrelenting energy conveyed which is full of menace and danger. Nothing feels “acted” and everything we see takes on an importance that is hard to grasp and often even more challenging to watch.

LSD Manipulated to project the deepest pain... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

LSD Manipulated to project the deepest pain…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Sheila Allen serves is a sort of evil Court Jester who uses patients as a puppets and torments everyone with mind-numbing insanity. She also morphs into a Burlesque Stripper From Hell who uses her sexuality and body as a threat instead of an object. Her voice and performance haunt the entire film. This was a long way from The BBC or Harry Potter. Susanna Fraey is almost ever present and carries a great deal of presence on the screen. Possessed with a haunting face and effortless beauty, she is at once victim and victimizer. Penny Slinger gives a particularly potent and oddly focused performance. It is opposite Slinger that we see our protagonist’s as a source of danger.

A Mirror Identity Game to the Death... Penny Slinger & Susanka Fraey The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

A Mirror Identity Game to the Death…
Penny Slinger & Susanka Fraey
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Utilizing the Lucan Mirror Theory, the two young women sit opposite each other with large splinters of mirror all around them. What begins as a sort of Identity Game to the death, it is clear that Slinger is intending to murder Fraey, but with a sneak of a tender kiss she is able to throw Slinger off course. Intended killing swept away by tenderness, Fraey had trapped her in her own glass web. Just as the kiss ends, her knife slips into Slinger.

The film is built around a long sequence that is a sort of support group / open therapy. Tripping out on acid and under the guidance of the project built from the stage productions — these women have been led to a place while in mind-expansion mode. The melt-downs are intense, horrific and almost unbearable. It is here that Natasha Morgan’s participation would become most valuable. Her emotional break is at once horrific, painful and almost unbearable. At the same time, it is here that the film presents itself at its most human. Mixing with all of the production challenges, these pseudo group therapy sessions add to the movie’s intention of pure hysteria.

A victim of her own game... Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

A victim of her own game…
Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

As these women demonstrate their emotional pain and personal rages/horrors — our protagonist is led into a danger game of mirrors, sexuality, psychic death and crucifixion. Sexuality is explored in various ways. At times the female body is shown as an object for men to rape or harm. Other times it is shown as pleasure born from pain and fear. And then it is also shown as something beautiful, pleasing and erotic. According to the record of production, Arden decided late in the filming to have her lover/collaborator make love to actress, Penny Slinger. Pushing them to extremities, this scene is tender, soft and erotic. Jack Bond’s “character” clearly understands female anatomy and brings pleasure — not threat, rape or pain.

Unscripted, Arden has her lover make love to one of the inmates. Jack Bond & Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Unscripted, Arden has her lover make love to one of the inmates.
Jack Bond & Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

As the film amps its way to conclusion, the protagonist’s journey feels more ours than hers. We follow her through a house and landscape of pain, horror and sometimes promise to abject confusion. In the end the question of identity and self-acceptance is tossed onto a dirty cold slab of a floor. Is there to be redemption or healing? More likely it is a struggle that has only just been recognized and has a very long way to go.

As erotic desire is expressed the audience holds its breath only to discover that the male lover understands the woman's body. Jack Bond & Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

As erotic desire is expressed the audience holds its breath only to discover that the male lover understands the woman’s body.
Jack Bond & Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Intentionally unpleasant and contradictory, Jane Arden created a film that demands your attention. This is less a movie and more of a cinematic experience. Not for the faint of heart, this is a grim and repulsive study of female identity that refuses to let you go. Strange, darkly comical, surreal, horrifying, raw and truly unforgettable — Jane Arden’s film floats somewhere between Jean-luc Goddard and Ken Russell, but with an entirely different goal in mind. The horrors she and Jack Bond captured are all the more devastating because we realize that beneath the surface — what we see is real.

Going mad... Sheila Allen The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Going mad…
Sheila Allen
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

The next couple of years found Jane Arden and Jack Bond exploring further into the self with use of Transcendental Meditation, Chanting and the aid of Gurus and other mystics. One gets the sense that Jack Bond followed his love on her quest to grapple with her own depression. The result of these mystical exorcises would be put to use in their short film, VIBRATION. To 21st Century eyes, the videography feels grounded and dated. However when one realizes this film was made in 1975, the artistry must be admired.

Jane Arden had developed her own theory regarding the self and coping against repression and anxiety. I will not go into detail, but she called this idea RAT. Essentially the idea was to reject all rational thought. Arden’s life’s journey begin to slip away from Feminism and toward The New Age ideology of Humanism. The problem was that both she and Bond could see how this ideology was not only threatened by a larger control — plans seemed to already be falling into place to control not only individual actions, but our thoughts as well. What might have seemed paranoia rising above the slams of inflation and PUNK, turned out to be somewhat prophetic.

"This is my Anxiety Survival Broadcast ensuring a past future programing. My brain is recreating a negative repeat pattern." Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“This is my Anxiety Survival Broadcast ensuring a past future programing. My brain is recreating a negative repeat pattern.”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

Keep in mind that the final film made by Arden-Bond was before anyone in England knew about CCTV which would soon be filming almost every human movement in the country.

Anti-Clock

Unlike Separation and The Other Side of the Underneath, Anti-Clock less concerned with Feminist Theory than that of retaining humanity in the face of cultural and societal oppression  as the standpoint for understanding identity. The exploration of Self had culminated toward a Humanist ideology. The central character of this highly experimental “thriller” is a suicidal man played by Arden’s son, Sebastian Saville.

"Life force cannot be controlled by your little brain machine." Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“Life force cannot be controlled by your little brain machine.”
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

Filmed in London during Great Britain’s dark economic dystopia and the rise of Punk Rock, this film is interestingly disengaged from that history. Even more interesting, is the contradiction that it would be hard to imagine a more “Punk” film. Decidedly more punk than anything Alex Cox or Derek Jarman made at the time, Arden and Bond had not let go of their anger and rebellion against societal and cultural repression, but this film crafted a whole new sort of cinematic language. A linguistically intelligent use of carefully filmed and found video/film material forms something altogether new and unique.

As our suicidal protagonist works toward trying to survive, he is “assisted” by an archetypal psychiatrist (also played by Saville) and a group of scientists, mathematicians and others who rely upon constant video surveillance to monitor his every movement. Most fantastically, they are using these transmissions as connection into his cerebral logic. It is fairly clear that these persons are connected to the government. Less assisting and more studying in an attempt to control their subject, Joseph Sapha. Joseph quickly becomes suspect of these who claim to want to help him. It is particularly chilling that this film was made just a few years prior to the creation of CCTV.

"open your eyes." "they are open." "then why can't you see?" Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“open your eyes.”
“they are open.”
“then why can’t you see?”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

The style/styles of the film may not seem as cutting edge as they must have some 30+ years ago, but this film retains a subversive, disturbing and unsettling impact. It is also still very sharp. It is a film experience to be handled with a careful eye and ear. One missed action of sound and the viewer can become lost in Joseph Sapha’s delima. Watching Anti-Clock is not an easy film. But unlike I anticipated, it is NOT a pretentious work of art. It is a clever manipulation of the medium to convey a story that is not only horrifying but alarming relevant to the 21st Century.

"Thoughts hang around for a very long time. To be precise: forever." Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“Thoughts hang around for a very long time. To be precise: forever.”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

A sort of Proto-Punk exploration into humanity and a government that dares to study, manipulate and control those who dwell within its borders. Joseph is a young sort of “Every Man” who, like many of us, has had a troubling childhood and life. As this experimental and innovative film pulls us into the video and sound-looped world, the experience is an intellectual, surreal and disorienting jolt to the senses. Slowly the viewer becomes a part of the film’s strange logic. As Joseph grapples with his sexuality, guilt, loneliness and vexing non-purpose in life — the past, present and future are filmed and played discordantly against the idea of order. In a profoundly confused and desperate state of identity crisis, the “help” being offered is not aiming to provide what he anticipates.

But “they” and “he” are all led to a truth that is chilling and unforgettable.

"The patterns inside me were beginning to disconnect. By patterns, I mean those cycles or spirals of thought or behavior which i have been taught to call 'myself.' This 'I' is simply space. And where the strands of energy costs is a dot. And this dot is the delusion called 'my identity.'" Sebastian Saville aims the gun. Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“The patterns inside me were beginning to disconnect. By patterns, I mean those cycles or spirals of thought or behavior which i have been taught to call ‘myself.’ This ‘I’ is simply space. And where the strands of energy costs is a dot. And this dot is the delusion called ‘my identity.'”
Sebastian Saville aims the gun.
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

NOTE: The BFI disc contains a newly re-edited version of this film by Jack Bond. Bond re-crafted the film in 2005 in an attempt to make the film more clear to modern viewers. Skip this version. Bond does not improve the film or create a more coherent film experience. If anything he saps a great deal of he and Ardens’ exceptional creativity. To be honest, his 2005 re-edit reminds us how crucial Jane Arden was the vision.

This movie may not be everyone’s idea of a thriller, but it is a powerful work of art. Anti-Clock also serves as a fitting end to the Arden-Bond collaboration. These three films form a logic circle of journey to Self. It is a provocative, controversial, difficult, dark and brilliant cinematic journey. It took Jack Bond close to two years to edit the film together. Filmed with various forms of media — largely 1970’s video cameras of different sorts. Very often he applied chemical “treatments” to video footage to gain new and very unique images. These are interlaced with old assembled footage of dictators, monarchs, war, propaganda and a constantly unrelenting manner of sound editing.

"There is a continuum which links all living things together so that the smallest cell does not pulsate without its effect being felt in the furtherest reaches of the solar system. So, everything being one is not some romantic ideal, but an indisputable scientific reality. When this information seeps into our consciousness, it must change the moral structure of society and destroy the value system of the rational world." Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“There is a continuum which links all living things together so that the smallest cell does not pulsate without its effect being felt in the furtherest reaches of the solar system. So, everything being one is not some romantic ideal, but an indisputable scientific reality. When this information seeps into our consciousness, it must change the moral structure of society and destroy the value system of the rational world.”
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

The look of this film remains oddly potent and totally unique in the way it has been assembled. This odd and disturbing film was championed in 1979 as a brilliant psychological thriller. However, it only played in a few cities in the US and a very brief run in London. It also served as a connector to French Film Master, Claude Chabrol, with whom Arden was to work. By the time the film opened Jack Bond and Jane Arden had ended their relationship. It might have seemed that Jack Bond was lost while Jane Arden was on her way to a new artistic vision in France. This was not the case.

Jane Arden would take her own life in December of 1982 at the age of 55. Jack Bond would go on to work as a documentarian for the BBC. He remains an artist of note in Great Britain.

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Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

The film work they co-created remains vital, powerful and very much alive.

Matty Stanfield, 12.30.2015

 

 

 

 

 

 

 

 

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Uh, oh. Trouble is coming from all sides as Ken Russell takes British Film into the 1970’s. Despite on-going demand, Time Warner still refuses to allow us to take a full-on second look back. Britain’s most infamous film actually belongs to a United States based corporation. The Devils Ken Russell, 1971 Cinematography | David Watkin

When one thinks of 1960’s Film Art, the mind does not immediately jump to thoughts of British cinema. Most of us think of France’s La Nouvelle Vague, Germany’s Neuer Deutsche Film, Italy’s NeoRealism film movement, The Japanese New Wave or The Polish New Wave from which Britain did snatch Roman Polanski. Certainly there were groundbreaking British films that caught the spirit of London’s Swinging 60’s Era, but many of these films have aged rather poorly. Just think of Petulia, Morgan!, Darling, Billy Liar or Georgy Girl.  If honest, what really still works about these films is related to a time capsule interest. Many of these British films are quite valid (think A Taste of Honey, This Sporting Life, Room At The Top, A Hard Day’s Night, Seance on a Wet Afternoon, Performance ) but the majority have not held up as well as one might hope.

This is not true across the board. Stanley Kubrick’s British work has only gotten better with time and Michelangelo Antonioni’s visit into Swinging London culture of the time, Blow Up, remains a vital work. However, are these truly British films? It would seem that both of these filmmakers were in a sort of transitionary position. Antonioni was visiting England. Kubrick was still fairly new to British culture.

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The great Julie Christie is The Ideal Woman of 1965’s British satire of Swinging London, but the film barely registers beyond nostalgia now. Darling John Schlesinger, 1965 Cinematography | Kenneth Higgins

Most of the iconic British films of the 1960’s are simply limited to nostalgia. Guy Hamilton, Andy Milligan, Lindsay Anderson, Karel Reisz and Lindsay Shonteff are exceptions but much of what they were trying to convey would soon better estimated by the likes of Alan Parker and most especially Mike Leigh. Ken Loach would not truly find his voice until he entered his 50’s in the 1990’s. There was also a good share of attention to The Angry Young Man of the day. Tony Richardson had moments of brilliance but looking back he seemed to have been challenged by what style of film best suited his voice. Richard Lester certainly left a mark, but here again we are slipping into time capsule pop culture moments.

The British New Wave is also largely obscured by the mega-epics of David Lean’s heavily praised, Lawrence of Arabia and Doctor Zhivago are considered to be a cinematic masterpieces. I’ve never been particularly impressed. To be honest, I’ve never made it through Lawrence of Arabia without falling asleep. Carol Reed’s adaptation of the stage musical, Oliver! was another huge British hit of the 1960’s that pushed pass the more reflexive films of the day.

There were two particularly strong and solitary British Film Artists who were finding new methods of cinematic language. Nicolas Roeg would soon move from the cinematographer chair to that of director and change the face of film editing as it was known. Ken Russell’s work for the BBC and his adaptation of Larry Kramer’s adaptation of DH Lawrence’s Women In Love all stand alone and unique in offering new ways of using film to express ideas and to tell stories. And he really stole the anticipated reigns of the film biography when The Music Lovers slammed onto movie screens across the world in 1970.

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Ken Russell welcomes us to the 1970’s via way of 16h Century France as “the wife” of a Priest makes her way past the destruction of the Roman-Catholic Church… Gemma Jones The Devils Ken Russell, 1971 Cinematography | David Watkin

As British Film headed into the 1970’s some firm and potent voices formed. Certainly Stanley Kubrick’s A Clock Work Orange is a British Film. All American cultural ideas have fallen off his cinematic map. John Schlesinger pretty much left England for America. Ken Russell defied all expectations with his searing and important 1971 film, The Devils. As it turns out Ken Russell, Nicolas Roeg and Stanley Kubrick were not alone. The thing is some of the new British voices got somehow lost in the mix. Barney Platts-Mills’ may have only made one film in the 1960’s, but it is a powerful entry into British Film History. Three other filmmakers also created work not only ahead of the cultural curve — they challenged it and ran their work close to the edge of the rails.

As we stumble forward toward the third decade of the 21st Century, The British Film Institute has gone deep within the corners of their storage closets to re-release a couple of seldom seen motion pictures that capture 1960’s London in whole new ways. Most of these titles were dusted off, restored, re-released within the UK and issued to DVD/Blu-Ray between 2009 and 2011.

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The British Film Festival pulled several legendary but almost forgotten films and re-issued them to DVD/Blu-Ray in 2010 and 2011. These “lost” films of Jack Bond, Jane Arden, Joseph Despins and William Dumaresq teach us that Ken Russell and Stanley Kubrick were not alone in finding new ways to capture stories and ideas for the British Screen.

Two of these four filmmakers were actually Canadian born. Even still, these two ex-pats of Canada artists show no signs of unfamiliarity with the setting of their two crucial films that BFI re-issued several years back for the first time in over 40 years. The other two filmmakers are most certainly British and have cinematic voices which come close to that of Ken Russell and Nicolas Roeg. Like Russell / Roeg, these two British Film Artists were well-versed but often Anti-Intellectual in the way they approached their work. They were far more focused on the visual and the use of film editing. Rebels all, but each were reeling out their rebellion from different core identities. Unlike Ken Russell and Nicolas Roegs’ work of the 1960’s, all four of the other Film Artists will not appeal to a number of people, but it is hard to imagine anyone disputing their importance.

I’m currently exploring the work of a number of British filmmakers who are new to me. I plan on writing more on the art and collaborations of Jane Arden and Jack Bond. The work these two created almost defies terminology, but I’m going to give it my best shot!

But for this post, I want to touch on two films. The first of these two was born out of the mixed theatre and social service ideals of the great Joan Littlewood. “The Mother of Modern Theatre” devoted the second half of her life working with the young people of East London who were lost, without purpose or supervision. These young people were in constant threat of falling prey to all manner of trouble. Her idea was to create a space where these teenagers could be allowed to hang out and “act” out their issues, challenges and ideas. Firmly grounded in the arts but against what she viewed as Elitism of The National Theatre. Her Theatre Royal Stratford East was free of pretension and open to everyone. It was here that Barney Platts-Mills was inspired to scrap together a bit of money to make an amazing little film called Bronco Bullfrog.

Non-actors, Anne Gooding & Del Walker, "play" fictionalized versions of themselves and contemplate their futures. Bronco Bullfrog Barney Platts-Mills, 1969 Cinematography | Adam Barker-Mill

Non-actors, Anne Gooding & Del Walker, “play” fictionalized versions of themselves and contemplate their futures.
Bronco Bullfrog
Barney Platts-Mills, 1969
Cinematography | Adam Barker-Mill

Bronco Bullfrog stars non-actors who had been working with each other under the loose guidance of Joan Littlewood. While the plot is deceptively simple, a great deal of information about the grimness of urban decay, lack of parenting and dystopian boredom come through loud and clear. Glam and style-free, this is a study of teenagers floating along without purpose, direction or hope. Interestingly, it is not all gloom and doom. The characters of Bronco Bullfrog start to find their way as the film heads to conclusion. This is a gem of a film that has never received the praise or attention it deserved. As good as this movie is, it can hardly stand-up when positioned next to Joseph Despins and William Dumaresqs’ ultra-strange and unforgettable twisted little movie, Duffer.

duffer_banner

A good 6 years before anyone had seen the dark surrealism and humor of David Lynch, this low-budget experimental film serves as welcome warning that the art of filmmaking is about to take an innovative, creative and altogether new turn. Kit Gleave as Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Joseph Despins and William Dumaresq crafted this weird and entertaining movie on a budget so low it is probably best not to state it. The camera work is surprisingly solid. Actually the cinematography is far more than solid, it is artistically sound. Cinematographer, Jorge Guerra, may not have had the best equipment but he most certainly knew how to use it. The shots are often brilliant.

There is no sound. The narration and voices were recorded by a different cast. It only takes a few minutes before it is clear that the lack of sound was not going to be a deficit. In fact, the creative dubbing actually adds to this film in more ways than one. Comical and often horrifying, the dubbed dialogue serves exceptionally as an aide to the film’s surrealism, dark comedy, menace and horror.

"WoManAmal!!!" Duffer's junkie gay keeper heaps on the abuse and chronicles it all for underground porn.  William Dumaresq as "Louis-Jack" Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

“WoManAmal!!!” Duffer’s junkie gay keeper heaps on the abuse and chronicles it all for underground porn.
William Dumaresq as “Louis-Jack”
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

The dubbing actually heightens the discomfort as we watch a young man attempt to reconcile the emotional, physical and sexual abuse of his older junkie boyfriend by engaging in an affair with a female prostitute. Enduring the sort of sadistic torment one seldom sees addressed in film, Despins and Dumaresq were extremely clever in presenting it in very dark comical ways that disturb but never so much that one needs to run for cover. The kind but obviously more than a bit twisted herself, prossie called Your Gracie gives the lost teen some solace while fully utilizing him as a tool.

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Erna May as “Your Gracie” is using Kit Gleave’s “Duffer,” but he hopes she is saving his masculinity… Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

As the KINK/BDSM with his male keeper becomes more severe and his trysts with his female lover decrease — Duffer is pulled into his male lover’s Horse addiction and begins to suffer one of the most bizarre psychosomatic delusions I’ve ever seen. The poor kid’s delusions continue to morph into what appears to be a psychotic break. This twisted, funny, unsettling and fascinating experimental film deals with almost every aspect of human cruelty and horror imaginable. And just to amp up Duffer’s already potent cinematic stew, we gradually begin to suspect that our protagonist may not be the most reliable narrator.

Just a bi-sexual boy walking through 1970 Notting Hill either on his way from or toward abuse at the hands of older suitors.  Kit Gleave in his only film role... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Just a bi-sexual boy walking through 1970 Notting Hill either on his way from or toward abuse at the hands of older suitors.
Kit Gleave in his only film role…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

As the film unspools more perversities and jaw-drop moments at break-neck speed, we are constantly given an exceptional examination of 1970’s Notting Hill. You may think you’ve seen urban decay and dystopian-like settings, but Duffer presents an England few of us have seen. Filmed on location and on the very cheap, this is perplexing and truly extraordinary view of the state of things circa 1969-1970. I realize that some of you will be annoyed that I’m grouping this film into the 1960’s British New Wave, but Duffer is clearly set in the 1960’s. This is not the 1970’s.

The film begins with Duffer sitting alone by the water. A pretty young woman pauses as she crosses a bridge far above the handsome boy. As the film whirls to conclusion we find him once again in the same place. It is impossible to not ponder where the film’s reality begins or ends. In fact, there is a distinct possibility that none of it is real. However there are just as many clues that all of what see presented has happened in reality. I’m not dropping a spoiler here, the viewer begins to distrust poor Duffer almost immediately. This is a narrator we are unable to trust. But the most jarring aspect of this film is that it presents itself solidly within the Surrealist Context.

All alone in his thoughts... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

All alone in his thoughts…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

It is important to note that as much as I praise Duffer, it is not for all tastes. While never truly graphic, it is most definitely profane and very perverse. The humor is so dark that many will feel guilty laughing. This is one demented movie. It also features a deeply strange musical score from the composer who gave the world the 1960’s Broadway smash, Hair. Galt McDermot’s score plays like something you would hear in an alternate universe Tin Pan Alley. Just when you think you will only be hearing a piano — a quickly use of electronics starts to grind forward.

"Mind how you go..." No where in Notting Hill is safe! Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

“Mind how you go…” No where in Notting Hill is safe!
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

Duffer screams out for repeated viewings to understand, to ensure that what you think you’ve just seen was actually shown and for the simple fact that this movie is endlessly entertaining. And trust me, this movie gets under your skin. Once it slips under, it stays there. In addition, something about Duffer seems to be signaling the audience to watch out for David Lynch. Were it not so very British, it could easily be mistaken for something a young David Lynch might have created. Unique, innovative, disturbing, haunting, funny and altogether original, Duffer is a must see lost British Cinematic Treasure.

Well there is nothing quite like watching your lover's home movies abusing you... Kit Gleave watches what we can only guess hurt a great deal. Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Well there is nothing quite like watching your lover’s home movies abusing you…
Kit Gleave watches what we can only guess hurt a great deal.
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

 

I honestly found no flaw in Duffer.

Just pulled back into darkness after being "fixed" for activities best kept there... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Just pulled back into darkness after being “fixed” for activities best kept there…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

I loved this film, but the work of both Jane Arden and Jack Bond really blew me away. Blown out the window and lying on the pavement outside our San Francisco home, the collaborations of Arden and Bond require more than a little thought and meditation. I’m still letting their three films digest, but I’ll be writing about them soon.

Pushing Feminist Agenda, Drug Experimentation, Examination and Destruction of an identity born of societal and cultural domination, Jane Arden & Jack Bond pull us into the dangerous threat of absolute madness... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Pushing Feminist Agenda, Drug Experimentation, Examination and Destruction of an identity born of societal and cultural domination, Jane Arden & Jack Bond pull us into the dangerous threat of absolute madness…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Matty Stanfield, 12.23.2015

 

People always ask me why I like such dark and often surreal movies. For me, these strange cinematic explorations into the darkest corners of the human mind act as a sort cathartic entertainment. But perhaps on a deeper level they hold an interest for me that allows me to feel a bit lucky compared to the characters and images struggling through crisis of reality, circumstance and identity.

Roaming through an old house, a gangster faces dangers of memories and lingering ghosts... Keyhole Guy Maddin, 2011 Cinematography | Benjamin Kasulke

Roaming through an old house, a gangster faces dangers of memories and lingering ghosts…
Keyhole
Guy Maddin, 2011
Cinematography | Benjamin Kasulke

Struggle. This is what I have been doing on a daily basis for the last several years. It is not so much that I need to learn the techniques to calming my subconscious, I know them. The challenge is putting them into action so that these exorcises actually become tools I can use. It seems like a simple thing to master, but the subconscious is an alternate world filled with illogical concerns and masterful ways to impede the conscious state from doing what it needs to do. Finding the pathway into the subconscious takes a great deal of work all with an eye toward not making it think that the conscious is out to defeat it. While the process seems to lend itself to the idea of Zen Yoga Meditation, it is a great deal more complex.

Studying more than mental illness or simple concepts of identity, Paddy Chayefsky's script was unfilmable, but Ken Russell speeded-up the dialogue. The sense of self, reality and identity are deconstructed to a whole new level. Altered States Ken Russell, 1980 Cinematography | Jordan Cronenweth

Studying more than mental illness or simple concepts of identity, Paddy Chayefsky’s script was unfilmable, but Ken Russell speeded-up the dialogue. The sense of self, reality and identity are deconstructed to a whole new level.
Altered States
Ken Russell, 1980
Cinematography | Jordan Cronenweth

After three decades of a successful life, my subconscious coping skills began to fall apart. By the time I slammed into 42 years of age I was no longer successful. I was stumbling, falling and lost. Fast forward a couple of years and far too many doctors and tests later I found out with what I was dealing. I had known for some time that I was living with PTSD, but when two doctors and a therapist informed me I was actually living with a more extreme form of PTSD known as DID (Dissociative Identity Disorder.)

I was God-smacked. It would take me a full year before I could actually believe this diagnosis to be true. And it has taken a couple more to fully acknowledge and own it.  In the last year I’ve become far better at turning technique into tool, but I am far from attaining Master – Level Use.

Sneaking a peak beyond the other side of a keyhole, "Ulysses Pick" sees far more than he can process. Keyhole Guy Maddin, 2011 Cinematography | Benjamin Kasulke

Sneaking a peak beyond the other side of a keyhole, “Ulysses Pick” sees far more than he can process.
Keyhole
Guy Maddin, 2011
Cinematography | Benjamin Kasulke

A life-long friend who I consider to be my sister is in The City for work. This is one of the dearest people in my world. There is no way I’m going to miss visiting and hanging with her. But challenges spring forward intent on preventing me from being out in public spaces. After the recent tragic terrorist attacks, my phobia of being in crowded spaces has morphed into full-blown clinical panic attacks. Suddenly driving downtown becomes as challenging for me as being told I must climb Mount Everest. But despite an unusual down pour and high winds, I was determined. I’m was also more than a little wary.

Groundbreaking and iconic, it is important to remember that this book and subsequent Sally Field TV Movie were "based" on a true story. Neither were "true."

Groundbreaking and iconic, it is important to remember that this book and subsequent Sally Field TV Movie were “based” on a true story. Neither were “true.”

There are a lot of exaggerations around what DID is. Pop Culture has presented an odd view point. Certainly we’ve come a long way since the 1970’s Sybil idea. A recent entertainment examination of the disorder, The United States of Tara, attempted to be more realistic. But even here DID was presented in a painfully extreme and comedic way. Very few people who have DID exhibit such behaviors as “switching” into an alternate personality complete with different voices and wardrobes. And for those few who deal with it at such a level, none could manage to function as a safe parent or a remotely dependable spouse. Even still, it presented the character in some realistic ways with the support of those most close to her.

I’ve never kept my PTSD a secret. I’ve written a good deal about it. Once I understood DID, I did not keep that a secret. I do not write a great deal about it because it is an on-going challenge I’ve yet to fully meet. But when it does come up I can see the discomfort in peoples’ faces.

For the record:  I do not have dueling identities. I do not have a secret wardrobe. I do not have a double life. I do not lie. I do not cheat. I am not a harm or threat for others or myself. In the past, when I did “switch” it was seldom if ever noticed by anyone. It quite simply is not that glamourous. In reality DID is tedious, defeating and a constant source of ever-growing self-defeating phobic tendencies that I’m constantly trying to beat.

No TV Show or book here. It is a condition with which one has to deal through therapy and anxiety-reducing exorcises. It is not particularly interesting. It is certainly not funny. There is nothing glamorous or theatrical about it.

Uh, oh. The Good Cop / Bad Cop: A toy w/ DID The Lego Movie Phil Lord & Christopher Miller, 2014

Uh, oh. The Good Cop / Bad Cop: A toy w/ DID
The Lego Movie
Phil Lord & Christopher Miller, 2014

The truth is that most women dealing with DID will not realize that they even have a problem until into their late 20’s to mid 30’s. For men it is usually not until their late 30’s upward to their early 50’s before they fully notice that there is a problem. As strange as it sounds, the power of a mind that copes a person out of grim experiences so that she/he can survive is extremely skilled at getting that person through whatever challenges may or may not get in the way. The concept of an alternate personality is normally so nuanced that the individual and those near him/her will never notice. Nor will the individual. Time is lost, but the individual being protected in this manner by their subconscious will usually not notice. Or, as in my case, never really consciously note it.

While not altogether "untrue," United States of Tara is a very exaggerated and unbelievable study of DID. It has value, but the main goal was to entertain.

While not altogether “untrue,” United States of Tara is a very exaggerated and unbelievable study of DID. It has value, but the main goal was to entertain.

DID is tricky and many think that there are more than a few folks walking around out there who do not know they have it — and most likely never will. I wish I were one of those folks.  Surviving can come at a cost. A survivor is tough, but none of us are superheroes. Jessica Jones is an interesting and well crafted empowerment idea, but she is fantasy.

I’ve not fully switched or lost time in over 3 years now. My mastery of coping techniques as tools has improved dramatically. But I’m no Master of Myself. So this morning as the wind howled and the rain poured and I drove toward my destination filled with worry, I was on high alert. When an SUV failed to stop in time at an intersection, it skidded out onto California Street and briefly lost control. I was able to navigate my car out of its way without putting anyone else in danger.

Fictional Satire, Cultural Commentary, Mischief, Mayhem & Soap. Brad Pitt manifests as a fragment of identity bent on rebellion... Fight Club David Fincher, 1999 Cinematography | Jeff Cronenweth

Fictional Satire, Cultural Commentary, Mischief, Mayhem & Soap. Brad Pitt manifests as a fragment of identity bent on rebellion…
Fight Club
David Fincher, 1999
Cinematography | Jeff Cronenweth

Success! As the SUV got itself back on track and other drivers honked for no real reason, I pulled my car back into moving action. And then it happened. Familiar voices filled with fear and panic began whispering and speaking all at once. These voice seemed to be coming from the backseat.

I’m not crazy. Actually, I feel I am about as far from crazy as possible. Two years ago this sudden fury of voices from behind me would have freaked me out. But now, I know that there are no hidden passengers in my car. These, you see, are my alters.

I calmly pulled my car over to a safe parking spot. Put the gear into park. Took a deep breath and began utilizing calming techniques to use as tools. It probably took me about thirty minutes, but those voices began to move out of the backseat and into my mouth. I continued to tool away. In approximately ten minutes those voices moved out of my mouth and back into my brain. Then I spoke out loud in a normal tone to calm them (me) down. Within another ten minutes I was ok. I lit up a cig, turned the iPhone to some of my favorite music and just chilled. In all it took about 80 minutes before I was certain I was competent to drive. I turned around and came back home.

Completely spent, head hurting, legs aching — I knew I’d not be venturing back out today. Embarrassed I had to contact my friend/sister and let her know I would not be able to make it downtown. She knows of what I am dealing. She was supportive and kind. She is taking a cab here tonight and we’ll order take-out. But it feels as if I’ve let another person I love down. It sucks.

Identities merge, split, engage and threaten reality beyond recognition. Laura Harring / Naomi Watts Mulholland Drive David Lynch, 2001 Cinematography | Peter Deming

Identities merge, split, engage and threaten reality beyond recognition.
Laura Harring / Naomi Watts
Mulholland Drive
David Lynch, 2001
Cinematography | Peter Deming

Once I master these techniques into better tools, I will not be so exhausted. It might seem strange, but I was not freaked out. This is my current reality. I accept it, but I’m still deeply embarrassed by it. I am ashamed of not only the disorder but the fact that it has created so many phobias with which I have trouble fighting. Making plans to meet up with friends does not usually mean I’ll be able to carry them through. Just this past week there was an event at The Castro Theatre and I was unable to even contemplate attending. A few years back and you would had to fight me to prevent me from attending.

It just sucks.

I’ve not been able to go into a movie cinema since May of this year. A walk into a mall is a true challenge. Visits to the pharmacy, doctor or therapist are tough but I mange to do those. I can go to the grocery store and the local coffee shop without too much worry. However, I need to arrive to the store between 6:45 / 7:00 am to be sure I can do it without having to tool the process. I can do the coffee shop at about any time as long as I know I’m drinking the coffee outside while walking or back in my car. However, meeting up for dinner in a restaurant on a weekend night is almost an impossibility. My friends and family know that if we go out, I usually need to be outside to hang.

This is how my life “works” right now. It will be getting better. I push forward past the fear as best I can, but in the coming year I hope to be a better master of these coping techniques into full-on hardcore tools.  Will I be able to return to full-time and rewarding employment? I have no idea.

Submerged, floating and ready to explore himself inside out to through to the core of earthly identity. William Hurt Altered States Ken Russell, 1980 Cinematography | Jordan Cronenweth

Submerged, floating and ready to explore himself inside out to through to the core of earthly identity.
William Hurt
Altered States
Ken Russell, 1980
Cinematography | Jordan Cronenweth

At the moment the bigger picture must be pushed aside until the daily challenges are met. Currently, my main focus is on gaining better access to coping techniques. Upcoming plans involve visiting in-laws in Canada, a  nephew on The Cape and a soon to be born nephew in NYC. All of which involve getting on crowded planes and being in crowded social situations. All of these upcoming visits are very important to me, but sometimes it is hard to view things as positive when I feel so threatened by the challenges involved.

"I like myself" Edward Norton Fight Club David Fincher, 1999 Cinematography | Jeff Cronenweth

“I like myself”
Edward Norton
Fight Club
David Fincher, 1999
Cinematography | Jeff Cronenweth

When I watch David Lynch’s Inland Empire or Mulholland Drive it is hard not to relate on some level to the plight of his heroines. An actress seemingly forever lost within her own identity and that of her roles. Which of her selves are real and which have been co-created for art? Which actress gets the part and which faces a tragic end? Or are they stuck in some cerebral horror logic that runs forever in circles? With each viewing of these two films I walk away with some new layer of meaning that confounds back to the meaning’s source. Mr. Lynch’s magical cinematic slight of hand.

Chuck Palahniuk’s novel, Fight Club, was a fascinating read into confused ideas around masculinity, friendship, love and life as we moved toward the 21st Century. All of the ideas and concepts literally fighting each other till the book’s end. David Fincher’s film adaptation took that novel of societal commentary and crafted a darkly comical and satirical view of an identity crisis that grows to fantastical and horrifying size.

Our Narrator attempts to calm and talk some since into his alter-hero who upends not only his world but possibly that of his culture. Brad Pitt / Edward Norton Fight Club David Fincher, 1999 Cinematography | Jeff Cronenweth

Our Narrator attempts to calm and talk some since into his alter-hero who upends not only his world but possibly that of his culture.
Brad Pitt / Edward Norton
Fight Club
David Fincher, 1999
Cinematography | Jeff Cronenweth

Like the novel, the film has bite. Unlike the novel, it pulsates into our mind as we watch a sort of white “Every Man” who can only accept himself by beating his damaged shell to a pulp of absolute submission and non-existence. Unrestrained, Absurdist by way of Surrealism gets a glam and bloody reboot in David Fincher’s 1999 Cult Film. This is a movie that amuses and amazes me every time I see it.

Another movie that has always fascinated me is Ken Russell’s final box office hit, Altered States. I suppose in reality it was more of a sleeper hit, but it was discussed and beloved by a Sci-Fi / Fantasy audiences that wanted a bit more for their money. Our Uncle Ken Russell had no idea what was in store for him when he accepted this American Film Studio “Job.” There is no question of Paddy Chayefsky’s talent, but his script’s goal was all but lost amidst some of the most laughable and intricate film dialogue ever put to page. Russell was intrigued by the philosophical ideas around identity and self-understanding via organic means, but how does one get to the meat of the film when bombarded by so much inexplicable intellectualized discussion? Ever innovative, Ken Russell instructed his profound Master Class Film Actors to speak their lines at top-notch speeds. William Hurt, Blair Brown, Bob Balaban and Charles Haid speak at a speed which almost seems to reach that of light itself. It works.

Dr. Jessup likes what he sees. At first, anyway. William Hurt Altered States Ken Russell, 1980 Cinematography | Jordan Cronenweth

Dr. Jessup likes what he sees. At first, anyway.
William Hurt
Altered States
Ken Russell, 1980
Cinematography | Jordan Cronenweth

The script’s dialogue could not be changed, but it was delivered with fast and masterful precession. But the winning card for Altered States is the fact that no one can deliver images to challenge notions of the human senses better than Ken Russell. Altered States soars when Russell is allowed to plunge the camera into Dr. Jessup‘s mind’s eye. At times stunningly beautiful, always symbolic to the concepts of The Human Condition, consistently horrific and magically tilting toward something beyond understanding — Ken Russell understood this film far better than the artist who wrote it.

One of many modern human symbols stretches, morphed and careening within the human psyche. Altered States Ken Russell, 1980 Cinematography | Jordan Cronenweth

One of many modern human symbols stretches, morphed and careening within the human psyche.
Altered States
Ken Russell, 1980
Cinematography | Jordan Cronenweth

Russell has no problem with the movie monster trope that Chayefsky ties to the Evolution Of Man, but he was far more interested in how that evolution has impacted not only our identities but our relationship to the present. Always at some sort of odds within itself, Altered States is entertaining and far more relevant than many care to admit. It is also is a very interesting bit of twisted cerebral fun. Ken Russell seems to be hiding just out of frame with his middle finger firmly up toward the overt intellectual spasms with which he had no choice but to work. Rebellious, but dead-on to the film’s core meaning.

Fears, symbology mix with neuro / intellectual impulses. Altered States Ken Russell, 1980 Cinematography | Jordan Cronenweth

Fears, symbology mix with neuro / intellectual impulses.
Altered States
Ken Russell, 1980
Cinematography | Jordan Cronenweth

David Lynch’s Mulholland Drive is a Surreal Neo-Noir nightmare. A perverse fantasy of dreams tossed from both the dizzying heights of movie stardom and the Lower than Low of the Hollywood outcast. In Hollywood, nothing is more horrifying than failure. There are two girls here. One of them is a Movie Star and the other a Failed Wanna-Be. But which girl is which?

There is a mysterious blue box and a blue key that promises to unlock its secrets. However one is not likely to resolve the film’s essential mystery of who is who.

I’ve never believed that was the point. The point is that when it comes to the pursuit of dreams, love and the resulting guilt — there is often no where left to go but to retreat into the circular horror of a fragmented identity.

The key to the box... Mulholland Drive David Lynch, 2001 Cinematography | Peter Deming

The key to the box…
Mulholland Drive
David Lynch, 2001
Cinematography | Peter Deming

This may be your film, but two things are most certainly true: This is the girl and This is not the girl.

Which girl is real? When you go this far for meaningless dreams and love as bitter as it is sweet, it really doesn’t matter.

Then we have Guy Maddin’s under appreciated brilliant experimental film, Keyhole. In an attempt to escape arrest, a gangster holds up in an old home with a mysterious hostage. Surrounded by police and with an unwilling hostage, the gangster, Ulysses Pick, soon finds himself wandering through the decaying house’s many corridors, rooms and memories. Is it ghosts who threaten his sanity? Not likely.

Looking for understanding... Jason Patric Keyhole Guy Maddin, 2011 Cinematography | Benjamin Kasulke

Looking for understanding…
Jason Patric
Keyhole
Guy Maddin, 2011
Cinematography | Benjamin Kasulke

The biggest threat in this decaying old house is our protagonists’ own identity. First as voyeur, then curious and finally desperate — Ulysses begins to interact with a troubled childhood, past crimes, buried love, guild and ultimately facing the truth of his mother. Splintered, confused, sad and spent — Maddin’s Ulysses is trapped within the fragmented and often disjointed aspects of himself.

A ghost isn't nothing, but it also isn't everything... Keyhole Guy Maddin, 2011

A ghost isn’t nothing, but it also isn’t everything…
Keyhole
Guy Maddin, 2011

Like a perverse fable, he must stand in judgement. A judgement not to be delivered by ghosts or memories. A judgement issued from deep within the unknown self.

So while I do like to get lost in this dark, experimental, intelligent and surreal worlds that explore complex ideas around “identity” — I also gain break from the reality of actually sorting through my personal issues to regain the ability to function. There are a vast number of strange films dealing with identity. From the heights of Art House Cinema with Repulsion, Belle de Jour, 3 Women and Persona to the obscurity of films like Simon Killer, Bellflower, Hesher, Bullhead, Reality, Institute Benjamenta, Brazil or Performance. 

The subject is himself, but the exploration takes him far deeper. Altered States Ken Russell, 1980

The subject is himself, but the exploration takes him far deeper.
Altered States
Ken Russell, 1980

The question and exploration of identity and its meanings are limitless and often limiting.

Matty Stanfield, 12.13.2015

 

 

 

 

 

 

 

 

 

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One of the best films to screen in 2015 will not be released to cinemas until next year. The Witch Robert Eggers, 2015

Yes, I know there are more than a couple of movies coming out before the year’s over. But none hold any interest for me. That’s just the way I roll. So, revised from the list I posted back just past the mid-point of the year:

Here are my favorite films of 2015. Some are actually from last year, but were not officially released until this year.

I’m relieved that I saw a few non-thriller/horror films that pulled me in. At the mid-point nearly all were horror movies. It has been a particularly strong year for Art Horror. Interestingly, one of the best films I’ve seen this year was a horror film that is not being released until 2016. This is despite much positive buzz on the Film Festival circuit. But you will not want to miss Robert Eggers’ The Witch.

The film may not have been exceptional, but Michael Fassbender didn't just seem to "play" the role -- for the span of the film he literally seemed to be Steve Jobs. A performance that should not be forgotten. Michael Fassbender as STEVE JOBS Danny Boyle, 2015 Cinematography | Alwin H. Kuchler

The film may not have been exceptional, but Michael Fassbender didn’t just seem to “play” the role — for the span of the film he literally seemed to be Steve Jobs. A performance that should not be forgotten.
Michael Fassbender as
STEVE JOBS
Danny Boyle, 2015
Cinematography | Alwin H. Kuchler

A number of movies that I thought might make my list just didn’t: Steve Jobs, The Walk, Carol, MacBeth, Crimson Peak, Anomalies, Room and High Rise struck me either as merely “good” or “interesting.” None were films I’d want to see again. But it is my opinion that Michael Fassbender and Brie Larson gave the impressive performances by leading actors. However, I could make an easy case for Josh Lucas’ brilliant performance as “Matt” in The Mend. But I still lean toward Fassbender’s ability to so effectively capture the truly iconic and historic master of design and marketing. I have not seen female actors come anywhere close to what Brie Larson manages to do in Room. Though Rinko Kikuchi’s work in The Zellner Brothers’ Kumiko The Treasure Hunter comes close.

An odd film becomes "realistic' thanks to Brie Larson's turn as "Joy." In my opinion this was the most solid performance from a female film actor in 2015. ROOM Lenny Abrahamsson, 2015 Cinematography | Danny Cohen

An odd film becomes “realistic’ thanks to Brie Larson’s turn as “Joy.” In my opinion this was the most solid performance from a female film actor in 2015.
ROOM
Lenny Abrahamsson, 2015
Cinematography | Danny Cohen

Both Cate Blanchett and Rooney Mara did exceptional work in the Todd Haynes latest film. The problem for me is that Carol seemed so intentionally artificial that what they both did seemed more like “performance art” than human reflection. Several other acting turns were magnificent this year: The already mentioned Josh Lucas in The Mend, Elizabeth Moss in Queen of Earth, Anne Dorval in Mommy, Paul Dano in Love & Mercy and  Sidse Babett Knudsen in The Duke of Burgundy all blew me away. Both James Hebert in Two Step and Sheila Vand in A Girl Walks Home Alone at Night made an incredible impact as relative unknowns.

A parody of usefulness... Josh Lucas THE MEND John Magary, 2014 Cinematography | Chris Teague

A parody of usefulness…
Josh Lucas
THE MEND
John Magary, 2014
Cinematography | Chris Teague

Seth Rogen also scored in his portrayal of Steve Wozniak to Fassbinder’s Steve Jobs. Of course there are the two respective turns by Sally Field in Hello, My Name Is Doris and Lily Tomlin in Grandma. Both are exceptional, but neither are required to deliver more than variations of their personas. It worked for both, but neither exceeded what I’d expect from seasoned professional actors.

My list is in no particular order and I’m really not sure which is my absolute favorite film of the year. If I was pressed against a wall I’d probably say it was between Rick Avlverson’s Entertainment and Ana Lily Amirpour’s A Girl Walks Home Alone at Night. But wait! What about Miroslav Slaboshpytskiy’s The Tribe? That was amazing!  Oh! And what about both Kumiko The Treasure Hunter? And what of Peter Strickland’s The Duke of Burgundy? I am just not sure which of these is best. Each of these films is unique unto itself with all have very different intentions and ideas.

See? I can’t ever pin-point just one film. Normally I require myself to restrict my list to only 10 films. But I was thinking: As this is my blog I will simply list the films that made my list of the best.  So, in no particular order…

My Favorite Films Released in 2015

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“Hi! I didn’t mean to scare you.” CREEP Patrick Brice, 2014

Technically, Patrick Brice’s film is from 2014. However, it was not released until this year. This has been a great year for Brice as a film artist. He had two film release credits to his name. His second film, The Overnight, offers itself as a very serious comedy that works quite well. But it is his collaboration with Mark Duplass that makes my list. The brilliance of Creep is largely fueled by the naturalistic performances from both Brice and Duplass. Fully plugging into Duplass’ sweet scrabby puppy dog charisma and channeling that into capturing an uncomfortable ambiguity within Brice’s own character’s fear. This odd perspective is explored just far enough to divert the audience. Creep carries itself with a darkly comic wink, but there is something far more sinister just out of the frame. Running just at about 80 minutes in length, Brice delivers a movie that elevates the concept of “found footage” to a new place and a new direction. On the surface, Creep is a fun adult horror movie. It is long after the credits roll that the underlying power really “creeps” up. This is an entertaining and deeply disturbing little movie.  Sure, it’s only a horror movie. Now, keep telling yourself that as you realize that what you’ve just seen could not only happen — it most likely has. Exceptional film.

Staying closely connected to the idea of “fact is stranger than fiction,” comes Alex R. Johnson’s Two Step. This surprising independent film lead the audience in one direction and then up-ends the whole concept down a completely different road. Johnson’s feature length directorial debut is a stunner.

TWO STEP Alex R. Johnson, 2014

TWO STEP
Alex R. Johnson, 2014

It is a rare talent to be able to do this much with a limited budget. It is all the more amazing that this filmmaker is able to take the “predictable” and twist it into something altogether “UN” predictable.  Another major asset for Two Step is the outstanding cast of actors. Every actor delivers strong and believable turns. Beth Broderick and Skyy Moore stand out in two of the film’s key roles. But the heavy hitting player is James Landry Hebert who not only brings a presence that fills the screen, it manages to raise the bar for capturing the cruelty of a “bad guy.” Watching Hebert in this role feels like we are watching a movie star who is destined to break big. This is an edge of the seat experience. An engaging, entertaining, intense, suspenseful and often shockingly brutal study of smalltime crooks. The film edges toward a truly menacing, horrific and unforgettable cinematic impression. Similar to but minus the dark humor of Creep, Two Step ‘s  most unnerving aspect is that nothing we see is outside the realm of realism. If you’ve not seen it, be prepared. This is one surprisingly mean and twisted little movie. Alex R. Johnson is another filmmaker to watch. And his supporting actor, James Hebert, is a promising actor. I would be surprised if he doesn’t have a major career ahead of him.

Next on my list is Love & Mercy.

"I was sittin' in a crummy movie With my hands on my chin All the violence that occurs Seems like we never win...: - Brian Wilson The only thing is there is nothing "crummy" about this film... LOVE & MERCY Bill Pohlad, 2015

“I was sittin’ in a crummy movie
With my hands on my chin
All the violence that occurs
Seems like we never win…: – Brian Wilson
The only thing is there is nothing “crummy” about this film…
LOVE & MERCY
Bill Pohlad, 2015

From beginning to end, a near flawless film. Paul Dano (as young Brian Wilson) and John Cusack (as middle-aged Brian Wilson) are fantastic. However, it is Dano who really appears to capture the essence of the troubled American genius. Even with a somewhat limited budget, this film rises far above the bar of celebrity stories. The film is far less concerned with The Beach Boys history or music as it is with the way creativity and mental illness form a unique, disturbing and magical dance. This is a director’s film. Bill Pohlad’s film is equal parts interesting, innovative, creative and astounding.  Unexpected and magical. I find it difficult to find any faults here. Love & Mercy lacks nothing.

Watching Xavier Dolan’s Mommy unfold is a mixture of annoyance, amazement and ultimately astonishing.

MOMMY Xavier Dolan, 2014

MOMMY
Xavier Dolan, 2014

The young director truly finds his footing between “artsy” and “eclectic” in this deceptively simple story of mother trying to come to terms with her son’s mental challenges. Dolan’s cinematographer, André Turpin, applies the director’s idea of trying to find a visual way to capture the limited and isolated reality that traps both mother and child. It is a bit challenging to adapt to this screen ratio in a cinema. In fact, if the cinema had not warned the Canadian audience, I think we all would have thought there was some sort of projection problem. As our eyes and senses adjust to both the visual concept and the intensely dire circumstances of the plot, there is no turning back. Dolan’s visual idea is fantastic. It is a transportive device. And if there are any people out there who have doubted Mr. Dolan’s skills, this movie should have put those thoughts to rest. This is a potent gut-punch of a movie! See it!

Next on the list is a whole new sort of twist on The American Movie Western. Slow West ‘s  Kodi Smit-McPhee’s character reads a poster, he is quietly corrected:

“Wanted Dead or Alive…”
“Dead or Dead, kid.”

This was used as John Maclean’s Slow West movie’s tagline. It is one of those rare marketing moments when the tagline truly fits the film it seeks to catch your attention.

"So, now... East. What news? "Violence and suffering. And West?" "Dreams and toil." SLOW WEST John Maclean, 2015

“So, now… East. What news?
“Violence and suffering. And West?”
“Dreams and toil.”
SLOW WEST
John Maclean, 2015

John Maclean’s Slow West defies expectations and stereotypes. Featuring some remarkable performances from Michael Fassbender, Kodi Smit-McPhee, Ben Mendelssohn and many others — this movie is aiming far higher than a genre film. This UK-New Zealand Independent Film takes the ideas of a The Wild West and the American Pioneers and delivers something altogether different and new. There is a constant sort of struggle going on between “myth” and “reality.” To further the point, Maclean’s film constructs itself from a rather tepid story into something far deeper. The subversion and dark humor only drive the heart of this film further.  Slow West is a darkly comical, brutal and violent examination of survival and determination.  But make no mistake, this amazing movie is all heart and incredibly human. Survival of the fittest means a great many things. And almost all of them are examined in one way or another within the confines of this movie.

Another film dated back to 2014 but released in the US early this year, Catch Me Daddy is another film that examined to what extent we humans will go to obtain freedom and personal chosen destinies.

"A great bird landed here. Its songs drew men out of rock. Living men out of bog and heather. Its song put a light in the valleys and harness on the long moors. Its song brought a crystal from space and set it in men's heads. The bird died. Its giant bones blackened and became a mystery. The crystal in mens' heads blackened and fell to pieces. The valleys went out. The moorland broke loose." CATCH ME DADDY Daniel & Matthew Wolfe, 2014

“A great bird landed here. Its songs drew men out of rock. Living men out of bog and heather. Its song put a light in the valleys and harness on the long moors. Its song brought a crystal from space and set it in men’s heads. The bird died. Its giant bones blackened and became a mystery. The crystal in mens’ heads blackened and fell to pieces. The valleys went out. The moorland broke loose.”
CATCH ME DADDY
Daniel & Matthew Wolfe, 2014

Daniel & Matthew Wolfe’s film begins as a steady slow burn that quickly boils into a sort of cinematic rollercoaster of suspenseful human horror.  An unrelentingly dark glimpse into an under-belly of current Britain. This film is not afraid of offending. In fact, I suspect these two filmmakers would be upset if some were not offended. Often shot in a bright neon candy drench, the film wisely allows the audience to put what we are initially seeing together. This is about as far from mainstream formula filmmaking as it gets. Solid performances and brilliant use of music propels the audience on a cinematic ride that is impossible to stop. Even as we swoop down and start our way back up to a final drop, we can’t help but look. Knuckles turning to white as we slam down the the track, we are on the edge of our seats waiting to see where this ride is going to take us.

Catch Me Daddy is a dark vision that refuses to be ignored or dismissed. A stunning cinematic experience that deserved a better theatrical distribution.

I was largely disappointed with what the major studios released this year, but there were some exceptions. Disney’s Pixar released Inside Out and it blew me away.

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“I’m Sadness.” “Oh, hello! Uh, I’m Joy. So, could I just… If you could… I just wanna fix that. Thanks.” INSIDE OUT Pete Docter & Ronnie del Carmen, 2015

It took me far too long to finally see Pixar’s Inside Out. Pete Docter and Ronnie del Carmens’ film has a whole lot going on — funny, sad, touching, clever, innovative, intelligent and all around brilliantly conceived reflection of the inner-workings of the human mind.  It’s hard to conceive anyone not enjoying this film. It’s appeal is not limited to children. In fact, there is a great deal here that will most likely soar over the heads of many children. I was captivated. Exceptional from all vantage points. I’m not a big fan of animation, but this one really caught my attention.

Unless you live in a major city, it is quite possible that you totally missed Roy Andersson’s fascinating Swedish film, A Pigeon Sat On A Branch Reflecting On Existence. If you did, time to catch up. It is now available via VOD.

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The final installment of his “Living Trilogy” is a series of sketches tied together with common themes. A Pigeon Sat On A Branch Reflecting on Existence Roy Andersson, 2014

Roy Andersson’s final film of his “Living Trilogy” is my personal favorite the series. Featuring some of the best droll humor and exceptional set design captured with Istvan Borbas and  Gergely Palos’ stilted cinematography, this is a droll masterpiece.  Essentially a series of sketches loosely tied together by a pair of hapless, depressed and angry “entertainment” salesmen “dedicated” to bringing joy to their customers.

Starting with topics such as death and dying to the futility of lust to the cruelty of human nature to one of the most disturbing metaphors for the true horror of European Colonialism — our salesmen sort of fumble their way through it all.This film is more likely to put more people off than it entertains. That being stated, I was deeply entertained. Intentionally slow and awkwardly paced, this is Absurd Surrealism at it’s most comic and effective. Totally matching my own personal cinematic tastes, Andersson had me within the opening 4 minutes before the credits even begin. A Must see!

And then the surprisingly artistic cinematic journeys into the realm of Art Horror…

It-Follows-Movie-Poster

“It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you.” IT FOLLOWS David Robert Mitchell. 2014

It amazes me that David Robert Mitchell made It Follows for just at $2,000,000. This film is more sleek, professional and better crafted than most films with a budget towering closer to $50 million. An impressive feat to say the least.

The film is masterful from every perspectives. Mitchell has created a sort of alternate world in which his characters and story reside. This world feels “familiar” but somehow none of it is quite right. It seems like we are in a sort of dream where everything seems like it could be from another era — even as far back as the mid-70’s — yet there are cell phones and modern cars, but there do not appear to be any modern televisions or computers. Instead, this is a world filled with typewriters, somewhat out-dated medical supplies and odd mixtures of clothing/hairstyles that don’t quite seem “current” or appropriate to the 21st Century. This disoriented world helps Mitchell achieve a deeply creepy vibe that starts almost immediately.

Horror does feels like the main goal of this movie. Mitchell is more concerned with psychology, paranoia, sex. And most specifically a sort guilt or worry attached to casual sex. The lead characters fears are immediate and are presented as “fact” — these paranormal stalkers are unnerving. As Jay’s fear and paranoia take over her life, she finds herself facing ethical decisions which she quickly dismisses. Jay is being stalked not only by some sort of paranormal rage, but guilt.

The importance of this smart and polished movie is the way Mitchell manipulates every aspect of his production to create an almost immediate tone of danger/doom. This tone is carefully articulated that it becomes a character. More profoundly creepy than scary, It Follows slips under your skin long before you recognize it.

The entire cast is exceptional, but it is the synthesis of cinematography, musical score, precise editing and such well planned writing fuses into an absorbing and unforgettable film. Mike Gioulakis’ cinematography and Rich Vreeland’s retro score deserve a great deal of credit. And Julio Perez IV demonstrates film editing at its best. But this film is clearly constructed by its director. David Robert Mitchell provides many clever details that draw viewers back for repeated viewings. A great example: An abandoned “Foursquare” style house in which the characters explore. It is not clear if Jay or any of the characters realize why this construction is so related as means of hiding and escape, but we are. A partial reading from a T.S. Eliot poem is also another way of articulating what is happening. If you enjoy horror or experimental films, It Follows will satisfy fans of both genres. I suspect that love and admiration for this film will only grow stronger as time goes on.

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The hierarchy and corruption of a sort of boarding school for the deaf becomes something of staggering depth. The Tribe Miroslav Slaboshpitsky, 2014

Like the majority of filmmakers working out of Eastern Europe, Myroslav Slaboshpytskiy’s The Tribe is about as dark, bleak and grim as cinema can get. It is also something dramatically different than I’ve ever seen on a movie screen. The plot of the film revolves within and around “life” in a sort of dystopian school, shelter, home, trade school or dorm for The Deaf. The true purpose of where we find ourselves is suspect.

No auditory speaking, no subtitles — essentially no sound save the breathing and movement of fingers, hands and arms. This is not some cheap marketing stunt. This is pulling the audience into the perspective of the characters who do not have the benefit of sound. We are essentially pulled into a “world” within which we have no way of easily understanding what is being communicated. The impact is almost without measure.  Myroslav Slaboshpytskiy’s cast is deaf. They communicate in sign language which very few of us actually know. To the director and the casts’ credits, it doesn’t take us long to determine what is going on, but it does serve as a sort of portal toward metaphor and allegory that would not exist without this challenging perspective.

Welcome to a world where all understanding and communication is stolen. Welcome to the world of The Tribe.

Cinematographer, Valentyn Vasyanovych, captures everything in an almost formalist and interesting set of long-takes. The art of cinematography is crucial here and extraordinary. Without question, we would be watching closely anyway, but Vasyanovych’s work lends itself to pulling us even closer in our almost dazed gaze. When our main character shows affection toward another, the possibility of being loved seems cruel to the other. Not fully certain what is stated between these two young people, but it certainly feels as if “Anna” feels that there is no room for “love” within the world in which both are trapped. The scenes between Anna and Sergey are intense, erotic and frightening. Partly because we are never sure exactly what is being communicated. Their argument seems like an outburst of violent gestures, grunts and thumps. The sexual intimacy is both beautiful and somehow disturbing. Especially given what we learn is actually going on within this dark and fractured world of a state-funded (?) school / dorm. There are a great many disturbing aspects in The Tribe. In fact, some of this film is more than a bit difficult to watch. And watching is key here. We have no choice but to watch, to blink or look away is to miss out on vital information about his grim world.

This film is a traumatic reminder to the audience who only have limited access to this tribes’ world. In more than a few ways we are transported and trapped within their world. Certainly not an easy film. But the vitalness and the cinematic magic is impossible to deny. And in my opinion, it would be tragic to miss this movie. An unforgettable sort of silent movie. …with no title cards to guide you. Sadly The Tribe received a very limited US release. But it will be coming forward via VOD, DVD and Blu-ray soon and is already available in the UK. If you love the art of film, you will not want to miss The Tribe.

One film that really surprised me was a movie that never seemed to capture the attention of audiences or film critics as it really should have: Hannah Fidel’s 6 Years.

"I can't not see you every day. I can't not be with you." 6 YEARS Hannah Fidell, 2015

“I can’t not see you every day. I can’t not be with you.”
6 YEARS
Hannah Fidell, 2015

“6 Years” is not an obvious film, but it may have been the way the film was marketed and filmed that confused potential viewers. At a time when it is literally almost amazing that any woman is able to command a film both as Director and Writer, it disappointed me that Fidell received such little support for her film. Brutally honest, 6 Years offers a great deal of insight into the messiness of the human condition. After six years of times spent in love, a couples’ mutually shared lives are on the cusp of major change. The question Fidell’s film poses is notWill they be able to make it work?” The question here isShould they even try to make it work?

As in “real life” — the answer is not simplistic or easy to face.

6 Years explores a relationship from a perspective that few filmmakers have been willing to take. This film isn’t aiming to provoke. It aims to be honest. Taissa Farmiga, in a role that comes close to equaling the skill of her older sister, plays a young woman with some very serious issues. As kind and loving as “Mel” is, she can be equally abusive. It doesn’t take long to realize that this beautiful and seemingly petit woman has very little control over her anger and frustration. Thanks to the filmmaker’s script, direction and her leading actors’ skills — this topic does not have to be discussed or overly analyzed. 6 Years presents the male of the relationship as the one who is actually the most vulnerable. “Dan” has no recourse. He has no way of protecting himself. He could, but to do so could harm the person he loves and could potentially crash his entire future. Ben Rosenfield’s performance is the magic of the film. He is able to portray “Dan” in a compelling mix of love, hurt, fear, anger and confusion. These are two actors to watch. A great deal of skill is presented by both from the film’s start to finish.

This is not your average cinematic “love story.” But this is most certainly about two people who are very much in love. The use of romantic tone is counter-balanced by the startling honesty with which the film bluntly steers us. Within the first few minutes, Hannah Fidell drenches her film in the glow of teen romance. Rays of sunlight drip over her two lovers as if waiting for a pop ballad to fill the aural space around them. This is not a mistake. It was a smart choice. The sunlit-kissed and dewy world of 6 Years, both informal and lush, reminds us that we are entering that magical and exhilarating feeling of first love. And this is true love. These two people have not yet forged forward enough into life to be fully weary, tired or jaded. They are young and full of promise. The power of their connection resonates and entices. So when our two protagonists come to the crucial moment of answering the film’s core question, it makes the reality of the film all the more potent. 6 Years is exceptional and deserves attention and a critical revisit by many.

When Elisabeth Moss’ Catherine smiles and jokingly says to her best friend, “Thanks for the exile.” It is more than half way through Alex Ross Perry’s odd film that we realize that a whole lot more can be read into Catherine’s seemingly sweet note of thanks to her pal. Welcome to the unique and somewhat familiar universe of Queen of Earth.

queen-of-earth-poster-07252015

Alex Ross Perry’s film is clearly inspired by several key films of Robert Altman, Roman Polanski and even Rainer Werner Fassbinder. But make no mistake: This film is absolutely true and unique unto itself. Carefully articulated and masterfully crafted, this film never veers. And if the audience is able to channel back to the idea of psychological melodramatic Surrealism, it will hold attention from beginning to end. It is as if the writer/director has created the perfect cinematic symphony with an orchestra full of exceptional players: Keegan DeWitt’s musical score, Sean Price Williams’ cinematography, Robert Greene’s tight editing and three actors in key supporting roles — all pull together to form an ideal “stage” for the Perry’s two key leading ladies.

Katherine Waterston’s portrayal is a mix of “ice” and “fire.” She moves about the film fully formed like twisted idea from a Modigliani painting merged with a 1970’s Holly Hobby Doll. But the heart, soul and ultimate power emanates from Elisabeth Moss. The camera seldom moves away from her and you don’t want it to — she is captivating and brilliant. Alex Ross Perry has created a real bit of magic with Queen of Earth. Despite a low budget and an idea that seems ripe for parody — he has created a stunning film as interesting as it is disturbing. Long after the film ends, the true horror of what has been played out takes on a deeper and more sinister element. This is most especially true when we realize that the ideas of reality, dream, paranoia, anger and insanity reach points where it is impossible to know what has actually happened. I’ve not been able to get this film out of my head since I saw it.

As much as Queen of Earth caught me off guard, John Magary’s The Mend threw me off the road.

Brotherhood explored in a whole new way... THE MEND John Magary, 2014

Brotherhood explored in a whole new way…
THE MEND
John Magary, 2014

This is John Magary’s feature length film debut is impressive. In fact, there is no sign of a first time filmmaker to be found. And he was blessed to secure Josh Lucas as Mat. Lucas delivers his best on-screen performance thus far. Essentially an incisive character study of two brothers. Both are miserable. One represses everything and attempts to force his way through. The other, Mat, seems to have slipped into an empty world of damage. As cruel as it is deeply and artistically insightful. These brothers are caught in vicious cycle of dysfunction that may or may not have been “passed-on” or “pulled” into their respective psyches. Often very angry, grim, profane and always somehow consistently subversively comic — Magary’s movie does something almost unheard of as we move well into the first quarter of The 21st Century, it is original in every way. This is not a celebratory man-boy movie. Nor is it comfortable with positioning itself as a revelatory study of family healing. The Mend reminds me a great deal of loose comedy I would expect to see come to us from France. This is a smart movie. Realistic and non-satirical, there is nothing cute or twee here. A bit like a dirty puppy you can’t decide to pet or lock out of your home, this film is compulsively bounding about with little to no concern for things that get broken as it runs about. This surprisingly dense film stays with you and invites repeated viewings. And it gets better every time I see it.

Filming with smart phones... TANGERINE Sean Baker, 2015

Filming with smart phones…
TANGERINE
Sean Baker, 2015

Sean Baker’s Tangerine is raw, crude, profane and full of heart. It also happens to very funny. Filmed using only iPhones and other smart phone related devices, Baker creates an unexpected and effective look for the movie. The film follows two girlfriends on Christmas Eve into the early hours of Christmas morning. These are two trans-women of color. They also happen to make their livings as sex workers. Kitana Kiki Rodriguez’s “Sin Dee” has just been released from a month stay in jail. Her best and far wiser pal, “Alexandra” (played with equally realism by Mya Taylor) makes the mistake of mentioning that Sin-Dee‘s man has been having an affair with another woman. …A non-trans-woman!!!  News of this sends Sin Dee into a full-on freak-out which we quickly suspect is a daily part of her routine. We follow these two friends and a taxi driver pursuing their day. There are a number of reasons this film works so well. The actors are pitch-perfect in their roles. Nothing happens that isn’t believable. And Baker smartly offers no excuses for or judgements on his characters’ lives. These people are presented for who they are. Also, as sordid as the movie gets, this is really a film about survival and friendship. Rodriquez and Taylor manage to consistently convey a kindness beneath the rough demeanors. The fact that the film is focused on two Trans-women and people who love them is not presented as plot. It is presented as a matter of fact.  See it.

Jason Banker’s second feature-length film, Felt, is possibly the most polarizing movie released in 2015.

Felt Jason Banker, 2014

Felt
Jason Banker, 2014

The San Francisco audience sat in silence as the credits rolled. The majority of the audience was female. I am male. But I approached and discussed the film outside with three young women. They were obviously shaken and unable to articulate how they felt about Felt. But each agreed that Banker’s movie conveyed an all-too real experience. The most expressive of the three women told me, “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 agreed, but none could articulate why. As I walked away one noted to me, “Actually, it was in that movie.

The first line of the movie is “My life is a fucking nightmare.” It is delivered in an almost “little girl” voice of a young adult woman. The woman is our protagonist. Amy Everson is more than the lead actor of Felt, she is also the co-writer of what appears to be a fictionalized and possibly “amp’d-up” version of her own experience. The movie’s Amy has obviously survived some form of sexual abuse. The actual abuse is never stated or confirmed, but it clearly happened. Her friends want to help her, but are growing weary of her coping skills. Not only have these skills become isolating, they are provocatively inappropriate and she is becoming too over-protective of them. Amy creates artwork and most importantly artistic costumes in which she has allowed herself to find her inner-strength and push away her fears of men. The costumes are perversely anatomically-correct. She has found a way to funnel her anger and fears through her art. The dark side of this coping method is that her once comforting art (stylized armor to self-protect) has begun to form into a sort of weapon with which she can project. “Armors” made of felt is starting to fuel a fantastical idea into a warped realistic alternative.

We see Amy in several scenes with single men of her own age. These scenes feel so real it hurts to watch. Each of these interactions reveals aspects of male behavior about, toward and with women. It is unsettling. The men Amy meets are dismissive, aggressive, inappropriate and passively menacing. If there is even an initial “friendliness” — it quickly feels false as a sort of menace or agenda seems to constantly be put into play. Her girlfriends seem to be “aware” of this, but almost come short of stating that it is easier to just “accept” the cultural misogyny. In essence it appears that Amy‘s more well-adjusted and functioning friends have and are assimilating into “Rape Culture.” The film is a slow-burn that seems to ask one core question: “How does a sexual assault victim heal in a world that almost seems to support the assault?” By the time a seemingly understanding and caring male (played beautifully by Kentucker Audley) enters her world it might be too late.

Bold, disturbing and infuriating, Felt is a movie that seeks to provoke. Jason Banker has filmed it all within the framework of Art Horror. The artistic mastery of his filmmaking can’t be denied. The casting of a non-actor in the lead role she has inspired is the film’s weakest link. However it does feel as if Amy Everson’s mono-tonal and expressionless visage often feels as if it might have appealed to Banker’s intentions. Amy wanders and wonders throughout the film as if numbed to her own body. Felt spews a firm depiction of cultural/societal misogyny that never seems to wain. Inappropriate and angry, Felt offers no middle ground. Audiences either hate or love it.

 

 

When Gregg Turkington appears on the screen of Rick Alverson’s Entertainment as Neil Hamburger, you know you’re in for a unique film experience.

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“Why? Whyyy? Whyyyyyy?!?!?!?!” ENTERTAINMENT Rick Alverson, 2015

Gregg Turkington (AKA Neil Hamburger) plays The Comedian. Our comedian is on a tour of Mojave Desert run-down nightclubs as the headlining comedian. With Tye Sheridan as his Opener Act, it is clear that this kid’s rather ironic clown-act is a more pressed and post-modern take on what The Comedian is trying to do. Subverting normal cinematic convention, Rick Alverson takes us into the increasingly disturbed mind of a depressed, aging, failing and lost comic. The Comedian‘s self-loathing and existential crisis start out as rants to the audience and then quickly escalate via a series of increasingly strange and surreal encounters and experiences. John C. Reilly makes a great appearance as a somewhat “defective” but concerned cousin. Michael Cera and Amy Seimetz also pop up along the tour.

Profoundly strange, magical, grim, comical and impossible to forget. Rick Alverson has crafted an amazing experimental film. Entertainment is his best work yet and one of the most impressive films to screen this year.

When Cynthia’s lover, Evelyn, assures her by saying, “I love you. I know I have a different way of showing it. But I love you.” It is hard to know if her idea of “love” is far more “show” than “true.” Of course, in a relationship true knowledge of the other is sometimes places on unquestionable ground. Peter Strickland’s The Duke of Burgundy presents a great deal more than expected.

"Would a human toilet be a suitable compromise?" THE DUKE OF BURGUNDY Peter Strickland, 2014

“Would a human toilet be a suitable compromise?”
THE DUKE OF BURGUNDY
Peter Strickland, 2014

It is interesting to note that Peter Strickland’s initial motivation to make this film was inspired by the early sexploitation films of European filmmakers like Jess Franco and Jean Rollin. Just as 2012’s Berberian Sound Studio sprouted from an interest in the infamous giallo Italian films of the 1970’s, The Duke of Burgundy is only loosely tied to Franco and Rollins’ cinematic ideas. While Berberian Sound Studio took place in the paranoid psychosis created by assisting in the sound design of a giallo horror film, that movie went some place far deeper than giallo ever ventured. The same can be said of Strickland’s latest film which follows two lovers as they approach a troubling shift in their relationship. Carefully and artfully constructed, the film’s lush and surreal setting serves as more than an erotic set-up. Peter Strickland refuses to restrict his story to the limitations of eroticism or to the perverse objectifications of the couple’s BDSM games. As the meticulous film unfolds, there is an unsteady feeling that The Duke of Burgundy has no limits. This film offers its audience no safe word.

While the film is ripe for erotic exploration, Strickland and cinematographer, Nicholas D. Knowland, apply surprising restraint. Whereas Franco or Rollin would have felt the need to push the boundaries of KINK or nudity or introduce a full-force menace, Strickland actually goes to the most vulnerable aspect of humanity. This is a film of the heart. This is less about kinky sex games as it is more about love that has begun to bore, sour and fade. Despite the many uses of Surrealism and Cinematic Metaphor, this movie is about two people who must either accept the other’s need for power or refuse it and move forward.

Sidse Babett Knudsen and Chiara D’Anna are both up to the films challenges. And they are challenged. Much of what we learn is told in their eyes, movements and phrasings. For a film so firmly rooted in a lesbian couple’s sexual games, one might anticipate that there would be a high degree of eroticism. What might have once been a mutual erotic game of desire has grown into twisted ritual that could easily be misread as a cruel boss and her over-worked maid. Only one lover is being satisfied. The attraction of mutually shared joy related to entomology appears to be the only truly intimate connection. Hence the film’s odd title, The Duke of Burgundy is a type of butterfly unique to southern England’s spring butterfly. But even this connection is becoming a challenge for both. As we watch the two women listening or leading lectures to other entomology-concerned women, we notice that there are perfectly dressed and coifed mannequins sit in the audience with the live women.

More neurotic than erotic, the characters fight to stay within the lines constructed by desire. One or possibly even both feel as if intimacy has reduced each to mannequins being placed in position. As often the case, the bottom is the master. The top or dominating is actually the slave. This film’s meaning is not limited to a lesbian relationship or BDSM. This is a film about love and trying to work through the challenges of a relationship. Unlike those mannequins seated for the lectures, this film is alive, vibrant and pulsating with blood and tears. And by the time reaches the ending point we understand that both women are vested to each other, but can love survive such rigid rules and restrictions? Strickland’s movie is spot-on and unforgettable.

A kind older woman offers a bit of insight to her uncomfortable house guest who she has mistaken for a Japanese tourist, “Solitude? It’s just fancy loneliness.” This comment offers no solace to the heroine of The Zellner Brothers’ Kumiko, the Treasure Hunter.

KUMIKO THE TREASURE HUNTER David Zellner and Nathan Zellner, 2015

KUMIKO THE TREASURE HUNTER
David Zellner and Nathan Zellner, 2015

David and Nathan Zellner’s film is an abstractly loose variation on an actual incident involving a Japanese woman who died in the unforgiving climate of Fargo’s winter. The real “truth” was she was there to revisit memories of a past love before killing herself. But due to misunderstanding her English prior to her death, a false rumor began to morph into a “truth” that she had traveled to Fargo to find what she “believed” to be the stolen money buried in The Coen Brothers’ 1996 film, Fargo. Kumiko, Treasure Hunter plays with the the idea that has remained firmly grounded in the realms of urban myths generated by The Coen Brothers movie.

Ringo Kikuchi gives a painfully realistic performance of a woman so depressed and detached from her own world in Tokyo she has begun to slip into a world of isolation and retreat. Kumiko has lost the ability to apply logic. She no longer knows reality from fantasy. Wisely, it is never explained why or how Kumiko manages to “unearth” a battered VHS tape of Fargo. But it is clear she mistakes that iconic film’s opening statement, “This is a true story” for “fact” and assumes she is seeing some sort of documentary. Her inability to apply logic to her situation and desires leads her to abandon everything, including her beloved pet rabbit, to find her way to Minnesota in pursuit of what she now perceives to be her life’s mission. She is hellbent on finding that case of money she saw Steve Buscemi burry in the snow.

David Zellner’s film is even more quirky than Coen’s Fargo. This quirkiness is established in the ways we see a clearly unstable woman interacting with her Japanese peers, boss, family and the local Americans as she refuses to relent in her pursuit. It is a fascinating journey to follow. Mixing realistically comic encounters with the increasing uneasy tone is achieved by a balance of acting fused with effective musical score, elegant editing and stylistic camera work. Sean Porter’s cinematography is of particular note.

The movie is constantly challenging the viewer to know if it is “ok” to chuckle/laugh or if this reaction is inappropriate. Rinko Kikuchi never drifts away from what is clearly a tragically lost character in dire need of help. This entire cinematic experience is both fascinating and devastating in equal measures. Kumiko, The Treasure Hunter is one for whom we cheer. And she is also a tragic parable of humanity pursuing dreams that are impossible to achieve. This masterful film weaves its way into our minds and hearts. One should not miss the opportunity to see this movie. It carries a disarming level of power.

It might be that I will forever remember 2015 as the year that Ana Lily Amirpour made her feature-length film debut. I am unable to choose the best or my absolute favorite film of the year, but A Girl Walks Home Alone at Night is the one I’ve seen the most. Unlike many artists of her generation, Ms. Amirpour appreciates the audience. Clearly intelligent, effortlessly interesting and always engaging when asked to sit down for a Q&A — Ana Lily Amirpour is honest but never at the expense of the individuals asking her questions or offering her insights. Her first film is often compared to the work of Jim Jarmusch. This is not a comparison she can agree with and she handles it with humor and kindness. She is clearly not a big fan of Jarmusch’s work, but she never takes the opportunity to slam him or the idea that he influenced her film. If there is any clear influence that shines through this amazing film it is that of the late 1960’s Spaghetti Western.

The chador as cape... Sheila Vand shows her teeth A GIRL WALKS HOME ALONE AT NIGHT Ana Lily Amirpour, 2014 Cinematography | Lyle Vincent

The chador as cape…
Sheila Vand shows her teeth
A GIRL WALKS HOME ALONE AT NIGHT
Ana Lily Amirpour, 2014
Cinematography | Lyle Vincent

 

I think the reason we think of Jim Jarmusch as we watch A Girl Walks Home Alone at Night is not because it is sleekly shot and designed in black and white. It is because the movie utilizes amazing music, is quietly intellectual and from beginning to end the movie oozes natural cool. The best kind of cool. Amipour’s film never feels like it is trying to be “cool” — it simply is.

The stunning film alternates between being an observation of humanity and vampiric horror.  Ultimately, the stronger emphasis is on loneliness, isolation, the need for acceptance and love. There is actually a whole lot going on in this tight movie. This stylized movie is captivating, magical, mysterious and unique. It is a dark visionary movie that manages to evoke an air of hope. As I watched Ana Lily Amirpour’s film for the first time, I got the distinct feeling I was sharing in the impact and realization that every one of us in that screening room was witnessing the emergence of an important cinematic voice. I’ve lost count of how many times I’ve seen this sleek film. The perfect balance of image, sound and ideas.

It begs for repeated viewings. And it offers something we rarely see in film these days: You hate to see it come to an end. 

I can’t wait to see what Ana Lily Amirpour does next. Her next film is in post-production. I can’t wait to see if I can get lost in it the way I can in A Girl Walks Home Alone at Night.

There are several movies that have yet to open. They are what most would call “Oscar Bait.” The older I get the less patience I have for those kind of movies. I’m not sure if any of my favorite films of 2015 will make it to Oscar consideration. The thing is, this has become more a sign of quality to me than if they were. Let’s reject the brainless mainstream and strive to find art that offers more than the predictable. Support the Film Artist. 

Cool not because it tries to be, it simply is... A GIRL WALKS HOME ALONE AT NIGHT Ana Lily Amirpour, 2014

Cool not because it tries to be, it simply is…
A GIRL WALKS HOME ALONE AT NIGHT
Ana Lily Amirpour, 2014

Matty Stanfield, 11.27.2015

 

 

 

 

 

 

 

 

 

 

 

““Any intelligent fool can make things bigger, more complex, and more violent. It takes a touch of genius — and a lot of courage to move in the opposite direction.
― Ernst F. Schumacher

If ever a filmmaker has attempted to avoid moving his films in a conventional and contrived manner, it would be Benoît Jacquot. This is a film director who aims for realism without offering much in the area of character motivation or any level of explanation regarding the choices, actions and behavior of the character(s.) This mode of pursuit is not unique, but when it comes to several of Jacquot’s films it is an essential choice. This is a choice that many embrace but often more try to reject. And yet, Jacquot’s often quirkily passionate films have a way of lingering on in our memory. They should not be easily dismissed.

Pas de scandale / Keep It Quiet Benoît Jacquet, 1999

Pas de scandale / Keep It Quiet
Benoît Jacquet, 1999

I had just hit my 30’s when I first volunteered for both The Boston Film Festival and the then fairly newly established Boston French Film Festival. I knew a great deal about movies and was not dazed by the idea of “celebrity.” Not one to be intimidated or one to be intimidating in my communications, over a couple of years I began to be offered more interesting opportunities. Sadly, my professional life prevented me from becoming too involved. Even still these were eye-opening experiences.

Appropriately titled... À ma soeur! Catherine Breillat, 2001

Appropriately titled…
À ma soeur!
Catherine Breillat, 2001

One film that had come to the attention of both festivals was Benoît Jacquot’s Pas de scandal (or No Scandal.) Jacquot was most assuredly established within the world of International Cinema. His 1995 film, A Single Girl, which attempted to adhere to the style set forth by Agnès Varda’s Cléo from 5 to 7, had been embraced. Any discussion of A Single Girl without reference to the La Nouvelle Vague would be a crucial mistake. Another crucial aspect of Jacquot’s A Single Girl that must be mentioned is it’s complex simplicity. Virginie Ledoyen’s “Valerie” is not dealing with her immortality as Varda’s “Cleo.”

This is not to say that Valerie doesn’t have a great deal on her mind. Just starting a new and often humiliating job at a swank hotel, she is pregnant and increasingly stubborn in not wanting marriage or support from the child’s father. This independent choice is not so much a statement of Valerie’s individuality as much as it is tied to a young woman’s often irrational and immature reaction(s) to the situations into which she finds herself. She is rebellious. She is determined. She is manipulative. She can be cruel. She can be kind. She is intelligent. Most of all, she is unpredictable.

La fille seule / A Single Girl Benoît Jacquot, 1995

La fille seule / A Single Girl
Benoît Jacquot, 1995

As Jacquot follows Valerie throughout her first day of new employment, it is filmed in “real” time. Whatever we learn about his central character is largely limited to the way she pursues her day. And the way she pursues it does not always make logical sense. But how many of our own actions are consistently logical? This film arrived at just the right time to catch audiences attentions. The film was highly valued despite a number of production goofs. One of the main issues with A Single Girl is the low-budget style of filming on the busy streets of Paris. In more than a few scenes we see Parisians and tourists staring at the camera and small film crew. It didn’t matter, the lead actor’s presence, beauty and skill merged with Benoit Jacquot’s story and camera were a perfect match. And it wasn’t the bearing of mortality that made the film interesting. It was the often mundane interactions which Valerie often imposes an odd will and assertion that made the awkward all the more strange.

La fille seule was correctly translated to A Single Girl. It was quickly learned that the title for this film’s North American release was to be retitled Keep It Quiet. Yet another odd choice within the realm of foreign film translation to English title choices. My votes for the two most achingly bad translation titles remains Chabrol’s brilliant Merci pour le chocolat which became Night Cap and Breillat’s À ma soeur! which was changed to Fat Girl.

An inappropriate title for North American distribution... Fat Girl Catherine Breillat, 2001

An inappropriate title for North American distribution…
Fat Girl
Catherine Breillat, 2001

A problematic choice to say the least, To My Sister! would have been a far more appropriate title. At the time, it almost felt like the North American distributors seemed to think that Breillat’s disturbing film was not provocative enough!?! The American title leaves an unintended extra sour taste in the mouth. Yet nothing could eclipse the brilliance of this angry and potent 2001 film. À ma soeur! or Fat Girl, an essential chapter in The New French Extreme shocks with a purpose. No title can change that. Sadly, the North American title of Night Cap assigned to Chabrol’s profoundly Hitchcockian bit of dark humor and suspense did confuse many a potential ticket buyer back in the day of its initial release. Merci pour le chocolat appeared to be a quiet and intellectual drama. It was a very poor marketing choice for one of the cinematic master’s finest later works.

However, Keep it Quiet was a surprisingly solid title translation choice for Jacquot’s strange little film. If ever a film appears to excude French culture, it is 1999’s Pas de scandal. The film is simple, yet deeply complex. It concerns a family of wealth. There is a bold honesty constantly at play, but continually muted. The characters carry intellectual, mildly quirky and stylistic personas thanks to their physicality, actions and nuanced glances. Keep It Quiet has an interesting air of sophistication, elegance, intelligence and emotional distance.

Please, whatever you do, do not cause a scene in public. Isabelle Huppert and Fabrice Luchini do not need much in the way of dialogue to express the complex and illogical of their choices and actions. Keep It Quiet Benoît Jacquot, 1999 Cinematography | Romain Winding

Please, whatever you do, do not cause a scene in public.
Isabelle Huppert and Fabrice Luchini do not need much in the way of dialogue to express the complex and illogical of their choices and actions.
Keep It Quiet
Benoît Jacquot, 1999
Cinematography | Romain Winding

What makes Keep It Quiet unique is that while it is all of these things, it is not verbally articulate. One of the film’s core concepts is that none of the three main characters seem to know how to communicate or even remotely articulate their respective feelings and thoughts. The result is a surprisingly charming and sad family study in which the characters act like human bumper-cars. The characters are constantly bumping into each other, but are careful to never crash. No car is completely thrown off the road. However, it is plain to see that all of them would most likely prefer that to staying the course that their respective personal choices, compulsions and obsessions have sent them speeding down an uncertain road.

Released in France and Europe as Pas de scandale (obvious meaning being No Scandal) the film fared well commercially and even better from a film criticism standpoint. But even though the film is blessed with the appearance of rightfully respected International Film Star, Isabelle Huppert, it was barely released in North America. A quick debut at The Toronto Film Festival and a very limited screening in a few major American cities, the film went unnoticed. Part of the challenge faced with marketing this highly innovative film was the fact that it avoided exploration of the transgressive. There is no real violence to speak of, a very brief scene of nudity and sexuality and none of the extremities that French Film was becoming known for a the time. And while the American title makes sense, it is hardly an attention grab.

Fabrice Luchini Keep It Quiet Benoît Jacquot, 1999 Cinematography | Romain Winding

Fabrice Luchini
Keep It Quiet
Benoît Jacquot, 1999
Cinematography | Romain Winding

Fabrice Luchini plays one of two brothers from a French family of considerable wealth and power. The eldest and more business savvy of the two, he has taken over the family business. He has been responsible in building the business into what appears to be an International Empire. Interestingly, we never learn much about the family business beyond it is powerful and creates a great deal of money. While the business has flourished under the elder brother’s leadership, he made some morally and illegal decisions that have caused him to be convicted and serve a time in prison. It is never actually stated what criminal action Gregoire Jeancourt has committed, we determine it was significant enough to cause an national scandal. One could even argue that it is unclear if Luchini’s character actually committed the crime or simply took the fall for the family.

The film begins with his first day freed from prison. Fabric Luchini sits passively with a cup of tea in a cafe. His face has a child-like level of curiosity with hints of sadness. When Isabelle Huppert enters the cafe, we see Luchini’s face light up with hope. Huppert is clearly moved, but it is unclear as to which emotional direction she is moving. Both are uncomfortable. Huppert’s Agnes presents a pleasant but fully removed presence. Yet when she starts to speak Agnes reveals there is a great deal just beneath her distant surface. It is only through an awkward bit of conversing that we realize this is Gregoire’s wife. This is the first time they have seen each other since his imprisonment and declaration of corporate guilt. Agnes’ attitude toward her husband quickly becomes a basic assumption projected onto Gregoire: he seems disoriented, confused and perhaps even a bit insane.

Sighing and lost between the struts and flirts.. Vincent Lindon Keep It Quiet Benoît Jacquot, 1999 Cinematography | Romain Winding

Sighing and lost between the struts and flirts..
Vincent Lindon
Keep It Quiet
Benoît Jacquot, 1999
Cinematography | Romain Winding

The younger brother is played by Vincent Lindon who for a never explained reason(s) was pushed out of the family business altogether excepting a share of the profits. In the meantime, Louis Jeancourt has firmly established himself as nationally admired TV Chat Show host which aims to be intellectually challenging vs. the normal exploitive aim of most popular chat shows. He has lived his live as a playboy. Ever flirting and seemingly ever uncomfortable with any level of romantic commitment. Even more odd than his sister-in-law, he appears to be more than a little uncomfortable with his elder sibling’s release from prison. Less concerned with “seeing” his brother or offering a greeting, Louis is only concerned with how the public will perceive Gregoire and their family name. Like almost every character in Gregoire’s pre-prison life, his brother thinks that there is something emotionally disturbed about his older brother.

Gregoire’s beautiful wife treats him with an icy demeanor and is more concerned with getting to her beauty salon than catching up with her husband. She is even more clear that she holds no sexual interest, when she surrenders to his sexual needs she seems shocked that his focus is more on giving pleasure than taking. No words of this brief, intimate but non-explicit scene are offered, but it seems clear that Agnes is more shocked than aroused by the experience. The husband and wife seem to constantly be in situations in which each wants to state something of emotional importance. Neither are able to do this. Never clearly stated, it would seem that Agnes remains out of duty but her husband yearns to express his love and need for her. In one of the film’s more oddly powerful moments, he tries to make his wife listen to his planned comments for an upcoming national interview. Agnes puts out that she is far too busy to sit and listen to his speech. But when it emerges that the real reason he is wants her attention is not to actually review planned statements but to offer her his personal declaration of love.  When we see a bit of his interview he sits in awkward but oddly comfortable silence. Immune to the questions regarding his guilt and corporate gaul, he simply looks out as if focused on something off in the distance.

The wife and the would-be-mistress remain kind and gentle, but an undercurrent of resentment is just hanging like a vague threat above both of them. Isabelle Huppert and Vahina Giocante Keep It Quiet Benoît Jacquot, 1999 Cinematography | Romain Winding

The wife and the would-be-mistress remain kind and gentle, but an undercurrent of resentment is just hanging like a vague threat above both of them.
Isabelle Huppert and Vahina Giocante
Keep It Quiet
Benoît Jacquot, 1999
Cinematography | Romain Winding

Benoit Jacquot fully employs the use of Olivier Lebé’s lush musical score. The film’s score if of import because during the first half of the film is seems in opposition to the images warmly captured by Romain Winding’s cinematography. Most of all the ambitious and gushing score seems far too musically emotive for the film’s characters and story. As the film develops toward it’s ending point this mismatched music begins to not only work, but has a schism-like impact that fits in nicely with what becomes both a passionate and cleverly intellectual film.

Gregoire may very well be having a sort of emotional break, but it is more likely that time away from his life has given him pause to reappraise his priorities. As he attempts to find a way to fit back into his life, he once again must reappraise his connections to family and his firm. There is nothing at all simple about this movie. Vincent Lindon’s Louis is deeply wounded, limited and afraid of life. He seems to hide behind his public persona to shield himself from having to significantly connect to anyone. Agnes is not the icy and distant woman she seems trying to be. Instead we begin to see that she is a loving and caring mother. We also see that while her love for her husband may be forever tarnished, there is love there. As we see she and her younger brother-in-law interact there is an increasingly uneasy feeling that their relationship has at some point taken a turn for the inappropriate. None of this is ever clearly discussed or validated, but there is a sense that Agnes’ concern for Louis goes far deeper than that of a sister-in-law. In another of the film’s most powerful moments, she and Louis meet for a cup of coffee. As Louis works up the courage to reveal a surprising truth, her intellectual reaction is both filled with humor and logic. Her physical reaction and his to her reveals something far deeper. Is her brother-in-law the actual father of one of she and Gregoires’ children? Or, is there some deeply real romantic desire between them that must remain unexplored?

Is there more here than meets the eyes? Isabelle Huppert and Vincent Lindon Keep It Quiet Benoît Jacquot, 1999 Cinematography | Romain Winding

Is there more here than meets the eyes?
Isabelle Huppert and Vincent Lindon
Keep It Quiet
Benoît Jacquot, 1999
Cinematography | Romain Winding

And as Gregoire’s patience with his family’s dismissal of him as disoriented or a bit insane wears thin, we see him reach out to a young woman who seems less interested than intrigued by his advances. At an uncomfortable and awkward family dinner we realize that Gregoire is far more aware of himself than others are giving him credit. He seems to prefer the company of strangers because he might find more honesty and less animosity. Jacquot’s film takes an unexpected final act twist when the wife finally steps forward with a single sentence that propels the audience to a new understanding of not only the family and the scandal: it provides us with a satisfying conclusion that explains more than it attempts to answer our questions. These actors have not just been playing characters in a story — they have slipped into the personas of the human condition. Suddenly the idea of a plot seems less important than the idea of having watched intelligent and well-intended people wandering confused through a challenging situation. Keep It Quiet is a bluntly realistic film that often pushes against ideas of logic and story-telling. Sometimes the human condition makes little sense from outside perception or even personal introspection. Nothing here is black or white. Nothing is simple, but all the complexities are presented with simple precision. Every shot of this film seems carefully planned. Benoit Jacquot has simply presented the complex.

"Go after him." Vincent Lindon and Isabelle Huppert Keep It Quiet Benoît Jacquot, 1999 Cinematography | Romain Winding

“Go after him.”
Vincent Lindon and Isabelle Huppert
Keep It Quiet
Benoît Jacquot, 1999
Cinematography | Romain Winding

Jacquot seems to be studying the unstated and the unseen. The film is at once limited within it’s own odd universe, yet is a constant reminder that these characters are not as odd as they appear. Does a spouse who has faced public ridicule and inspection due to the other spouse’s criminal activity automatically rush forward to embrace said life partner as soon as he is released from jail? Or does the experiences of dealing with a public scandal fill her with a sort of dread and discomfort at welcoming her husband home? Does the newly freed husband become angry or does this reaction cause further escalation of disorientation? Does his celebrity chat host little brother rush with open arms to his older brother who has just served a year in prison? Or like his sister-in-law, is he apprehensive and perhaps even angry for PR nightmares that the brother’s actions have caused?

Taking Existentialism to a whole other kind of level... Fabrice Luchini Keep It Quiet Benoît Jacquot, 1999 Cinematography | Romain Winding

Taking Existentialism to a whole other kind of level…
Fabrice Luchini
Keep It Quiet
Benoît Jacquot, 1999
Cinematography | Romain Winding

More to the point: Are all three people suddenly dropped into a disturbing situation with which none of them know how to deal?  For a film with very little dialogue that deals directly with the core concerns of it’s characters, Keep It Quiet is startling revealing and confoundingly curious. And in a rare moment of clarity, the North American title translation is actually better than the French film’s original title. This is not a film about scandal or the need to hide or defend it. This is a film about human beings who are unable to open up to each other. And in some cases, even unable to open up to themselves.

After making Keep It Quiet, Benoit Jacquot seemed to turn his attention to costume or period pieces. Most notably the exquisite 2012’s Farewell My Queen, which focused on the final days prior to the French Revolution through the eyes and experiences of one of Marie Antoinette assigned court readers. This film was extremely well-crafted and garnished a great deal of praise. But in 2009, he had returned to the complicated waters of human identity with his adaptation of Pascal Quignard’s novel, Villa Amalia. A fascinating and often stunning film, this movie was primarily focused on capturing another carefully textured performance from Isabelle Huppert. Despite the costumes, eras or the cinematic intentions, all of Jacquot’s films are closely tied to the unpredictability of human nature and the often absence of logic. In September of 2014, his 3 Hearts premiered in North America at the Toronto Film Festival.

3 Hearts Benoît Jacquot, 2014

3 Hearts
Benoît Jacquot, 2014

In the past decade universally-shared languages has evolved to the point where foreign distribution to North America no longer seems to require odd “translations” for titles and improved subtitles. So much so that it made me chuckle when US distributors felt it necessary to release Jacquot’s 3 coeurs to 3 Hearts, but the title translation failed to aid the film in securing a decent US release. Despite screenings at one other US film festival, this film was largely limited to only a few larger US cities.

It is not surprising that this strange little film received mixed reviews and reactions. Despite the fact that there is a most certain connection to Leo McCarey’s 1950’s classic, An Affair to Remember, it seems many were unable to accept the idea of bizarre coincidences or odd logic to a romantic story. However, my initial response to a screening of this film last year left me somewhat conflicted. So confused was my response to 3 Hearts that it has taken me this long to comment on the strange film. It took another four viewings before I was able to clearly sort through my own issues with the film. One thing remained solidly in my mind from the first screening, this is a Benoit Jacquot movie. In fact, this might be Jacquot at his most unfettered. One should expect cinematic aspects that are both deeply complex and opposingly simple. The filmmaker is creating more than just a love story, he is playing with cinematic sensibilities without turning away from the illogic of the human condition.

A family of beautiful but strikingly different women lay at the center of this tightly-structured universe... Chiara Mastroianni, Catherine Deneuve and Charlotte Gainsbourg 3 Hearts Benoît Jacquot, 2014 Cinematography | Julien Hirsch

A family of beautiful but strikingly different women lay at the center of this tightly-structured universe…
Chiara Mastroianni, Catherine Deneuve and Charlotte Gainsbourg
3 Hearts
Benoît Jacquot, 2014
Cinematography | Julien Hirsch

“3 Hearts” is an overtly romantic tale lensed as if it were aiming to be a psychological thriller. Bruno Coulais’ ominous musical score is an over-powering ode to Hans Zimmer’s effective score for “Inception.” Coulais’ musical score acts as a prominent character in this film. As the various production companies logos take form on the screen and the credits begin on black title cards, the almost apocalyptic warning of music starts to churn. The viewers are immediately placed off-balance with what is shown through Julien Hirsch’s cinematography.

The plot is challenging when compared to the mundane realities of life. Or is it? Many critics have complained that the “set-up” is unbelievable from the two beautiful female characters being almost obsessive in their shared love of one rather plain looking middle-aged man. This man works as a  Tax Accountant played by Benoit Poelvoorde. Poelvoorde is best known to US audiences for his unforgettable turn as Ben in the low-budget Cult Film, Man Bites Dog. Certainly far from conventionally handsome, Poelvoorde has never been a gym-perfected, surgically enhanced leading man. He looks his age. Carries a bit of paunch yet manages to retain a bit of his gangley-charm. In 3 Hearts, he moves about in an almost constant state of worry.  Perpetually stressed, Poelvoorde’s Marc is a bit of sweaty mess. Yet even as he fights through his panic attacks or possibly more serious heart condition, he puts forth a considerable amount of masculine charm.

Two incredibly close-knit sisters find their relationship unravel... Charlotte Gainsbourg and Chiara Mastroianni 3 Hearts Benoît Jacquot, 2014 Cinematography | Julien Hirsch

Two incredibly close-knit sisters find their relationship unravel…
Charlotte Gainsbourg and Chiara Mastroianni
3 Hearts
Benoît Jacquot, 2014
Cinematography | Julien Hirsch

Several highly respected critics questioned why characters played by the likes of Charlotte Gainsbourg or Chiara Mastroianni would fall so hard for Poelvoorde’s nervous, goofy face and often comical physicality. This criticism in of itself is problematic. First and foremost, Charlotte Gainsbourg’s sexual allure and beauty are already on the wilder side of populist ideas regarding female beauty. Without question she is someone the camera loves, it is impossible to not note that she carries a good deal of androgyny. She is closer to a middle-aged Patti Smith than normal notions of cinematic beauty. This is not a bad thing. Actually, it has assisted Ms. Gainsbourg ascend to a level of cinematic success that many would have thought impossible. Typically drawn to transgressive characters, Gainsbourg has never been shy about playing out the darker corners of sexual or erotic psychology. In addition to being a highly skilled actor, she has no fear when it comes to what and how she plays a role. But like Benoit Poelvoorde, she barely fits into the idea of conventional beauty. More “hot” and “erotically-charged” than beautiful, Gainsbourg has a strong level of power on screen tinged with a little girl’s voice.

Is anyone in there? Charlotte Gainsbourg 3 Hearts Benoît Jacquot, 2014 Cinematography | Julien Hirsch

Is anyone in there?
Charlotte Gainsbourg
3 Hearts
Benoît Jacquot, 2014
Cinematography | Julien Hirsch

Chiara Mastroianni may be the real-life daughter of Catherine Deneuve and the late Marcello Mastroianni, but she has actually inherited very little of the angelic beauty of her mother or the carnal eroticism of her father. That being stated, anyone can see she is their daughter. Unlike her parents, Chiara Mastroianni has never give the impression that she was too worried about “beauty.” This is a serious actor who is not only highly skilled at what she does, she is intelligent in the way she approaches her roles. Like Gainsbourg, she is clearly comfortable with nudity and sexuality. However, I’ve never seen Ms. Mastroianni aim for provocation or even eroticism. This is an actress who plays it legit. Like her parents, she is blessed with a great deal of on-screen presence. As she has moved into her early 40’s, she brings forth a confidence that fully embraces her facial lines and moles. Certainly a beauty, she does not fit easily into the current mode of cinematic conventional beauty.

Realistic Cinematic Beauty  Charlotte Gainsbourg and Chiara Mastroianni 3 Hearts Benoît Jacquot, 2014 Cinematography | Julien Hirsch

Realistic Cinematic Beauty
Charlotte Gainsbourg and Chiara Mastroianni
3 Hearts
Benoît Jacquot, 2014
Cinematography | Julien Hirsch

This of course if also why these two women stand out in the world of International Film: They do not conform to the hopelessly pathetic ideas of populist beauty. By refusing to even attempt to conform,  they define the rules of their careers. Their beauty is of more natural origin, but both bring an oddly grounded level of attractiveness to the table. From this perspective, it is reasonable to state that all 3 characters (our 3 Hearts) are a cinematic idea of normal/real looking actors. Even if we should accept the assertion that these two women would never turn their head in Benoit Poelvoorde, there is something important to note:

We human beings are a complicated bunch. We make illogical choices all of the time.

Benoit Poelvoorde  3 Hearts Benoît Jacquot, 2014 Cinematography | Julien Hirsch

Benoit Poelvoorde
3 Hearts
Benoît Jacquot, 2014
Cinematography | Julien Hirsch

And we often fall for people that may not be the “obvious” choice. In reality, we are drawn to love by far more than just looks. Peolvoorde’s “Marc” is likable, charming as well as being more than a little lost and complicated. These characteristics are pure cat-nip coming from any sex that can often become an object of desire or obsession to another.

The story is of an unhealthy man who is either dealing with heart problems or severe anxiety. He misses his train back to Paris and accidentally meets Gainsbourg’s  “Sylvie” with whom he shares an almost instant attraction. Played with her typical grace and androgynously erotic charisma, the two spend the entire night talking. Somehow they fail to exchange the basic information of names, phone number and other essentials. But they make a date for later in the week. As they have no info about each other, circumstances prevent the date from being kept. Sylvie assumes she has been stood up and follows her life-partner for whom she seems to have little to no real love to live in the US.

Charlotte Gainsbourg and  Benoît Poelvoorde 3 Hearts Benoît Jacquot, 2014 Cinematography | Julien Hirsch

Charlotte Gainsbourg and Benoît Poelvoorde
3 Hearts
Benoît Jacquot, 2014
Cinematography | Julien Hirsch

Soon Marc crosses paths with the plainer but more grounded, Mastroianni’s “Sophie.” This is a softer and more needy woman. Marc falls for her immediately and she quickly returns the attraction. Marc’s heart issues and panic attacks subside. It is only as they near their wedding date that Marc realizes that Sophie is Sylvie’s sister. Another plot point that seems to defy logic. There is some merit to this claim, but as the film reaches its conclusion — this plot device actually makes sense. Jacquot has stated that he employs a cinematic idea first outlined by Alfred Hitchcock in which love and scenes of love are filmed and approached like scenes of suspense. Enter the use of Bruno Coulais’ intense musical score. The film is exceptionally paced. As the romance, sexual obsessions and desperate heart-aches churn, the film’s music never lets up. A constant gush of swelling worry indicating that serious danger looms over all three characters.

Catherine Deneuve plays the sisters’ mother. She is not given much to do, but what she is given she does brilliantly. Deneuve, much like Isabelle Huppert, can say more with a glance than most actors can do with an entire page of dialogue. This is a skilled gift Deneuve has gained over almost five decades in front of the camera. Always blessed with movie star charisma and presence, over the last three decades she has become one of the most respected film actors in history. In 3 Hearts, the character of the mother serves as a sort of calming logic as well as the sole character who seems to gain insight into the dangers as they begin to unfold and upend her daughters’ happiness. When the ramifications of these dangers are revealed, it is at once dire and expected.

Is domestic bliss enough? Benoît Poelvoorde and  Chiara Mastroianni 3 Hearts Benoît Jacquot, 2014 Cinematography | Julien Hirsch

Is domestic bliss enough?
Benoît Poelvoorde and Chiara Mastroianni
3 Hearts
Benoît Jacquot, 2014
Cinematography | Julien Hirsch

I’ve spent some time with this film because I have felt torn regarding my opinion. I’ve reached the conclusion that my “need” to watch it more than a couple of times indicates that something within the film’s universe fascinates me. And while there is a great deal of reality at play, this film creates a very tightly constructed universe unique to itself. As both Sylvie and Sophie offer to their Marc, they are living in small country France. These comments seem to carry more meaning than simply the provincial. This is a different sort of world within which these owners of three hearts are operating. As Marc slips in his chair and his head drops in a mix of despair and pain, the musical thunder delivers us to a perplexing and somewhat confusing scene. A scene that calls the cinematic perspective into question. Like the three characters, we are left disoriented and oddly enchanted.

3 Hearts and Keep It Quiet may not be everyone’s cup of tea. Like all of this director’s films, these two fall into many of the almost hopelessly stereotypical French Cinematic Style. But I do find it difficult to believe that an Art House Film Lover will find it easy to fully dismiss or forget either of these films. There is something to be said about Benoit Jacquot’s presentation of simple choices, illogic and accidents propelling characters into a dire fates that packs more than a few punches.

Even a historical fictionalization costume dram offers a realistic depiction of humanity... Diane Kruger as a real and very complicated Marie Antoinette Farewell, My Queen Benoît Jacquot, 2012 Cinematography | Romain Winding

Even a historical fictionalization costume dram offers a realistic depiction of humanity…
Diane Kruger as a real and very complicated Marie Antoinette
Farewell, My Queen
Benoît Jacquot, 2012
Cinematography | Romain Winding

Cinematic and odd. And ultimately Jacquot gives us an ambiguous twists. Is true happiness only a thing of dreams, chance or fate? Benoit Jacquot never fails to offer amazing insights and surprisingly strong performances.

As Dennis Hopper’s gritty and nihilistic film, Out of the Blue, we see and hear two things:

Out of the Blue Dennis Hopper, 1980

Out of the Blue
Dennis Hopper, 1980

the first is an 18-wheeler speeding along a stretch of road. In it sit a Halloween-costumed little girl and her beer-drinking dad. The drunk father teases his eleven year old clown of a daughter. She gleefully revels in his attention. Not too far ahead is a school bus full of elementary school age children. These are the trucker’s classmates. Their bus has stalled in the middle of an intersection.

A child and her addicted father on a Halloween joy ride to school quickly switches to a tragic crash into a school bus... Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

A child and her addicted father on a Halloween joy ride to school quickly switches to a tragic crash into a school bus…
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

The little clown too lost in the bliss of her father’s attention and her father too drunk to allow for appropriate reflexes, the 18 wheeler crashes directly into the school bus. Suddenly this shocking action is ended as that same little girl some four years later bolts up in her bed. She has been dreaming. Linda Manz plays “Cebe” and we at once see the magic that this young actor was able to bring to the screen. She has no dialogue. She doesn’t need any. Her face shows it all. Confused, frightened and bemused. Cebe (clearly named after the Trucker mode of communication, the CB radio) appears to be uncertain if she has fully woken from the nightmare. But it only takes a few seconds for the audience to notice two visible scars on her face. This scene and whatever hope that what we have just witnessed by simply be a nightmare is killed with an instant cut to the cab of that 18 wheeler. Sitting in a ramble overgrowth of weeds, the cab is basically demolished. It is the dead of night, Cebe sits in the driver seat wearing her father’s Post-Hippie leather cap. She is talking into the CB radio transmitting a rant that we soon will realize fuels her ability to analyze and move forward in her life:

“Subvert normality. Punk is not sexual, it’s just aggression. Destroy. Kill All Hippies. I’m not talking at you, I’m talking to you. Anarchy. Disco sucks. I don’t wanna hear about you, I wanna hear from you. This is Gorgeous. Does anybody outthere read me? Disco sucks, kill all hippies. Pretty vacant, eh? Subvert normality. Signing off. This is Gorgeous. Signing off.” 

The listening truck drivers do not understand. Cebe doesn’t care. She simply needs to be heard.

Linda Manz as Cebe Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Linda Manz as Cebe
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Originally intended to be a Canadian film about a child psychologist who saves and offers redemption for a fifteen year old girl who has murdered her own father. If what one is to believe what has been reported, stated and written, this entire film was intended to be a star vehicle for Raymond Burr. The producers had been lucky to cast American actor, Linda Manz, as the teenager in trouble. The film’s original director was in over his head and working with a script that seemed more aimed at some sort of “white-wash” of cultural tragedy more appropriate for ABC’s After School Special than cinemas. Dennis Hopper had taken the job to play the murdered father. After the original director walked-off, the iconic actor was asked to make his first directorial turn since his infamous The Last Movie failure.

Dennis Hopper immediately set out to re-write the perversely tidy teenage murderer saved script into something attached to humanity and reality. Raymond Burr was a tax credit for the film’s producers. Hopper manipulated Burr into thinking that he was still the lead actor. He apparently filmed a great deal more than the two brief scenes in which we see him in Hopper’s film. The Child Psychologist is reduced to a half-heartedly sincere bureaucrat. Hopper switched the perspective from a Canadian Social Worker to that of the tormented teenage girl. He also rejected the general premise of “Cebe.” She was no longer just a one-dimensional child victim turned murderer. Hopper’s Cebe was a damaged teenage girl trying to make sense out of her situation, her life and her own identity. Hopper, a former Hippie and addict, quickly decided to have Cebe obsessed with two cultural touchstones: Elvis and the PUNK Movement.

Only her father's old leather cap and a safety pin for her check remains to complete her warrior armor... Linda Manz Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Only her father’s old leather cap and a safety pin for her check remains to complete her warrior armor…
Linda Manz
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Suddenly, Linda Manz was given more to do than simply supply screen presence and predictable emotions cued by violins. She was given the lead role of an abused child hellbent on rebellion and pushed to the emotional edge of sanity.

Cebe seeks more than to subvert normalcy, she seeks to subvert life itself because it is the only way she can figure a way to motivate through the pain, grief, humiliation and confusion of her life. Born to two rebels, Linda Manz’s Cebe is essentially the manifestation of free love, hippie ideology, mind-expanding drug use and confusion. Her mother appears to be a kind, but painfully emotionally-stunted ex-Flower Child. Here, Mom is only physically grown up. She married her true love, a tough Hippie Biker type who quickly grasped onto the life of a heavy hitting trucker.

Despite it all, a child needs to love her parents. Linda Manz & Dennis Hopper Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Despite it all, a child needs to love her parents.
Linda Manz & Dennis Hopper
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Cebe’s mother has forever give her heart to her husband, but she gladly hands over her body for some stability and a fix. We slowly figure out that Sharon Farrell’s Kathy is a closet heroin addict. She loves her daughter the best she knows how. Kathy doesn’t view her daughter’s rebellious nature as odd or worrying. Within Kathy’s limited understanding, Cebe is her father’s daughter. A natural born rebel. While Kathy has already hooked up with Dad’s best friend and former local nemesis, she is still married to Dad.

Kathy can’t wait for Daddy to get out of prison so that they can be a Happy Family again.

Burning what little ideal she covets of her parents, a child on the verge... Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Burning what little ideal she covets of her parents, a child on the verge…
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

This was never a happy family. Cebe seems to be the only one fully aware of this.

She, too, is excited about her father’s release from prison and return to home. However, Linda Manz’s skill as a naturalistic actor allows her to show us that she is not so certain things will be getting better. She hopes that they will, but Manz’s forever perplexing ability to convey mixtures of emotions that often run against the very grain of her character’s dialogue and actions, we know she really expects that things for her are about to get a whole lot more difficult.

Her bedroom offers a great deal about the complexity of our lead character. Innocent childhood toys and 1970’s era children’s art remain in tact, but are almost buried beneath the impact of shrines to Elvis. Cebe has crafted old Elvis album art and magazine photographs into collages better suited to religious iconography. A huge amplifier, drum kit and an electric guitar take the front and center of her room.

While the Elvis art seems old and fading, newer posters, pictures and magazine cut-outs weigh down the walls. These are all related to PUNK rock. The Subhumans, Sex Pistols, Teenage Head & Public Enemy are among the iconic bands name-checked on Cebe’s walls. Linda Manz’s Cebe was something altogether new to cinema.

OUT OF THE BLUE, Linda Manz, Sharon Farrell, 1980

OUT OF THE BLUE, Linda Manz, Sharon Farrell, 1980

This is the child of an addicted murderous father and an Up With People hippie gone to seed. Born into a life of instability, threat and fear — Cebe is constantly seeking new totems and sounds to bolster herself. She must reinforce her strength and appearance of knowledge and power to stay ahead of the game.

She clearly does not possess a clear understanding of either Elvis or PUNK rock. But she painfully understands the messages conveyed.

She may not understand the joke that Elvis had become by the time she was old enough to know his music. She also may not understand the corporate ownership of “Johnny Rotten” / “Sid Vicious” or the tragedy of their lives, but she gets the over-all jest of what they and their music stood/stand for.

She can’t articulate what “pretty vacant” actually means, but she somehow understands it applies to her life and the lack of hope it provides.

Rebellion is all she has.

A startling glimpse into the psyche of a 15 year old girl born of free love, addiction and rebellion. She hides it, but the numbing reality of her life is constantly revealed by the all-too-realistic nuance of Linda Manz's performance. Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

A startling glimpse into the psyche of a 15 year old girl born of free love, addiction and rebellion. She hides it, but the numbing reality of her life is constantly revealed by the all-too-realistic nuance of Linda Manz’s performance.
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Upon her father’s return things around Cebe seem to take on darker aspects.

Her mother’s drug use is now done in the living room. Even though Dad is home, Mom is all the more open about pursuing her sexual needs.

Dad has taken his drinking to a new level.

Classmates and some parents view her father’s return as an injustice to the children who were killed by the drunken crash four years earlier.

Worse yet, mother loses her worries in H while Dad and his pal take matters into their own hands and murder the father of one of the children killed in the tragic accident.  The angry father feels the need for vengeance. Even a hint of his anger is enough to stir Dad to go into full attack mode.

Cebe runs away. She sleeps on the streets and ends up in a sexualized world of predators. Smart enough to run from this world, she still returns home.

Sleeping on the streets seems a safer alternative to home. This is no late 70's After School Special. This is dire and real. Linda Manz Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Sleeping on the streets seems a safer alternative to home. This is no late 70’s After School Special. This is dire and real.
Linda Manz
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

When she gets back, she has hardly been missed.

The final straw arrives when a drunken argument between Mom, Dad and dad’s best friend, played by Don Gordon, lead to a non-sensical idea that Cebe has become too butch (or “a dyke“) to use Mom’s words. In drunken/stoned stupor it is decided that Don must have sex with Cebe to set her “straight.” Hearing it all from her room, Cebe begins to transform into a sort of asexual PUNK God.

Fighting off her father as if where a lion, her bedroom chair legs aimed at him like spears — the father retreats. After slapping the stoned out mom a bit, mom returns to Cebe’s side to help her into her nightgown.

So angry. So alone. So desperate. Cebe’s rebellion takes a very dark turn.

She opts to patricide and suicide as her ultimate “PUNK” revenge. Just as you would expect from Dennis Hopper, the nihilistic ending feels almost surreal. But it isn’t. This is a reality born of rage. No child psychologist can apply some words and therapy to take away the crime of her murders. If Cebe knows two things it is that she wants to kill her parents. It is hard not to relate to her conclusion. It is her suicide that is the tragedy.

Hopper’s film offers a grim view of a societal issue.

Embracing the ideology of PUNK rebellion and the reality of her life, Cebe teases her drunk, brutish and leering father's sexual advances. Linda Manz and Dennis Hopper Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Embracing the ideology of PUNK rebellion and the reality of her life, Cebe teases her drunk, brutish and leering father’s sexual advances.
Linda Manz and Dennis Hopper
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

By the time the film was ready for release, several minutes involving the disturbing scene in which the daughter sexually taunts her father prior to brutally killing him had to be edited to secure an “R Rating.” Originally conceived as a Canadian film, the Canadian Film Board quickly demanded funds returned and denied Canadian approval. The film was not released to Japan until the 1990’s over concerns related to rebellion, patricide and suicide. In the US the film barely managed a limited release. While it was largely supported by film critics — even Jack Nicholson stepped out of the celebrity bubble to promote the film which he felt had something very important to say.

The film quickly became a source of infamy.

Bebe applies her make-up to bolster strength. Linda Manz Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Bebe applies her make-up to bolster strength.
Linda Manz
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Interestingly, it began to develop a misleading reputation as a PUNK Rock Movie. It is not.

Costumed for fun a school bus full of children are trapped Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Costumed for fun a school bus full of children are trapped
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

When AnchorBay was able to release the theatrical cut on DVD in 1999, the sales started off high. Driven by the rumors surrounding the film as PUNK Statement. Those sales quickly dwindled. Out of the Blue is not a fun movie. It is grim, gritty, realistic and offers the audience no easy way out. While the film does suffer from budget restraints. The crash into the school bus is not as potent when the film returns to the incident the second time and “goofs” can be seen. But mostly, this angry film remains a valid glimpse into human darkness.

A disturbingly logical but incorrect application of Elvis and PUNK mythology into identity. Linda Manz transforms... Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

A disturbingly logical but incorrect application of Elvis and PUNK mythology into identity.
Linda Manz transforms…
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Although I am unsure if he has ever publicly discussed this film, it clearly had impact on Harmony Korine. Any Knowledgeable film-buff will see this film’s influences on Korine’s work.

It also captures teenage rebellion with a cause.  

Technically, AnchorBay no longer has this film in print, but copies can still be found on Amazon. Sadly, many other versions of this film are out there on DVD. Be warned: most are of very poor quality. Most look as if second-hand dubbed from old VHS tapes.  And most of the non-AnchorBay prints are heavily censored. It remains to be seen if this film will ever find it’s way to restoration.

1969’s Coming Apart offers an equally realistic and dark journey to the heart of human self-destruction, but with a different sort of reason in mind.  Milton Moses Ginsberg’s much discussed film is one of style, human pain and classic NYC Method Acting. Often compared to  Jim McBride’s David Holzman’s Diary. In truth Ginsberg’s film has very little to do with McBride’s groundbreaking film beyond the use of “documentary” style and mirror metaphor. The idea of exploring identity and/or sexual identity is not really traceable to one work of art. What makes Ginsberg’s experimental 1969 film so important is that it captures more than just a time capsule moment within the 1960’s Counterculture Movement as it brings focus to the resulting identity problems that movement helped to acerbate. It also serves as a great example of the power to be found within filmmaking.

Setting up a hidden movie camera in a mirrored box designed to look like an object of art. Welcome to the world of "Joe Glassman" Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Setting up a hidden movie camera in a mirrored box designed to look like an object of art. Welcome to the world of “Joe Glassman”
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Having just survived a devastating end to a relationship which led him to securing an apartment in the same building as the woman who had rejected him, Milton Moses Ginsberg essentially found himself in an existential downward spiral. This experience drove him to create the script for Coming Apart. An almost shockingly detailed script, he also sought to utilize some of the most respected young actors trained directly under the mythic teachings of Lee Strasberg. Very few of the actors seen in this film were not members of the original Actor’s Studio. It’s three leading actors were among Strasberg’s most prized pupils. They were also known as his most fearless actors who fully embraced every philosophy of Strasberg’s ideology. Rip Torn, Viveca Lindfors and Sally Kirkland may not have been the most famous, but they commanded a great deal of respect within the realm of NYC Actors and Method Acting. The easiest way to sum up Strasberg’s Method Acting was to understand and pursue acting as truth. Truth without filter. Truth without censor. Truth pursued at all costs and concentration. Essentially, Method Acting seeks to pursue the truth of the human soul to it’s deepest and often darkest depths. This was and remained the essential elements of all three actors.

Checking his hidden camera's perspective... Rip Torn Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Checking his hidden camera’s perspective…
Rip Torn
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Milton Moses Ginsberg once stated that the Coming Apart script served as a “vehicle for actors to reach into their souls and I found two actors who could reach deeper and better than any others at that time.” He was referring to both Rip Torn and Sally Kirkland. But the entire film is filled with Method Actors. This is particularly interesting to note as most who have seen Coming Apart walk away from the experience thinking that they have seen improvisation and even partial biographical film. This is not at all true. Almost everything in the film is scripted. While Ginsberg was not afraid of improvisation, he expected that each actor honor his script. They did. Each was fully invested in the three week project.

It is interesting to note that every single film snag, break, audio interference, audio loss and distortion is clearly listed and often even drawn into the script. When we are unable to hear or see something it is because Joe can’t deal with hearing or seeing it himself. The only post-production decision to deviate from the script was Rip Torn’s long rant into the camera. It was originally to be an articulated four minute rant during which Torn’s Joe experiences an emotional break. Ginsberg felt at looking at Rip Torn’s face was far more insightful than his own words. So he added unplanned chops and drops of sound during this one scene.

The idea of the film stems from the writer/director’s own self-destructive act of almost stalking a former lover, the premise is quite simple. A burned-out and emotionally ravaged psychiatrist rents an apartment in the same building as that of a woman with whom he had what he feels was a meaningful affair. However, this does not stop the doctor from pursuing an experiment in which he hides a movie camera within a mirrored box. Intended to look like a piece of modern art, he places this hidden camera so that it captures the goings on in the living room from one perspective. Trained on a sofa, “Joe” has placed the sofa in front of a huge mirror. In this way, the camera picks up all activity from two perspectives.

"What's this?" "Kinetic art object." "What?" "Modern sculptory." Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

“What’s this?”
“Kinetic art object.”
“What?”
“Modern sculptory.”
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

While he has set up the apartment as a sort of trap which will require his former lover to interact with him, he is also intent on filming his interactions with women. What at first seems like an extended and sick “bachelor’s weekend” soon devolves into an examination of sexuality and identity at it’s core root. Almost immediately the audience is placed in the role of Voyeur. It is an uncomfortable place to be. There is very little erotic about the goings-on, but it is quite sexual. It is also intense, provocative and disturbing.

When Joe’s former love confronts him for having crossed a line by moving into her building, Joe’s idea backfires. Viveca Lindfors’ Monica is not interested in Joe. If anything she pities him. But is Joe even worth pitying?

"Did I do this to you, Joe?" Viveca Lindfors & Rip Torn Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

“Did I do this to you, Joe?”
Viveca Lindfors & Rip Torn
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Joe’s first visitors are there strictly for sex. The first encounter comes the closest to being erotic. The second encounter with Elaine played by Lois Markle in one of the film’s few comical moments, presents Joe with a type of sexuality he has perhaps only studied or discussed with patients. When presented with a true sadist, Joe isn’t sure about what he should do. In both comical and realistic ways, Markle’s characters tries to turn Joe on by exposing the permanent scars caused by cigarettes. It would seem that Elaine enjoys being a human ashtray.

This does nothing for Joe. She quickly suggests putting on provocative clothing. She even quickly runs back to her home to return in full-on BSDM gear designed to entice. Joe seems more curious than turned on. As she shows off her spike heel shoes, Joe asks her if it is hard to walk in them? She advises that these shoes are not for walking. Just when it seems she is about to give up all hope of getting laid, Joe decides to feign interest. As he pursues her on the floor, we see her legs up in the hair and she returns to her cooing and moaning while yelling, “You’re raping me! You’re raping me!” We see Joe hesitate and Elaine reach up and pull him back to her. She then returns to pretending that Joe is raping her. This is the only “light” moment to be found in Coming Apart.

Are you sure you don't want to put a cigarette out on me? Rip Torn & Lois Markle Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Are you sure you don’t want to put a cigarette out on me?
Rip Torn & Lois Markle
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

The entire film runs like a document of what we would now call “found footage.” The scenes cut off. The film appears to run out or break. The audio goes off and on. The light has impact on the quality of the film and the way in which we can see. This approach has an interesting sort of effect for the viewer. Even when we don’t want to see everything, we often strain to keep up with what is going on in front of us. It is inappropriate. It is far too private. Welcome to being the target of the film. We are somewhat seduced into an act of voyeurism. The problem is that the eroticism of this film is short-lived. The erotic quickly becomes heart breakingly neurotic. Coming Apart is just that. We end up watching two people falling apart — or as their connection is grounded in the sexual, they are both cuming apart.

When we first see Sally Kirkland’s Joann, she sits on the sofa slacked and bored. Far too young for Joe and not the sort of woman we have been seeing. She is beautiful, but clearly not sitting there waiting for sex. However, Joann comes to animated life when we see Joe actually take an interest in her. In what is extremely naturalist and real dialogue we discover that Joe and Joann have run into each other just outside the building. She is also a former therapy patient who had quit therapy. She claims to have no interest in therapy, but Joe insists that it would be inappropriate for him to see her. He explains that he has cut back on therapy sessions and has taken this apartment to work on a paper for which he has been given a grant to write.

A drunken/stoned gathering quickly devolves into an uncomfortable challenge of group sex and sexual identity... Sally Kirkland is disengaged as "Sarabelle" The Clown hits on Joe... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

A drunken/stoned gathering quickly devolves into an uncomfortable challenge of group sex and sexual identity…
Sally Kirkland is disengaged as “Sarabelle” The Clown hits on Joe…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

This only seems to serve to excite Joann. Sally Kirkland’s character seems to be literally morph into a sexual being. She begins to shamelessly flirt with Joe. She mentions that she is involved with a man who likes to experiment. He likes to watch her get it on with other men. As she is clearly exciting Joe, she begins to tell him about an orgy she recently attended.

When he asks her more about orgies she responds, “It’s wilder than you can imagine.” And, it is here that we start to understand that Joann is every bit as broken as Joe. As she continues to try and excite him, she stumbles onto her own issues and woes. They slip out more clearly defined than a tale of her orgasm. “Why am I telling you all this for? You’re not my doctor!” Yet, she can’t help but keep speaking. Her rambling becomes less erotic than tragic and filled with self-loathing. Her energy drained, Sally Kirkland’s Joann is heart-broken and filled with a confused anger. Her body has started to fold in on itself but she continues to attempt some idea of body flirtation.

She tells him that her lover likes to call her “Whore.” It is apparent that Joann herself is confused why she has shared with Joe. It is a source of pain for her.

An awkward lapse of silence follows. Without any sort of reasoning, Joe offers “I’m lonely, too.”

This of course is as if he has given invitation. Joann has now placed herself across the room, hand close to Joe’s crotch — soon her head rests there as well. After allowing her to sublimate her entire body poised to give him oral pleasure, Joe cruelly dismisses her, “You’ve got to go to work and I’ve got to go home to my wife.”

"Let's make the most of a bad thing, shall we?" Rip Torn & Sally Kirkland  Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

“Let’s make the most of a bad thing, shall we?”
Rip Torn & Sally Kirkland
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

But Joe may have met his match. Joann quickly turns the tables on him by pointing out that she’s relieved he has a wife. A slight pause as she glances toward his crotch, “I thought you were a fag.”  This comment seems to have a far greater impact than we expect. Before long Joann is back an affair begins. Or at least, a sexual relationship begins. We see her consistently working hard to bring him sexual pleasure, but Joe seems to have lost the ability to achieve a hard-on. Drunk and nude, both Joann and Joe seem miserable. The camera unknown to Joann, Joe appear to start mugging at his camera — at us. It quickly becomes clear he is trying not to cry.

Later Joann returns, after a bit of an argument they end up attempting to have sex. She ends up masturbating against Joe’s leg. Sexuality between Joann and Joe seems to illicit impotence for Joe and rage for Joann. Just before his camera’s film runs out, he commands that Joann face away from him on all floors. The implication being that he can’t look at her to fuck her. Yet, Joann agrees. Four on the floor, Joanne waits. As Joe stands and removes his underwear, the film runs out.

A bit further into the film Joann returns with a whole group of people. All of whom seem to be in various degrees of intoxication. Group sex takes place, but it seems to present Joe and Joann with frustration. Joann seems angry. Joe seems afraid. When he mistakes a transgender female for a biological woman — this is 1969, but this person looks far more female than male. Later Joe is presented with a nude gay man who clearly wants to pleasure Joe. This is a returning theme in the film. Joe’s heterosexuality is consistently under scrutiny. It is never clear how much Joe’s developing sexual issue is related to the fact that perhaps he is sexually conflicted or merely depressed.

Sally Kirkland looks into the abyss... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Sally Kirkland looks into the abyss…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

The downward spiral for Joe and Joann continues. Joe is clearly experiencing a nervous breakdown. Joann has been kicked out of her home — she claims this is because she has become Joe’s sex toy. Yet he refuses her a place to sleep. Telling her she stinks. We know that they have just had another unsuccessful attempt at sex. Beyond abusive, we have entered the realm of human cruelty.

At one point, Sally Kirkland’s Joann tells Joe: “You’re not as strong as I thought. You’re frightened. You’re weak-willed. There’s no mystery about you. None!”

She aims this as a threat, but she doesn’t give up. She continues to pursue Joe despite repeated failures, insults and even physical threat. It is illogical, but feels believable real.

It is crucial to note that there is nothing amateur or limited within Coming Apart. Each and every performance is so authentic in emotion, sexual need, desperation and rage that the viewer feels uncomfortable watching the interactions especially given that Ginsberg films it all from a secret camera perspective. Filled with mirror reflections that capture information from all perspectives with limitation of being stuck in the position of a perverse voyeur. A limited budget does not matter. Nothing is boring. The opposite. However, very little if any of it is “enjoyable.”

Half nude, loaded gun and on the attack: Sally Kirkland's break results in unhinged destructive blood-lust Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Half nude, loaded gun and on the attack: Sally Kirkland’s break results in unhinged destructive blood-lust
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Everything we see feels real. In fact, at the time the film was released many labeled it as pornographic. It carried an “X-Rating” and is still rated “NC-17” despite being tame in comparison to many films other than the entire movie just feels so real. And an even larger number of people refused to believe it was fictional. Even some of Rip Torn’s friends were convinced he had left his wife, Geraldine Page, for several weeks. Hired Ginsberg to take credit for shooting a film which was simply a drunken Torn having his way with women. This was something that was a source of both comedy and annoyance for both Rip and his wife. As for Sally Kirkland, she soon found herself being questioned about the idea of “Art vs. Pornography.”

Raging and murderous, Sally Kirkland tosses a piece of art directly at us, or, uh, Joe's hidden camera... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Raging and murderous, Sally Kirkland tosses a piece of art directly at us, or, uh, Joe’s hidden camera…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Perception is attacked... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Perception is attacked…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

The film was made at the darkest moment of the counterculture revolution. 1968 was indeed a tipping point for the United States.

Erotica was very much a part of the Counter-Culture Revolution in the New York City art world!” Kirkland explained during a Q&A of the film in the late 1990’s.

Coming Apart for many of the actors was a natural extension of the revolution that they were so deeply vested. The was a revolution against war, oppression, inequality and perhaps most importantly — the Counter Culture was acting out against the regimented cultural and societal perceptions of what normalcy was supposed to be.

Like Dennis Hopper’s gritty little strange 1980 movie, 1969’s Coming Apart was also a subverting normality. It is of particular interest that this was all captured in what most would consider the final year of the 1960’s.

Reality shatters Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Reality shatters
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Despair, contempt, loneliness, heart break and rage destroy realistic perception once and for all... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Despair, contempt, loneliness, heart break and rage destroy realistic perception once and for all…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

 

In the late 1990’s Sally Kirkland bluntly asserted to the audience for whom Coming Apart had just been screened, “People are still dealing with this revolution!

 

Nothing left to see or say. Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Nothing left to see or say.
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

 

While more than a few of her fellow artists would consider Sally Kirkland an eccentric, none would ever argue her intelligence. An esteemed, highly intelligent and articulate individual, Sally Kirkland really hit the nail on the heard. 46 years on and Ginsberg’s Coming Apart is still shocking and confusing viewers. In many ways, this film’s examination of sexuality, loneliness, desperation and human rage goes beyond authenticity. It pursues and touches the rawest of human nerves. For many, it might be easier to watch the extreme torture porn of Srdjan Spasojevic’s A Serbian Film.

The film continues to polarize audiences. However most cinephiles, critics and actors now see this film as a masterpiece.

Kino had issued a great DVD of the film in 2000. I get contradictory reports about whether or not Kino still has the rights to continue to print their DVD of the film. However, while it has sold well a second reprint was never required. Or, it was never done. It can still be found on Amazon. There are no plans in place to give this historic and highly personal film a restoration it deserves. It would be a good time to more forward as all three of the key players for this film are in their 70’s and early 80’s. One of the challenges seems to be regarding the use of Jefferson Airplane music.

One thing is for sure — neither of this films should be forgotten.

Actually, I don’t think either will. Both Out of the Blue and Coming Apart carry a certain cred that is undeniable. They also both retain a level of curiosity. Neither fit into mainstream cinematic ideas. Both push the envelope without sacrificing artistic merit. These two films have respective followings.

Naked despair, rage and sexuality come to limited cinemas in 1969. Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Naked despair, rage and sexuality come to limited cinemas in 1969.
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Matty Stanfield, 10.4.2015