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

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

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

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

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

Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It is decaying. Literally.

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

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

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

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

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

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

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

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

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

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

Matty Stanfield, 1.31.2016

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

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

from 2015 Slant Magazine piece by MARC SPITZ

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

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

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

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

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

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

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

Johan Liedgren’s latest film, The Very Private Work of Sister K, begins with a priest telling a story. He is doing so at the request of a young nun who sits at the end of a table. It’s the tale of a little rabbit who decides to take the opportunity to eat a bit of meat. The little rabbit discovers that being a vegetarian is too limiting. The tale’s ending is simple but disturbing. The little rabbit begins to hunt and consume meat. Soon it transforms into a bloodthirsty beast. His listeners are not only unsatisfied with this ending — they do not seem to understand the point. The priest is attempting to use his story as an ice-breaker, but he provided a revealing analogy.

His little fable is really more of a parable in which a meek creature has become a life-threatening menace. Sister K wants to hear his story once more before her hearing begins. The men in the room are far too polite and cautious to call the meeting by the appropriate term. Sister K, a young nun, has apparently committed several grave transgressions. Despite their initial protests, this is not a gathering to protect and assist Sister K. This gathering only appears informal and friendly. Four priests, a lawyer and a doctor have gathered to issue a judgement regarding the young nun. An older nun sits off the side. This young nun finds herself seated in front of the patriarchal order of Catholic Hierarchy.

A witness for persecution... Marty Mukhalian The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

A witness for persecution… “I speak loudly in German and pour cold water in the tub.”
Marty Mukhalian
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

Johan Liedgren has effectively used a rabbit analogy before. The protagonist of his 2013 film, Mother Nature, is bullied, threatened and maligned as being the equivalent of a “little rabbit.” In that intense film, the father is gradually pushed to adapt the far more sinister powers to prove that he is far more than an innocuous creature. In both Mother Nature and The Very Private Work of Sister K, the idea of the respective protagonists as furry little creatures fit easily into one rabbit-like archetype. The only shared rabbit attribute is that they both manage to lead others down into deeply rooted holes.

Johan Liedgren’s Mother Nature came to my attention by accident. A friend had mentioned him as a potentially important emerging film artist. As it turns out he was not “emerging.” Liedgren was already firmly emerged and established. He is a respected and savvy storyteller who has been thinking out-of-the-box his entire career. And it is a career of note. Just press a few buttons to discover how successful he has been at creatively utilizing his skills in more than a few disciplines. Mother Nature is his first feature length film. It is a potent and unforgettable debut.  My friend had not seen the movie and I could find no reviews posted to iTunes when I took a chance and purchased a copy. It turned out to be a rewarding investment.

"I don't know why I feel like fucking with you. It's weird, but it was from the moment I saw you." Karina Deyko Mother Nature Johan Liedgren, 2013 Cinematography | Trevor Fife

“I don’t know why I feel like fucking with you. It’s weird, but it was from the moment I saw you.”
Karina Deyko
Mother Nature
Johan Liedgren, 2013
Cinematography | Trevor Fife

Mother Nature presents itself within the trappings of an Art Horror film, but it is actually a surrealistic journey to the core of male identity. Liedgren’s film masterfully pushes the main character to his primordial core. Phillip Roebuck’s performance is perfectly matched with the manner in which the movie unfolds. We first see him playing with the family dog. Within a couple of minutes we know that he is a father taking his son and their dog on a short camping trip. This appears to be an outing designed to foster bonding. Father is out of sorts. His marriage has failed and now he wants to connect with his son.

This is not a father who easily fits into the mode of a fun loving dad. The son is not looking forward to hanging out with his father and the audience can’t help but understand. It is difficult to articulate, but Father is somehow unlikeable. Roebuck is brilliant in the role. With each small gesture and glance, this character just feels like a frustrated mass of inertia and depression. In the first portion of the movie, Father is of no interest. A skilled film actor is always welcome in any movie, but here it is of particular note. Roebuck is playing a character who turns out to be something far more than anticipated. Liedgren has written a character who will soon inhabit The Jungian Archetype. We do not see that coming and the transformation is unhinged and believable.

A father's identity is challenged to the core. Will he be up for the challenge? Phillip Roebuck Mother Nature Johan Liedgren, 2013 Cinematography | Trevor Fife

A father’s identity is challenged to the core. Will he be up for the challenge?
Phillip Roebuck
Mother Nature
Johan Liedgren, 2013
Cinematography | Trevor Fife

At first, the “hero” of Mother Nature is not someone we can like. Roebuck rightfully plays the father as passively aggressive and slump shouldered. He is disagreeable and awkward. Karina Deyko’s character hates him upon first sight. His very existence annoys her. And she is more than eager to let him know. Thanks to exceptional directing, acting, writing, editing and cinematography — we can’t help but agree with her. This is a bold choice but effective. It is also in keeping with the film’s odd dark humor.

The surrounding nature is beautiful, but somehow sinister. It doesn’t take long for Father to piss off all of the neighboring campers. And all of these fellow campers seem to possess natural weirdness that lends itself to cruelty. The son rightfully wants to leave, but his father becomes determined to stand their ground. Passive anger begins to simmer to the boiling point. Father‘s inner animal instincts begin to take control. It never feels unbelievable. The father’s transformation to Warrior is warranted and, with hindsight, it is inevitable. Like a cunning animal waking from a deep sleep to defend his turf, Father no longer fears anything. External threats have provoked his realization of identity. This provocation leads him to primal instincts and it is  visceral. Father‘s strength was always there. It was just sleeping.

Thinking a snake has slithered under a fellow camper’s tent, he warns her and begins to poke beneath her enclosure to force the snake away. Instead of being appreciative — she seeks to humilate him. She refuses acknowledgment of his attempted kindness. Instead she incredulously accuses him of wanting her to like him. As if he has committed a crime by getting her attention she considers this snake to be of the Freudian variety. Frustrated and emasculated, he mutters that the snake is probably gone. Head bowed he admits he never actually saw it. His son claims to have seen it.

Well, not seeing it won’t make it go away.

"How do you want to play it? Mother Nature Johan Liedgren, 2013 Cinematography | Trevor Fife

“How do you want to play it?
Mother Nature
Johan Liedgren, 2013
Cinematography | Trevor Fife

Like the priest in The Very Private Work of Sister K, father has a story to share with his son. Before he can even begin to tell it the son attempts to stop him.

Whenever you tell me stories you want something from me.

Father does not attempt to argue with him. He merely points out that this time it is only a story.

The story tells of an Alaskan park ranger who, while conducting a bear population study, ends up becoming trapped with a sleeping bear. This bear is pure beast who will most definitely kill and eat the ranger. The ranger manages to use a small pair of clippers to slice deep within the bear’s neck to severe its main artery. The triumphant ranger falls asleep atop the bear who has died in a pool of its own blood. The son is impressed, but the point is not clear.

But Father is already thinking that they are now trapped in a situation that is equally dangerous. A sociopathic camper begins to threaten Father and taunts him as being no more than “a little rabbit.” Liedgren’s film takes an unexpected turn. Mother Nature presents one man’s fight for survival. A meek little man transforms to Warrior.

Mother Nature Johan Liedgren, 2013

Mother Nature
Johan Liedgren, 2013

Trevor Fife’s cinematography is simple but articulate and masterful. Ben Lukas Boysen’s musical score is pitch-perfect. The real star here is the ways in which Liedgren has collaborated with his crew of artists and then achieved a tightly edited story that is  as equally intense, unnerving and entertaining. It is of note that this film manages to register so deeply. Mr.Liedgren has not attempted to cash in on cheap effects. There is no sentimentality here, but we relate. We understand.

Mother Nature is one of those great movies that has never managed to secure the audience it deserves. It is available for rent or purchase on both Vimeo and iTunes. I highly recommend it. Watch the trailer for Mother Nature here.

The Very Private Work of Sister K is every bit as bold, provocative and surprising as Mother Nature, but the protagonist has a different sort of conflict. While it is far removed from the visceral world established in Mother Nature, the ideas of identity and the primordial inner battles of sexuality pulsing just beneath her habit is just as unrelenting.

Andrew Tribolini has a little story to share... The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

Andrew Tribolini has a little story to share…
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

After she successfully nudges the priest to share his story, Sister K sits patiently awaiting the Catholic patriarchy attempt to lull her into believing that they have not gathered to judge her. Sister K’s gaze signals she knows better. Utilizing Catholic hierarchy to funnel age-old misogyny, sexually conflicted fears and hypocrisy, Liedgren has created a darkly comical and often sharp edged take on the parlor drama. This is a highly intellectual work that is fueled by words, but make no mistake — this is cinema.

Zia Mohajerjasbi’s camera is truly masterful and it reflects a majestic scope. Bryson Michael’s editing is decisive and elegant and smooth. Both of these of these crucial elements serve to elevate and add additional impact to Liedgren’s witty film. There is a simple complexity to both Mother Nature and The Very Private Work of Sister K that lead to almost quietly deafening resolutions. As I watched this film I could not help but think of Michael Haneke’s collaborations with Christian Berger and Monika Willi. While Haneke’s cinematic visions go to different places, Liedgren’s stylistic approach is similar. This is a film of ideas presented in a passionate but unsentimental language.

It should be noted that while the movie articulates dark comedy — it never sacrifices a thread of potency. It is refreshing to witness a filmmaker who can color outside the lines without surrendering to any level of uncertainty. This is a small film with big ideas — and all are pushed forward with style to match their substance. Essentially a chamber drama that takes place in one room, Liedgren never loses a cinematic hold. This is not a filmed play. This is cinema of ideas that flows easily and it never backs down from standing its ground.  Sister K and her judges are angry. But hunger trumps anger. Sister K is far to hungry to put with their repressive fear, stupidity and misogyny.

"Well, there's no story without evil." Bradley Goodwill, Andrew Tribolini, and Ed Stone The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

“Well, there’s no story without evil.”
Bradley Goodwill, Andrew Tribolini, and Ed Stone
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

Thinking that they have safely hidden their true selves behind the fraudulent mask of fatherly concern, the judges are eager to punish their little rabbit. The priests appear to be ascetic, but they each have agendas that oppose this concept. Liza Curtiss plays Sister K with quiet resolve. She is no one’s martyr. It isn’t her future that seems to concern her. It is the hypocrisy and evil that thrives within the walls of her chosen faith. As the nature of her transgressions become clear so do the illogical viewpoints of the men who lead the Catholic Church. These men of God are all too eager to paint facts to match the color of their vileness. It is from this perspective that we understand that this young nun has become a bloodthirsty monster rabbit intend on defiling all they hold sacred. The story of that little rabbit transformed to bloodthirsty beast turns out to be more fable than parable. These holy men see unsuppressed women as menacing beasts.

Sister K is thirsty, but it is not for blood. She hungers for the knowledge, blessing and love of God. And from where Sister K sits — God has long left the Catholic Church. He has left the building and it is crumbling from the decay of corrupt power, repression and suppression. Sister K has found truth and salvation through the access that these so called men of God have refused her.  The priest most eager to deliver punishment is also the first to lick his lips and salivate as the detail of Sister K‘s transgressions are revealed. She sits accused of rape, but her judges are not concerned with the crime. Their worry is rooted in the fact that this young woman shows no remorse.

Did she take pleasure in her work? Liza Curtiss The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

Did she take pleasure in her work?
Liza Curtiss
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

Sister K disagrees that she has done any wrong. She has followed a path that offered both she and her supposed victim a freedom not thought possible. She is grateful for what she has experienced. The “victim” that her judges refuse to name has brought her close to God. She has experienced true salvation. But her accusers disagree. When she tries to explain how the sweetness of sexuality delivered her lover to the light of knowledge and contentment, a priest attempts to shame her.

He filled a nature!”

He woke up.

With an apple shoved down his throat!

An adam’s apple we would deny no other man!

It was just sex!

It was just an apple!

Her refusal to retreat like a sweet little rabbit is not going to happen. And she leads these men to the source of their problem: a fairy tale of a garden in which a woman lures all mankind to the doom of knowledge.

Johan Liedgren has made a film almost as angry as Ken Russell’s The Devils, but he contains that anger into a fascinating exchange between the accused and her accusers. The Very Private Work of Sister K is a cinematic provocation that relies on the power of ideas to spark a light in a dark world. In many ways Sister K is far more dangerous than a deranged flesh eating rabbit — she is an intelligent woman who smells the fraud. Our protagonist will not to be hunted or victimized. Actually, her work has only just begun.

The trailer can be viewed and the film can be rented or purchased here

 

"Good sex. That is where God goes to church." The Very Private Work of Sister K Johan Liedgren, 2016

“Good sex. That is where God goes to church.”
The Very Private Work of Sister K
Johan Liedgren, 2016

Matty Stanfield, 11.9.2016

 

 

When 19th Century writer, Jules Michelet, wrote La Sorcière (Satanism and Witchcraft) his goal was not limited to providing a history of Medieval European Witchcraft. In truth he was seeking to do something far more interesting — his intention was to reveal that history as a cultural rebellion against the oppressions of the Roman Catholic Church and Feudalism. Michelet was sympathetic to the plight of peasant women of this era. What culture and history named as Satanic or Witchcraft, he attempted to redefine from the other side of a largely unrecognized side of this phenomenon: Paganism.

An impoverished woman doesn't quite fit into her community is to be judged as an Evil Witch. Illustration by Martin van Maele from Jules Michelet La Sorcière, 1911 Edition.

An impoverished woman doesn’t quite fit into her community is to be judged as an Evil Witch.
Illustration by Martin van Maele
from Jules Michelet La Sorcière, 1911 Edition.

The idea, as presented by Michelet, was to look underneath such dark practices as Devil Worship and discover its true origins. In fact, he viewed this with an eye to where non-prescriptive spiritual beliefs might lead to something of beauty and goodness. Was the cultural magnifying glass obstructing the goodness to propagate the fear of the people? His sympathies were given to the oppressed and victimized. Paganism was not necessarily Evil from Michelet’s viewpoint. His book would assist in laying out a model for modern Pagan Wiccan Ideologies.

Were these men afraid of Witchcraft or simply afraid of a women refusing patriarchal control? "The Witch, No. 3" Joseph E. Baker, c. 1890

Were these men afraid of Witchcraft or simply afraid of a women refusing patriarchal control?
“The Witch, No. 3”
Joseph E. Baker, c. 1890

Michelet reconstructs and reimagines a situation in which a coven of desperate women push their unique forms of social protest into darkness by the use of decadent rituals performed under the power of the moon. Black Sabbaths performed by witches. It was not the strength found in nature that was the problem. The problem was when these spiritual and empowering rituals sought to do harm. He then devotes the remainder of the book to reconstructions / imaginings taken from the horrific European witch trials. Michelet’s writings were debunked as inaccurate and problematic long ago, but he is responsible for turning a sympathetic light toward oppressed women and scorn on irrational societal fears. If nothing else, La Sorcière speaks to a very different kind of revolutionary danger that goes far beyond the simple political. If a society chooses to push large groups into oppression and misery, there is simply no telling what those groups might form to rebel.

Entering the 1970's society felt that parents had control of their children. Cue a masterful film about a pretty little girl possessed by The Devil. Linda Blair The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

Entering the 1970’s society felt that parents had control of their children. Cue a masterful film about a pretty little girl possessed by The Devil.
Linda Blair
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

As the world crashed out of the 1960’s and slammed into the resulting gains and damages of the 1970’s, Japan’s Mushi Production was looking to take on a bigger slice of the Animated Movie Pie. They instructed their animation team to create three adult-oriented projects referred to as The Animerama Trilogy. Mushi Productions and legendary animator, Osamu Tezuka, were looking to keep up with an ever evolving and reactionary era. The Animerama Trilogy would be Anime / Manga with a difference. These three films were to be full-on erotica and they would also adhere to psychedelic animation.

"All those lonely people..." Taking animation into the psychedlic. Yellow Submarine George Dunning, 1968 Art Direction | Heinz Edelmann

“All those lonely people…” Taking animation into the psychedlic.
Yellow Submarine
George Dunning, 1968
Art Direction | Heinz Edelmann

Perhaps it was worries about trying to push ahead of the coolness / originality created within the animated Beatles movie, Yellow Submarine, combined with rumors of hardcore content about to explode within mainstream cinematic entertainment. This was the era of Last Tango in Paris, The Devils, A Clockwork Orange and The Exorcist. It was at this time that two truly pornographic films enjoyed mainstream success. Deep Throat and Beyond The Green Door were not limited to creepy porn cinemas. Whatever propelled Mushi Productions to push the cinematic envelope, this was The Sexual Revolution and Liberation moving in full-tilt-boogie mode. Mushi Productions was ready to make X-Rated pornographic animated films. The sexuality was to be both erotic and graphic, but equal attention needed to be applied in the areas of plot and artistic quality.

The original movie poster Belladonna of Sadness / Tragedy of Belladonna Eiichi Yamamoto, 1973

The original movie poster
Belladonna of Sadness / Tragedy of Belladonna
Eiichi Yamamoto, 1973

Belladonna of Sadness was actually the second of the trilogy. Tezuka assigned Eiichi Yamamoto to serve as Belladonna‘s director and visionary leader. He quickly convinced painter, Kuni Fukai, to helm the film’s art direction duties. Artistic freedom and quality were of upmost importance. Astro Boy was the money maker for Mushi Productions. This trilogy was to be creative. Concerns regarding commercial success were to be pushed off the table.

The oppressed victim transforms into a magically powerful Witch... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

The oppressed victim transforms into a magically powerful Witch…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Yamamoto understood the importance of story and the importance of artistic quality. Fukai was not particularly interested in Anime or Manga, but he did want the freedom to pursue his artistic vision. He was also drawn to the idea that Tezuka was not particularly interested in movement. His goal was to focus on the detail of illustration. In other words, traditional ideas of animation were out the window. Fukai found the film’s development and production to be an enjoyable artistic experience. Based upon interviews, it is clear that Fukai captured the director’s ideas onto scrolling murals. The film’s cinematographer, Shigeru Yamasaki, then set the framing as his camera moved along the murals and other illustrations. Belladonna of Sadness took two years to create using less than ten additional animators. Masahiko Satoh was hired to provide the musical score. It is a jazzed-fused mash-up of experimental synthesizers with syrupy pop ballads. The musical score works incredibly well. Like the film itself, Satoh’s score has a large number of fans as well.

Defying conventional ideas of Anime and animation... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Defying conventional ideas of Anime and animation…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

By the time Belladonna of Sadness was ready for release, Mushi Productions was about to fall into bankruptcy. Their Japanese distributor, Nippon Herald Eiga, was at a loss when it came to marketing the movie. Even though the strange film was well received at the 1973 Berlin International Film Festival, it received a limited release in Japan without any success. Having now seen this infamous movie, it seems all the more odd that it came and went with little to no interest.  It was never officially released outside of Japan. In the late 1970’s it was discovered that Belladonna had gained a minor female following.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

An attempt to re-cut the movie so that it might hold a more immediate appeal to female viewers only resulted in muting the film’s power. Much of the hardcore sexuality and sexual violence was trimmed away. It is easy to understand why the director decided to remove some of these elements as they have and continue to cause problematic issues, but those original choices still make sense to the overall reach of the film. However Yamamoto had the idea of incorporating a scan of Liberty Leading the People by Eugene Delacroix to serve as a potent closing image.

A poisonous flower? Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

A poisonous flower or a source of magical healing?
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

The additional mix of Delacroix’s style makes sense given that the movie pulsates via a number of various stylistic influences. But the most logical piece of this idea is that the painting better conveys the film’s closing lines. Belladonna of Sadness has always enjoyed a strong reputation among fans of the Anime / Manga genres. Various and inferior versions of the movie floated around for years. The folks at Cinelicious Pics worked hard to secure the rights to restore and distribute an uncensored version of the movie to the world. All of the eroticism, depravity and sexual brutality has been returned. But the 1979 inclusion of Delacroix’s painting remains. Belladonna of Sadness is now available in 4K remaster.

How to describe this film without giving too much away? I’m not confident I can do that so I will keep my summary simplistic and utilize shots from the film to indicate the beauty, complexity and ultra-weird world it portrays. The over-all look of the film is tied to an idea of glam beauty that you might expect to see in illustrated adverts of the early to mid-1970’s. The film’s protagonist, Jeanne, is rendered as a slender and sublimely perfect nymphette. Her appearance is the one consistent element of the movie’s imagery. Jeanne‘s beauty does not match the world in which she has been born. She is simply too elegantly beautiful to belong here.

The identity finds no solace or safety in marriage... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

The identity finds no solace or safety in marriage…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

She is a peasant girl who has just married a humble but handsome man. Only minutes into her marriage, Jeanne is raped by the land’s Feudal Lord — and his entire court including Church leadership. This might sound silly, but that animated / painted sequences of rape and sexual torture are truly horrific. Kuni Fukai and his team found ways to render this human cruelty that go well beyond the boundaries of living actors. The sequence is traumatic and may prove to be more than some are willing to watch. When the film was screened in San Francisco more than a few people opted to leave the cinema. If you thought the killing of Bambi‘s mom was harsh, that classically upsetting animated moment is rendered sweet in comparison.

Believe it or not, this film's animated depiction of rape is disorienting, visceral and horrifically disturbing. Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Believe it or not, this film’s animated depiction of rape is disorienting, visceral and horrifically disturbing.
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

The ability of this film to capture both the act of rape and the consequence of the attack is nothing short of brilliant. As horrible as these sequences are — they are essential. The rape of Jeanne is not presented as erotic, but it does force forward an uncomfortable issue. While Yamamoto is clearly not looking to excite the audience, that doesn’t mean that this depiction of rape is above reproach. An argument could be made that his film goes too far. Somewhere in the synapse of the depicted horror there registers a worrying sense of the sadistic.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Is the explicit manner in which these brutalities are depicted meaningful or exploitive? While I think a case could be made, ultimately I was moved by the way the film managed to present the sheer trauma and damage of rape. Even still it must be noted that these sequences are so repulsive and shocking — they push it all so far that the viewer’s mind and body are both required to react.

It is a manipulation. It is a tough watch. Maybe too tough to be considered as an “entertaining” experience — and, no matter, this movie’s intentions are to entertain.

Draw your own conclusion.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Belladonna of Sadness is obviously surrealistic, but it is persistently grounded in realistic logic. Jeanne‘s life and marriage are ruined. As she attempts the impossibility of healing and restoring her identity she falls into a spiraling depression. Pushed past the edge of sanity, Jeanne appears to retreat into an attempt at calming through sexual self release. Or at least this is how I interpret it. Instead of finding peace, she discovers The Devil. Playful and ever-ready to flirt, The Devil never attempts to hide his identity. He repeatedly points out that Jeanne has summoned him.

Evil has not come to Jeanne without invitation. 

Jeanne makes a pact and gives her body and soul for as she phrases it, “something bad.” The something bad is actually empowerment and full claim of her sexual liberation.

Surrendering to Satan... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Surrendering to Satan…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Our protagonist is angry when she awakens from her surrealistic fuck-fest with Satan. She has anticipated that she would wake in Hell. She thought her hair would have turned into snakes. She expected to be a scary old hag. Instead she wakes refreshed, clean, energetic, healed and surrounded by flowers that seem to radiate energy.

"You had already died, anyway." Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

“You had already died, anyway.”
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

I want people to turn away in horror when I pass by in the street. I don’t want to forget anger and hatred!” Jeanne seethes to The Devil.

You have become beautiful, Jeanne. Like a young girl in love. Radiant. You are even more beautiful than God,” The Devil replies.

The One who owns her soul explains that a woman can be angry, scary and raging with hatred and remain beautiful. Why? Because she does not fully understand the power of her own self and beauty. The Devil teaches her that she can channel her beauty, charm, intellect and intelligence to do good or utilize those same powers to cause righteous evil. Nature will bend to Jeanne‘s will. Why? Because she is woman.

Meet Jeanne, The Witch. Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Meet Jeanne, The Witch.
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

Yamamoto’s vision of The Devil is a penis of various sizes and compulsions. Evil is represented by the penis. It is comical, but it is also oddly effective in depicting Jeanne’s initiation into the sensual. The vagina is used to symbolize a wide range of ideas and aspects of life, but the key to Belladonna of Sadness‘ use of yonic symbology are related to joy, pleasure and life.

"Are you The Devil?" "Yes," replies the cock along with an opportunity for empowerment... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

“Are you The Devil?”
“Yes,” replies the cock along with an opportunity for empowerment…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Welcome to Eiichi Yamamoto’s take on Feminist Theory. As Jeanne allows herself to shed inhibitions — she evolves into a powerful sexual predator. She seduces and gains strength as the men begin to lose theirs. Jeanne has long left her former life, she is now surrounded by beauty. She finds creative and magical ways to return to her fellow peasants.

Jeanne magically creates food and wine. She brings sexual education to her fellow peasants. She turns the poisonous Belladonna flower into medicine that stops pain — most importantly notes is that her magic flower  takes away the pain of childbirth for the women of her village. And she pulls the peasants back to her Sexual LSD’d-like trip’d out home for orgy sabbaths. All of which are depicted in stunning ways and in a multiple manner of styles. Some of the film’s stylings are truly beautiful, others are crude, some are silly, some profane and all are aiming to shock.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Eventually Jeanne must decide how she really wants to use her new found power.

Ultimately there is a reason Yamamoto named the protagonist “Jeanne.”

Jeanne d’Arc, anyone? Did I mention the story takes place in France? 

Do ya wanna hold me? Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Do ya wanna hold me?
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

Regarding the film’s X-Rated ideologies — Belladonna of Sadness aims to sexually excite. This is eroticism. To be more specific, this is experimental eroticism.

Why is it experimental? For more reasons than I care to list, but this is an animated film. Depictions of the human body morph from realistic renderings to the profanely abstract. This is even more true when applied to genitalia.

Is Belladonna of Sadness actually erotic? I guess that depends on what winds your clock. Personally, I do not find illustrations all that sexy. But that is just me.

Eroticism morphs... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Eroticism morphs…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

I should also point out that I’ve no interest in animated film, Anime or Manga. The fact that I wanted to write about Belladonna of Sadness indicates a great deal regarding how I feel about it. I loved the experience of this movie.

I admire the artistic audacity, experimentation and the epic go-for-broke approach. And I take great pleasure in seeing something totally new and unique. I have never seen a movie like this one. It is unique. It is also a problematic film and it doesn’t always work. But when Belladonna of Sadness does work — it compulsively pulls us into its own astounding world.

Erotica Abstracta / Fascinating to watch Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Erotica Abstracta / Fascinating to watch
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

Belladonna of Sadness has been gyrating for over 43 years. It isn’t going anywhere. For more info: http://www.cineliciouspics.com/belladonna-of-sadness/

Matty Stanfield, 8.25.2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

When the infamous Vincent Canby reviewed Fellini’s Casanova he spent some time praising what he saw. It almost feels as though he wanted to like flawed movie, but as he reached his closing summation he issued a frustrated dismissal:

The production is gigantic, but the ideas and feelings are small. One longs to go home and listen to Mozart’s “Don Giovanni.”Vincent Canby, New York Times, 1977

"And Now...after four years of preparation and production..." Fellin's Casanova Federico Fellini, 1976

“And Now…after four years of preparation and production…”
Fellin’s Casanova
Federico Fellini, 1976

Mr. Canby was not alone. Even Woody Allen seemed to take a stab at the film. As Alvy and Annie Hall wait in a cinema ticket holders line, they are forced to listen to a pretentious fellow film-goer rant about the Federico Fellini’s latest self-Indulgence. The latest work was Fellini’s Casanova. I suppose one could argue that Mr. Allen disagreed as he magically pulls Marshall McLuhan into frame. Alvy has the enjoyment of seeing the esteemed media philosopher bring the pompous jerk down to size.  Alvy‘s contempt for this cinephile has more to do with forcing his opinions on everyone around him. No defense is made for Fellini’s Casanova. It is doubtful that the narrator and that film’s title character would find much in Fellini’s adaptation of Giacomo Casanova’s Storia della mia vita or The Story of My Life. The doomed movie simply serves as a jumping point for a great comic bit.

"What I wouldn't give for a large sock with horse manure in it!" Annie Hall Woody Allen, 1977 Cinematography | Gordon Willis

“What I wouldn’t give for a large sock with horse manure in it!”
Annie Hall
Woody Allen, 1977
Cinematography | Gordon Willis

Vincent Canby’s review of the then long delayed Italian production was a fair and astute critique. If you are familiar with Canby’s style of criticism — he gives the movie a thumbs down, but also manages to praise more than a little of what he saw unspool on the screen. This is not something he was prone to do.

I’m not an expert on Federico Fellini, but I have had reason to watch this film quite a bit in the last two years. In that time I have also researched a good deal regarding the troubled production of Le Casanova de Fellini. As the genius mind often does, the great filmmaker had become obsessed with translating Casanova’s memoirs. His obsession had nothing to do with Casanova. He was fascinated by a man whom he considered to be an evil character.

As Fellini’s film well charts, Casanova did not love. The existence of his being relied upon sexual encounters with no connection to the objects of his interests. Interests would be the best way to term it. Fellini’s Casanova does not even really lust. It was only after shooting began that Fellini began to feel a level of empathy towards his title character. It would be this change of heart regarding his Casanova that would end up framing the entire film.

 

Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

The production began with a fundamental problem. His key financier, Alberto Grimaldi, had some very strong opinions about who would play Casanova. These two iconic figures of European Cinema entered into a battle of the wills. Grimaldi insisted that Fellini cast one of several major movie stars of the era: Brando, Redford, Newman or Pacino. Eventually Grimaldi gave in a bit and suggested Michael Caine. It is interesting that the producer even attempted to reign-in the auteur.

Fellini could never be reigned in. He got his way. He cast Donald Sutherland in the role. It was a bit of an odd choice, but it makes sense. Mr. Sutherland was a solid movie star, but not at the titan level of Grimaldi’s suggestion. He knew that Sutherland was a true actor and he also knew that he would not need to wrestle with the typical American Movie Star Ego. Fellini also saw a sadness in the deeply skilled actor. Sutherland’s casual approach also seemed to offer a sort of open canvas upon which he could paint. Or to be more precise — Sutherland was a tall thin form he intended to sculpt.

Donald Sutherland Re-Imagined... Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Donald Sutherland Re-Imagined…
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

Fellini put his star through the paces, but Sutherland was stellar and did all and more than was needed. Fellini had hired him to play an unlikable and hopelessly alienated man. Before and when the shooting began Federico Fellini held the character in contempt. He had Sutherland’s head half shaven, applied a prosthetic nose, chin and other odd distortions served totally re-shape Sutherland. The actor looks the same from every angle. His face and being have been largely restricted. Often the only English speaker in front of the camera, he was not always able to communicate effectively. His eyes are really all he had to utilize on his own. At times it feels as if Sutherland is little more than a puppet with Fellini orchestrating his every move. Surprisingly this restrictive appearance serves Fellini’s purpose effectively, but not well enough to distinguish Sutherland as an essential player within the film.

The film was shot under extremely tight supervision and behind the closed gates of Rome’s Cinecittà Studios. Nothing about this film looks real. Quite the opposite, the entire movie feels like a gorgeous formation of a nightmare. Cold, barren and yet full of things to look at — Fellini’s Casanova is even more obscure than the far superior Fellini Satyricon. This is Surrealism to the infinite. As one expects, every actor on the screen is interesting to study. As is often the case with later Fellini, the grotesque is magnified. The movie is as much perversely disturbing as it is often stunningly beautiful. Anyone who doubts that Fellini was not calling and insisting on every single choice can be satisfied to discover that he had an articulated explanation for every aspect of the movie.

 

Only the actors are real... Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Only the actors are real…
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

If one wonders why the production design suddenly replaces actual water with black garbage bags, Fellini had demanded this odd choice to his esteemed Production Designer/Art Director/Costume Designer, Danilo Donati. The director chose to replace water with plastic garbage bags to serve as a metaphor for Casanova’s fraudulent identity and fruitless self-journey. Fellini knew exactly what he wanted and refused any level of compromise. As he was walking his actors through a key scene involving nuns, Fellini discovered a feeling of empathy for Casanova.

He quickly came up with two incredibly complex studio set ideas which changed the point of the film and would serve as cinematic bookends within which to hold the film. And these were not simple last minute decisions. They were complex and expensive. Donate and the artists at Cinecittà Studios had to continually succeed against tight deadlines. It speaks volumes for Federico Fellini that his cast, crew and the studio artisans did next to no complaining. The filmmaker was beloved and respected. Only the best work was put forward for their director. And it shows in the finished film.

 

Fighting the choppy sea of plastic garbage bags... Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Fighting the choppy sea of plastic garbage bags…
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

The opening scene of Fellini’s Casanova is remarkable. An ornate and rowdy crowd assembles on the city’s banks waiting for something to emerge from the water. Impossibly complex rigs and tethers begin to pull and strain — a huge statue of Venus begins to emerge. The swelling crowed slips into jubilation as the Goddess of Love begins to peer out over the very real water. It is as if she is rising from the water as a blessing of desire, lust and love. Sadly the ropes and levers quickly buckle. The rigs and ropes snap under the strain. The giant statue promising erotic love and happiness slips forever lost to the bottom of the ocean. It is as if all hope for satisfaction and happiness has sunk. Nino Rota’s brilliant musical score adds to the potency of the visual. This is how Fellini’s Casanova begins.

Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

It is far more than grim metaphor. The failed attempt to raise Venus out of the water is never corrected. The film ends with a striking return to the film’s early warning sign. As Casanova attempts to find some form of connection and solace, he will realize that he is standing alone on a vast area of frozen water. The peering eyes of Venus are looking up at both him. Venus’ cold eyes are forever frozen beneath the lonely womanizer’s feet. It all sounds amazing, but one needs to be aware that this is a two hour and thirty-five minute epic of calculated iciness.

 

Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

A pal recently suggested that Fellini’s Casanova must be a bit like Ken Russell’s Lisztomania. But this is not a good comparison. True, Ken Russell’s highly experimental and comic-book take on everything from Franz Liszt to Richard Wagner to anti-semitism to WWII may be overtly eager, but there is sense to Russell’s unhinged film. If a person knows their history, Lisztomania is filled with an intentional goofy sort of logic that ties to the truth of the people and situations it satirizes.  Ken Russell was also smart enough to keep his film under the two hour mark by twenty minutes. He keeps the pace up with the surreal actions taking place on the screen.

 

It is quite manic and strange, but there is logic to the madness... Roger Daltrey, Rick Wakeman and Paul Nicholas ponder the horror of a Master Race... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

It is quite manic and strange, but there is logic to the madness…
Roger Daltrey, Rick Wakeman and Paul Nicholas ponder the horror of a Master Race…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Beyond the fact that both films were greeted negatively by critics and audiences, there is really very little that actually connects the two films. Lisztomania is a Surrealist’s absurd study of music composers connected to the rise of Facism presented through a Looney Tunes like lens. This interpretation is really not that far off base.  

Fellini’s Casanova has no interest in history. This epic film is steadfast in its indifference to logic, time or space. The lover, his reality, his Italy and even the horrific Inquisition are not based in any realm of reality. When those support beams and ropes break and Venus sinks to the bottom of the water — so do the film’s strings to logic. Additionally, the movie is not particularly well paced. Fellini’s Casanova takes its time. However the sets, the costumes, the odd assortment of actors, Rotunno’s cinematography and Rota’s haunting score aid in the propelling motion of the gloomy plot.

A huge phallus carefully placed into frame... Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

A huge phallus carefully placed into frame…
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

As laborious as it sometimes is, Fellini’s Casanova is visually unforgettable. I cringe as I write the following words, but as Woody Allen’s pompous ticket holder annoyingly laments,  Fellini’s Casanova is painfully self-indulgent. This fact does not mean that there isn’t a great deal of value to be found in this excessive film. A couple of DVD and BluRay distributors have managed to secure limited releasing rights to this film. One even claimed to have fully restored the film to its initial flawed beauty. Those claims have yet to demonstrate any truth. However a restoration should be coming in the not too far future. When it does eventually arrive, I do think  this 40+ year old film warrants owning for home viewing.

I know I’ve just criticized it fairly harshly but… Well… Um, yeah. I really do suggest purchasing a copy when it does become available. Fellini’s Casanova is a brilliant mistake!

 

Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

This experimental epic failed in the 1970’s and it fails now, but not without a great deal of interest. Fellini’s Casanova is a visually stunning mess. Giuseppe Rotunno’s cinematography is even better than usual. Danilo Donati and the work of Cinecitta Studios is truly other-worldly. Incidentally, Fellini’s film flopped — but Donati won an Academy Award for the innovative costume design. Nino Rota’s score is beautiful, effective and iconic. Chances are you have heard the melody even if you’ve never seen the movie. Odd, grotesque, surreal and lovely —  it is virtually impossible to look away from the screen. Even with a running time over two hours, Fellini’s Casanova is not a dull experience. It just isn’t much fun. This is a true flaw.

Fellini approaches his subject with a strong degree of hubris and judgement. Despite the perversities on display, this film is highly moralistic. The dialogue is often smartly witty, but never comical. This is another critical error. Fellini has checked his sense of humor outside the studio. There is no fun to be found within the gorgeous frames of his Casanova. As if in opposition to the dire tone is the clunky manner in which the film has been dubbed. It’s not that the voices fail to match the mouths as much as it is the intelligence runs against the film’s grain. The actors often appear to be lost within their director’s Mise-en-scène.

 

Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

Donald Sutherland lumbers his way through the film. He is essentially nothing more than a sad puppet at the mercy of his filmmaker’s whim. In a strange way, Sutherland’s performance works. Though watching the film now it is hard to wonder if it wasn’t just dumb luck. Vacant, sleepy and possibly bored — his confusion plays directly into the director’s ill-advised endeavor.

It is truly vexing how Fellini has opted out of offering any rays of humor or sexiness in his translation of the infamous Seducer and supposed Lover of women. This film is not the erotic adventure you might anticipate. It is actually un-erotic. Casanova‘s libido and desire have long been lost. Fellini’s film is not just a study of an aging womanizer — it is focused on the tragic existential journey of man who has failed to connect any meaning to sexuality. In fact Fellini’s Casanova does not appear to have ever connected to anyone or anything. This is a lover who’s identity and meaning have gone limp. …both figuratively and literally.

 

Seducing a robotic woman... Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Seducing a robotic woman…
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

Clearly Fellini is pointing a finger at the growing sexual revolution. It is a point not off-mark, but it is consistently made in a haze of staggering showmanship that is often so bad it works its way ’round to being somehow valid.

A man who never speaks ill of women does not love them. For to understand them and to love them one must suffer at their hands. Then and only then can you find happiness at the lips of your beloved.” — Fellini’s Casanova

This character does not dislike women. He is simply indifferent to them. It doesn’t take long to realize his two-way street dilemma. The women do not care about Casanova either. They are only interested in his ability to sex. And sex he can. At least this is true in his youth. But the sex is presented in a dry and often disgusting manner.

Win! He has fucked! Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Win! He has fucked!
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

I think some first time viewers make the mistake of associating this movie with the nunsploitation of the 1970’s. Do not expect that. Sure, the nuns get on the action, but Fellini has no interest in providing even a glimmer of titillation. Yes, it is visually interesting — but there is nothing remotely “naughty” here. It is intended to trouble, worry and depress. Like the bubbling sexual revolution going on just outside the film studio’s gate, Fellini’s Casanova is fucking to prove something.

Sex as sport. Sex as a game. Sex as a dare. Sex as a way to avoid. Sex as a weapon. Sex to hide the pain. Our lover fucks till he can fuck no more. The sexuality expressed in the movie feels like a harbinger of doom. With hindsight this is an interesting perspective. When Casanova finds himself in a sexual tryst with a robotic woman it is visually fascinating, but intellectually heavy-handed.

 

A gift of something to love for the title character... Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

A gift of something to love for the title character…
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

I find it interesting that the inclusion of this robotic doll of a woman was something Fellini dreamed up just after he began shooting. On the one hand this is a brilliant bit of story telling. Casanova is unable to connect to a living woman. Here Fellini offers him a fuck doll to end all fuck dolls, but there is a major problem. Casanova can pour his sexuality on her without any fear of rejection, failure or need to care. It is a poor choice that Fellini refuses to let up on the dreary tone. Casanova‘s tragic plight with the robotic woman could have been more clever if we were allowed to chuckle. But we are offered no relief from the gloom. Casanova‘s ice cold fuck doll feels like it might be the one thing that Casanova can love. The problem is obvious — a robotic fuck doll is unable to reciprocate love.

Doomed and slipping into the shadows... Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Doomed and slipping into the shadows…
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

And here we see the simultaneously effective but disappointing cinematic bookend ending. Casanova is left spinning with his love object atop a frozen bay. Peering up at him is the drowned concrete Venus. She is simultaneously a representative for his empty life as well as a goddess who judges him.

It is impossible to deny the artistry. And while the film is too long, it really is not boring. Fellini supplies plenty of eye and ear candy. The movie also has more than its share of WTF Moments. These moments are as not off-putting as they are simply interesting. A film like this could never be made today.

And while I really do disagree with the comparison to Ken Russell’s Lisztomania, it is easy to make the connection. Each film allowed both master filmmakers to pursue their respective visions without interference or restraint. But it must be noted that Russell’s vision and purpose is never placed above the viewers watching out there in the dark cinema. Fellini opted to simply dive into his obsession. A more fitting comparison might be to Francis Ford Coppola’s ill-fated and self-financed indulgence into the movie musical, One From the Heart.

Another director's obsession resulting in a cinematic error. One From the Heart Francis Ford Coppola, 1981 Cinematography | Storer / Garcia

Another director’s obsession resulting in a cinematic error.
One From the Heart
Francis Ford Coppola, 1981
Cinematography | Storer / Garcia

But this is not really fair. One From the Heart is neon beautiful and features some amazing musical work from Tom Waits, but it requires true grit to sit through it. In the case of this 1981 Epic Flop, the director’s passion is dull. There is something maddeningly fascinating about Fellini’s Casanova. If you see it once, you will want to see it again. If you make it through One From the Heart you will want to demand a cookie for your effort.

It should be noted that Fellini’s infamous cinematic misstep continued to be challenged with production woes. This was in part due to Fellini’s last minute major changes of fancy but other issues came up. Much of the film was stolen and subsequently lost forever. The notorious theft was actually aimed for Pier Paolo Pasolini’s Salo or the 120 Days of Sodom. A great deal of shot footage was forever lost. This included an entire sequence involving actress Barbara Steele. She was unable to return to Italy for reshoots. Sutherland and the other actors made themselves available. Fellini’s Casanova was delayed almost two years.

Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

 

When it became clear that the film was a fail Federico Fellini was crushed. It is important to note that he had considered this his finest work up to that point in his career. It is not difficult to understand how soul-draining a film’s flop can be for its maker, but there is an added measure when it happens to someone of Fellini’s abilities and stature. Fellini’s Casanova was an epic fail. But an epic fail from a cinematic master like Federico Fellini is still a masterful design. Being dull or uninteresting was simply not possible for this cinematic genius. This is a film that merits watching. And if you happen to love experimental film — you will most likely love this oddly flawed cinematic gem.

 

La Casanova de Fellini Federico Fellini, 1976

La Casanova de Fellini
Federico Fellini, 1976

Fingers crossed that we see it arrive to DVD/BluRay in a truly restored/remastered version soon!

Matty Stanfield, 6.16.2016

 

 

 

 

 

004-the-devils-theredlist

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.

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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

 

One can’t help but wonder what might have happened if John Carpenter had filmed his own script of Eyes of Laura Mars. It is a rather silly question as he did not film his own script. Instead that duty was assigned to the skilled filmmaker, Irvin Kershner. The only director bold enough to stand his ground against the likes of George Lucas while shooting his film for the Star Wars franchise and the director who was able to assist Barbra Streisand tone it all down to play a very believable housewife in a very surreal experimental film of the early 1970’s, Up The Sandbox.

"And your eyes say everything. You wanna keep me here forever I can't escape. One minute's so sincere. Then you completely turn against me. And I'm afraid..." An Iconic Movie Poster Eyes of Laura Mars Irvin Kershner, 1978

“And your eyes say everything. You wanna keep me here forever
I can’t escape. One minute’s so sincere.
Then you completely turn against me. And I’m afraid…”
An Iconic Movie Poster
Eyes of Laura Mars
Irvin Kershner, 1978

Up until 1977 he had never directed a horror film. It is clear that the under-appreciated film artist was less interested in the terror aspects of Carpenter’s script than in using it to focus on the problematic trend of mixing sex with violence as a form of subversion or perverse eroticism. One merely has to glance at only one of Rebecca Blake’s photographs taken for the film to understand that she is carefully constructing slick photographs in the vein of Helmut Newton or Guy Bourdin. Interestingly, these provocative and aggressively misogynistic photographs point toward where Karl Lagerfeld would be headed later on.

Is Laura Mars really only selling shampoo here? Eyes of Laura Mars Irvin Kershner, 1978 Photograph | Rebecca Blake

Is Laura Mars really only selling shampoo here?
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph | Rebecca Blake

John Carpenter’s original screenplay is fairly simple: A Post-Feminist (???) fashion photographer takes controversial photographs which capture not only the erotic elements of the female form in stylish clothing, but acts of brutal violence and murder. Violence and murder usually aimed at women.  Her work is highly profitable and has made her a bit of a celebrity. As a coffee table book collecting some of her most infamous photographs hits the stores, people close to her begin to be murdered in horrible ways that always culminate with their eyes being gouged out.

Even more disturbing, the photographer begins to lose her own vision only to be replaced with the POV of the killer for the duration of each murder. Amping up the horror is the fact that the pop culture princess of fashion photography discovers that all of her photographs mimic a number of brutal and confidential police shots of actual murders. Hence, it would appear that Ms. Mars is somehow psychically linked to a serial killer. It is the psychotic madness of a killer who has been inspiring her art. Art that many are eager to purchase and admire.

Eventually, the killer sets his sites on Laura Mars herself. As the killer tries to kill her she is put in the chilling position of POV limitation — she can only see herself as the killer goes after her. Essentially blind with only disorienting and panicked visions of her own body as target, she is a prisoner of the killer’s eyes ...and her own.

Taking aim... Faye Dunaway Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Taking aim…
Faye Dunaway
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

John Carpenter deserves a great deal of credit with coming up with an original and scary concept. It is unlikely he viewed as any sort of cultural or pop art commentary, but the circumstance of the imagined situation opens that door. Enter the decision to hire Irvin Kershner as the director. By securing the respected film director, the already infamous producer of the project was able to seal a deal with Faye Dunaway to play the lead character. In 1977, this was a casting coup. Dunaway was at the height of her cinematic power in the mid to late 1970’s. A beautiful and respected Academy Award winning actress, Ms. Dunaway was sought after.

Initially Jon Peters was rumored to have wanted to talk his then Life Partner, Barbra Streisand, into taking the role. The script was too violent and dark for Streisand’s taste. She did agree to sing a theme song which turned out to be a surprisingly rock-driven song. The esteemed Conrad Hall was rumored to be first choice to serve as the film’s cinematographer, but Kershner wanted Victor J. Kemper. He got him.

Several gorgeous models were hired to serve as models and actors. Tommy Lee Jones was secured for the leading male love interest. And thanks to a large paycheck, several respected actors were cast in supporting roles — most notably Brad Dourif and Raul Julia. This was an A List Production out of the gate.

Armed and ready to take aim at herself. So to speak. Faye Dunaway Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Armed and ready to take aim at herself. So to speak.
Faye Dunaway
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

When the results of the finished film screened in 1978, viewers were presented with a cinematic cornucopia of ideas and images. Some of these worked. Others failed. Mixed together — Eyes of Laura Mars became a largely mixed experience for film critics and an often vexing one for the audience. The film was a hit. Though filled with tension, the movie failed to actually be scary.

While Laura Mars‘ photographs are violently and sexually graphic, the film is surprisingly restrained. Most certainly the violence and amount of nudity earned the film an R rating, but there was a loopy sort of immature logic holding the film together.

Some did find the movie disturbing. Some found it to be a fun ride with more than a few unexpected twists. Others were just left a bit confused.

A male's smackdown on a beautiful woman is intended to sell cologne. Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

A male’s smackdown on a beautiful woman is intended to sell cologne.
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

37 years later Eyes of Laura Mars continues to entertain. Sadly, much of the entertainment grows out of unintentional camp.

This is not to say that this odd bit of big-budget 1970’s filmmaking does not hold some merit. But the film’s merits are easily over-powered by the strange plot, Dunaways’s soap-opera like turn and some deeply campy “stupid model” moments. The movie is a fun, pretty and ungrounded mess. And over the past decade it has developed a sizable cult following.

Most view Eyes one of those “So Bad It’s Great” cinematic guilty pleasures. While I can understand ascribing this uncomfortable thriller to that genre, I’ve never been certain that it should be regarded as a bad film.

A glam but deadly car crash in Columbus Circle, but what is being sold here? Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

A glam but deadly car crash in Columbus Circle, but what is being sold here?
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

I grew up in a fairly small town in Texas. We were not too far from Houston, but we did not always get movies when they “opened.” More often than not, movies arrived to our town several weeks or a month after the movie had already been in circulation. This was the case with Eyes. It opened late into its run at our fairly new mall cineplex.

My father had no understanding of what was or wasn’t appropriate for a child. He took me with him to see this movie. The woman who sold us out tickets already knew me as the kid who she would often pull out of a movie to ask where my parents were. I’m not sure if it was before or after the time my father took me to see Eyes of Laura Mars, but this theater manager pitched a fit when my father took me to see Looking for Mr. Goodbar.

Hurry! I Need more film! I'll push my skirt up further while you take care of that! Faye Dunaway Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Hurry! I Need more film! I’ll push my skirt up further while you take care of that!
Faye Dunaway
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Her attempts to prevent my father from taking his little boy to see adult movies always failed. Mr. Goodbar was a traumatic experience. But Eyes was not one. In fact nothing I saw made my jaw drop or caused me any real confusion.

The thing I most remember about seeing this movie was that my father was forced to really get his shit together because no one was admitted after the first ten minutes of the movie’s start. My father had the annoying habit of arriving at the middle of a movie and then staying to see the first half at the next screening. But he had to arrive on time for Eyes of Laura Mars. I also remember noting that he was truly glued to the screen. It seemed like the casually naked models and the violent photographs interested him.

I was not scared by the movie. While I had not yet become educated in filmmaking, I did know who John Carpenter was — and I was frustrated that the Halloween dude wasn’t making a movie he wrote.

"This is Lulu & Michele! We're not home so go to Hell! But if you're not a horny creep, leave a message at the beep!" Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

“This is Lulu & Michele! We’re not home so go to Hell! But if you’re not a horny creep, leave a message at the beep!”
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Eyes of Laura Mars is not a truly bad movie. It may not be scary, but it has its share of intense moments. It also offers a rather lucid capture of 1970’s NYC and its fashion scene.

Sony did issue the film to DVD, but the HD download currently available via iTunes is far superior to the non-remastered print that the ever-cheap Sony put on DVD. One major thing about the Sony DVD is that it features a film-length commentary from the late Irvin Kershner. In that commentary he speaks of not having had much knowledge of the fashion world at that time. He was surprised when he heard female models talking, disrobing, doing drugs and giggling like school girls.

A staunch liberal, Kershner was also more than a little repulsed by discovering that there seemed to be a misogynistic attitude toward women by an industry devoted to women as their focal demographic. This concerning misogyny would change the film’s tone. No new comer to the Sexual Revolution, he was very much surprised by the attitude of the female models he encountered as well as what he saw as The Studio 54 Culture. Clearly this is what motivated Kershner.

Oh, the model's life and selling cars while being abused and killed... Eyes of Laura Mars Irvin Kershner, 1978 Photography by Rebecca Blake

Oh, the model’s life and selling fashion! No prob with nudity or killing or being killed. But they do have problems with the color of the dresses… Sex, violence and Misogyny Sells Clothing!
Eyes of Laura Mars
Irvin Kershner, 1978
Photography by Rebecca Blake

At the time of the film’s release more than a few critics were annoyed by the ample use of casual nudity and the constant stream of violence against women. Kershner explains that he didn’t need to include all the nudity and explicitness of the faked photographs, but these aspects of the plot tied to the world of fashion greatly disturbed and interested him. These aspects seemed to signal that this once simple slasher movie could serve as something a bit deeper in the form of societal and cultural commentary. Or so it seemed.

It wasn’t so much the clothes that the photographers were wanting to capture as the sexuality of the models. And the models were more than happy to comply. Sex was their commodity and it was taking on a sinister tone from Kershner’s perspective. The non-actor models didn’t need to be asked or walked-thru to be nude for the film. They treated their scenes as they would a provocative fashion spread. Off came the clothing and on went the vapid conversing and drug-taking.

Kershner saw and attempted to capture a world in which the female model had no issue with being nude or posing as a victim, but their psyches were challenged when they had to wear “pink” or any color that they didn’t like. Carpenter’s original screenplay was re-crafted to “realistically” capture this world. A intriguing idea in theory does not always manage to fully morph onto the screen.

A lovely book for the late 1970's coffee table? Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

A lovely book for the late 1970’s coffee table?
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Kershner was very careful not to discuss too much about Faye Dunaway. It is no secret that she became frustrated with the making of the film but also the way in which it was promoted. This was really the first film in which Dunaway failed to connect to the production.

A deeply stylized and theatrical actor, Faye Dunaway always had a 1940’s sensibility about her — hence her success in films like Bonnie and Clyde, The Thomas Crown Affair, Towering Inferno and Roman Polanski’s classic film, Chinatown. She had managed to take her style of acting to a whole new level for Sidney Lumet’s brilliant Network and won the Oscar.

As Laura Mars Faye Dunaway appears to be a bit lost. It often feels as if she is fighting against what Kershner wanted. Continually dressed in flowing robes or gowns, Laura Mars seems to edge toward Gothica. She is power-dressed with purpose and that purpose is not to be sexy.

Glam Gothica with a pretty flower hat, how is Laura Mars to compete with her abused models? Tommy Lee Jones has to decide where to look as Faye Dunaway emotes for her life... Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Glam Gothica with a pretty flower hat, how is Laura Mars to compete with her abused models?
Tommy Lee Jones has to decide where to look as Faye Dunaway emotes for her life…
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Surrounded by The Beautiful Elite of the modeling world, Dunaway is constantly subverting her assigned wardrobe to a new purposes. It seems almost comical to watch her photographing a fake car crash tragedy with her models either playing dead or cat-fighting in undies and minks. Kershner’s commentary avoids much discussion, but it seems an odd choice that Dunaway’s Laura Mars opts to hike up her skirt and do a Old-School Hollywood leg reveal as she shoots her pictures.

Decidedly not sexy, it just seems uncomfortable. Dunaway strictly refused any nudity in her love scenes with Tommy Lee Jones. But one suspects she desperately wanted in on some of the semi-nude cat fights she was left to “photograph.” The audience is less interested in Dunaway’s Laura as they are in the barely clothed fighting beauties amidst the wreckage.

The killer probes the ice pick into Laura's eye on the cover of her slick new book of KINK. Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

The killer probes the ice pick into Laura’s eye on the cover of her slick new book of KINK.
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Eyes of Laura Mars gets the late 1970’s NYC Fashion World down correctly. The clothes feel and look very much from the 1977 era. The fashions being photographed look legit. And the wealthy photographer may edge toward the dramatic, but her clothing is clearly upscale and in style.

Kershner also captures the feel and look of the true 1977 NYC. Hell’s Kitchen, Columbus Circle and the Fashion District look like they are from another reality compared to now. This is most assuredly an on location shoot. The grime and grit plays a key role to the film. And although he did not shoot there, one of the movie’s early moments features a PR party given in honor of Laura Mars‘ work and new book that could easily be mistaken for a Studio 54 event.

At this event, Kershner makes no excuses for the vapidity of models like Lulu and Michelle, but both Darlanne Fluegel and Lisa Taylor are comically believable in their roles. It is in this early scene we are given a glimpse into their characters’ personalities.

Disco music blaring, the models pose in preparation for Laura's killing portrait... Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Disco music blaring, the models pose in preparation for Laura’s killing portrait…
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

The director is also to be credited for showing the importance of gay male culture within the world of Laura Mars without falling into homophobia. Little is actually articulated, but we know these men are gay. Rene Auberjonois delivers a solid performance as Laura’s close friend and business manager. We not meant to make fun of him.

And while both Raul Julia and Brad Dourif are wasted, they put forward great work here. Tommy Lee Jones is also strong except when pitted against Dunaway’s convulsively confusing turns. Jones is playing the role as realistically as possible, but he often finds himself in bad soap opera territory when kissing or making love to his leading lady. This is not his fault. Dunaway’s work here often feels like that of an insecure fading movie star who is afraid of losing her place at the table. Sadly Kershner didn’t seem to be strong enough to talk her down. This is of particular surprise given his track record for getting the best out of his actors. It is safe to say that Dunaway’s finest work has been given under infamous duress with tempermental directors.

Roman Polanski or Barbet Schroeder anyone?

Art crime? Faye Dunaway is probably more covered than comfortable amidst all this beautiful flesh. And murder. Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

Art crime?
Faye Dunaway is probably more covered than comfortable amidst all this beautiful flesh. And murder.
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

While it was most definitely a fail on the part of Kershner to not better execute the horror of a film that was obviously intended to be a slasher flick, I doubt we would really remember this film if it had followed that path.

It should be noted that one of the few genuinely creepy moments in the movie is when we are limited to Laura Mars‘ POV which is trapped in the POV of the serial killer who is chasing her at full speed with intent to kill. Arte Kane’s musical score is manically-pitched and when edited into this threatening but non-violent scene, it does illicit a good deal of tension.

Even still, there is a major bit of let down when acts of actual real-time murders happen. Thanks to the musical score and the trippy use of POV there is some suspense, but the cinematic pay-off in these slasher scenes feel like something you might have seen on Charlie’s Angels.

Well, minus the nudity.

Learning how to shoot a handgun and ready for romance! Faye Dunaway and Tommy Lee Jones Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Learning how to shoot a handgun and ready for romance!
Faye Dunaway and Tommy Lee Jones
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

This is very little gore in this film’s violence. Of course the film’s Big Reveal which Columbia Studios built up by closing ticket sales after the first ten minutes of the movie, has never seemed at all shocking to me. Even as a child I had figured out the identity of the killer before the film decides to reveal it.

Even still, it is a nightmarish situation that is interesting when compared to the “fashion art” our heroine has been crafting with her stylishly perched skinny leg and handy Nikon camera. This is perhaps the film’s most winning turn of horror — it is the film’s use of murder as fashion and violent death as eroticism that leaves a queasy sort of taste on the cinematic palate.

Killing to sell a car... Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

Killing to sell a car…
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

Irvin Kershner’s take on Carpenter’s script may not have gone to the logical horror route of the Slasher Film, but it’s twisted turns guide the audience to a surprisingly gruesome walk toward the pop culture of the future.

And Faye Dunaway’s odd performance does leave an impression.

It should be noted that this performance does not straddle an artistic line as her work in the ill-advised Mommie Dearest. Instead her work as Laura Mars is consistently up-ending itself. The manic and insecure diva-ish turn has, over the years, added a level of paranoia.

This paranoia plays well into both schisms of the infamous movie: The Uncomfortable and The Cult of Camp.

Putting her best leg and high heeled foot forward. A promo shot of Faye Dunaway which she would later claim she disliked. Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

Putting her best leg and high heeled foot forward. A promo shot of Faye Dunaway which she would later claim she disliked.
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

Perhaps it is unfair to lay Dunaway’s failure all on her. She is given some very strange dialog:

While in a post orgasmic embrace she murmurs:

“I can’t understand. [slight pause] how it’s possible. [slightly longer pause] to live your whole life. [pause ] without someone. [slight pause] and be doing more or less OK. And then suddenly you find them. You recognize them.”

cue lush love theme as Tommy Lee Jones plants a big smooch on her face.

What do those words even mean?

Faye Dunaway gets and gives more than an eyeful Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Faye Dunaway gets and gives more than an eyeful
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Perhaps Eyes of Laura Mars is a bad movie. Or maybe it is simply flawed. It doesn’t matter. Once you see it you will never forget it.

Matty Stanfield, 12.4.15

 

 

 

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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

creep-poster

“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.

rick-alversons-entertainment-and-the-end-of-the-american-west-body-image-1422113777

“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

 

 

 

 

 

 

 

 

 

 

 

I have been reading and hearing about Marco Ferreri’s notorious 1973 film, La Grande Bouffe,  since adulthood.

Le Grande Bouffe Marco Ferreri, 1973

Le Grande Bouffe
Marco Ferreri, 1973

Yet I had never had the opportunity to see it until the folks at Arrow Films saw fit to restore and release the film. Even well over 42 years since it debuted at The Cannes Film Festival, this film is still notorious. A simple “google” reveals that Ingrid Bergman tossed her cookies trying to watch it when she was sitting on The Cannes Jury. Marcello Mastroianni’s then lover, Catherine Deneuve, did not speak to him for two weeks after she saw the film. Despite some controversy, the movie was received well be most critics. In fact, Marco Ferreri tied with Jean Eustache and won Cannes’ FIPRESCI Prize. It was also nominated for The Palme d’Or. However, nearly all the positive reviews acted as a warning to the film’s admittedly grotesque use of food, bodily functions and sexuality. There was also an on-going argument in France and among cinephiles as to whether or not this film was bombastic provocation or bold metaphorical satire. Another argument centered on whether the film could be labeled as “Surrealism” or “Absurdism.”

There can be no denying that Le Grande Bouffe strikes a off-key chords of disgust and repulsion.  At the same time, a viewer would be hard-pressed to argue that this strange movie fails to entertain. Most importantly, it does have something to say about the state of society that remains incredibly valid all these years later.

Marcello Mastroianni, Ugo Tognazzi, Philippe Noiret and Michel Piccoli play friends who have grown bored with life, but they have a plan! La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

Marcello Mastroianni, Ugo Tognazzi, Philippe Noiret and Michel Piccoli play friends who have grown bored with life, but they have a plan!
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

Gathering a spectacular cast of mid-1970’s actors (Marcello Mastroianni, Michel Piccoli, Philippe Noiret and Ugo Tognhzzi) together as a group of wealthy men who have lost the desire to live. More to the point, wealthy men who have allowed respective desires to form the focal point of life. And desire alone is certainly not a healthy or sustaining “diet.” This of course ties into the metaphor of consumerism.

As a successful and renowned chef, Ugo Tognhzzi, has spent his life perfecting his dishes to the point that he no longer finds joy in the making or the eating of food. Michel Piccoli is a successful television producer and journalist who seems to have lost interest in what he does. Philippe Noiret may be a respected and powerful judge, but his life has been spent interpreting law and handing out verdicts. Any hope for something deeper appears to have been sapped by an on-going inappropriate sexual relationship with his childhood nanny. It becomes clear that this nanny has been sexually abusing him since he was a child. Sexuality and intimacy clearly lead Philippe to muted place of discomfort. Most explored is the dilemma facing Marcello Mastroianni’s character.

It is Marcello who insists on hiring some prostitutes to join the friends for "the fun." With a hooker's panty as an eye patch -- Let the eating and fornication begin! Marcello Mastroianni La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

It is Marcello who insists on hiring some prostitutes to join the friends for “the fun.” With a hooker’s panty as an eye patch — Let the eating and fornication begin!
Marcello Mastroianni
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

A successful airline pilot, this man focuses all energy on pursuing sexual conquests and resulting pleasures. Sex is of utmost importance to Marcello, but it has become a hallow experience which seems to be heading the way of impotence.

These four friends gather with the plan to fully indulge in a hedonistic series of feasts with the goal of literally eating themselves to death. Enter an idea of “Surrealism” which is not really accurate. While it might be very hard, in theory an individual could eat him/herself to death. Yes, it might be very difficult but it can be done. The film’s core plot is less Surreal and more Absurdist. Le Grande Bouffe is also satire at it’s most dark and revolting. The film is very focused on the human body and digestion.

Ah, delicious! Michel Piccoli examines the head of a newly butchered hog. La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

Ah, delicious!
Michel Piccoli examines the head of a newly butchered hog.
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

Quite literal in its use of The Scatacological, The Big Feast is filled with fart sound effects, swelling bellies, burbs, vomiting, exploding toilets, plumbing and colon ruptures. Uncontrolled defecation and farting are less funny when presented so graphically and for so long. In many ways Ferreri is testing his audiences’ patience and will to make it through his movie.

Mastroianni’s character’s life focus is sex. As soon as the men settle in to the ornate house where they plan to kill themselves, he decides he must have sex or the “fun” of gorging themselves to death will not be as rewarding. Enter the prostitutes and the friends’ mutually shared view of women as objects.

Appreciating the nude art on the grounds... La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

Appreciating the nude art on the grounds…
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

These men have essentially no real healthy connection to women. They are playthings with very little else to offer. Marco Ferreri has cast some truly beautiful actresses as the film’s prostitutes. It is hard to know if any of these actors can act because they are given very little to do other than to offer their bodies to the men. Of course, we are never allowed to forget that this is not “fun” for the women. They are there for the money. It is interesting to note that it the prostitutes who quickly grasp what is going on amongst these friends. These women have no concern regarding their clients’ macabre plan. They just want to be paid.

Late 1960’s/Early 1970’s Euro-Sex Symbol, Solange Blondeau, is given the most to do and she does it well. Disgusted by the amount of food she sees, she voices complaint at the lunacy because she is almost ill just watching the eating not out of any concern. She and another prostitute briefly discuss the unimportance of men. Solange goes along for the ride.

"What is that?" Marcello seems more interested in the manifold as phallus and food than Solange's beauty. Mastroianni, Blondeau and intrusive manifold... Le Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

“What is that?”
Marcello seems more interested in the manifold as phallus and food than Solange’s beauty.
Mastroianni, Blondeau and intrusive manifold…
Le Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

When Marcello brings her into the garage to show her a beautiful antique car, she is less annoyed by his use of a manifold as phallus than she is by the food he forces her to eat. The scene is intentionally gross. There is nothing erotic here. But there is another invited guest to these friends’ Nihilistic big feasts, a seemingly “proper” elementary school teacher. This was Andrea Ferreol’s film debut. She is positively brilliant in this film and offers an interestingly odd twist to the tale.

It may not be clear if the teacher understands, but there is nothing “appropriate” or remotely innocent about her. She quickly seduces Philippe’s judge. She cleverly morphs from sweet school teacher to zaftig Sex Kitten. Not only eager to have sex with the judge, she is more than willing to serve as erotic object for all four men. Andrea Ferreol is stunningly beautiful, but not in the conventional way of the prostitutes. Interestingly, it is Andrea who Marco Ferreri attaches cinematic eroticism. It is actually only with her that he indulges in 1970’s Euro-Eroticism.

Andrea Ferreol gladly offers up her lovely body to Marcello Mastroianni. Despite her beauty and willingness to play his games, he has lost the ability to participate. The film is very clear that this is not her fault. Andrea Ferreol & Mastroianni La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

Andrea Ferreol gladly offers up her lovely body to Marcello Mastroianni. Despite her beauty and willingness to play his games, he has lost the ability to participate. The film is very clear that this is not her fault.
Andrea Ferreol & Mastroianni
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

A pale, curvaceous and inviting bounty of flesh, Andrea is the true sexual feast for these men. Ever game for anything each man wants to try or do, Andrea is also craving the food and the sex. In one of the more darkly comic and equally disgusting scenes, Andrea forces herself on an ailing Michel. As Michel moans in pain Andrea rides hard and fast. As he submits so do his bowels. It is deeply repulsive but inexplicably funny. Later she will allow Ugo to use her shapely buttocks to form a huge tart. She also attempts to satisfy Marcello’s erotic needs with little luck. As inappropriate as everything is, there is something to be said about the fact that Ferreri celebrates Andrea’s body rather than make fun of it.

However, there is something sinister about Andrea. Aside from the fact that she is not bothered by the sight, sounds, smells of stomach-churning bodily functions — she is ever eating though never to the point of the extreme as her hosts. She is also forever wanting to sex it up. Most disturbingly, she seems to take great joy in assisting these men in their pursuit of death by gluttony.  She begins to take a sort of psychopathic joy in it. Andrea is fully committed to assisting these men on their mission. Andrea Ferreol is easily the best performance in the film. And it is completely fearless.

Look! More food! EAT THIS! La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

Look! More food! EAT THIS!
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

Suffice to say, this is a very strange movie. It is also almost epic in length. It runs over two hours. This is a long film. It is certainly not for everyone. However, there is a great deal that is worthy here.

While there is most certainly a societal commentary being expressed, in the end friendship and shared sadness seem to be almost as essential as the societal aspects. Amidst all the folly and nauseating actions, the filmmaker succeeds in demonstrating the love shared by these four men. Ultimately, they stand united. A very wrong and warped idea emerges that despite all of their faults, these four men have each other. It is an unexpected bit of human tenderness that manages to surface. No matter how one wants to find meaning, this film is well made, provocative, energetic and crudely funny.

Somehow Marco Ferreri film makes us actually care about these sad men. That in of itself is a major feat.

Uh, oh. A colon rupture! Um, yes. It is shown. La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

Uh, oh. A colon rupture! Um, yes. It is shown.
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

If I had to offer an easy summary of this early 1970’s film it would be to imagine Peter Greenaway’s The Cook, the Thief, His Wife & Her Lover as an obvious comedy and minus vengeance.  Actually, I’d be willing to bet that Greenaway’s film would not exist had Ferreri’s film never been made. There are a number of similarities. Greenaway had already cast Andrea Ferreol in his earlier brilliant film, A Zed and Two Noughts. Interestingly, Greenaway’s NC-17 film had an easier time in the late 1980’s than Ferreri’s film in the early 1970’s. The film was heavily censored and even banned. Locating a full cut of this film has been difficult until Arrow Films’ recent restoration.

Food, Sex & Human Cruelty The Cook, the Thief, His Wife & Her Lover Peter Greenaway, 1989 Cinematography | Sacha Vierny

Food, Sex & Human Cruelty
The Cook, the Thief, His Wife & Her Lover
Peter Greenaway, 1989
Cinematography | Sacha Vierny

Of course, Greenaway had a far more crucial political satire in mind at the time he made The Cook. While Marco Ferreri’s societal commentary is aimed at consumerism and the vacancy of wealthy men, Peter Greenaway was intellectually crafting a gut-punching critique of Thatcher’s England the human cruelty that resulted within it. It is the better film, but in many ways it is even harder to watch.

Michael Nyman’s iconic musical score for this infamous 1989 film. It is a major player in Greenaway’s film. La Grande Bouffe also offers a surprising importance on it’s musical score. And the score is totally mis-matched to our perceptions of what we anticipate in the way of a musical film score. Philippe Sarde composed a truly lovely score for the twisted La Grande Bouffe. It is music of bittersweet lush romanticism.

Interestingly, Sarde’s score makes sense.

"Why eat when there is no hunger?" Michel Piccoli & Solange Blondeau La Grande Bouffe Marco Ferreri, 1973 Cinematography | Mario Vulpiani

“Why eat when there is no hunger?”
Michel Piccoli & Solange Blondeau
La Grande Bouffe
Marco Ferreri, 1973
Cinematography | Mario Vulpiani

And here lies the major challenge of La Grande Bouffe: Is the ‘pay-off‘ worth the investment of time to watch it?

Yes and no. I think the answer to this question can only be answered on an individual basis. Despite the unpleasantness, I think this is a well-crafted and important film. That being stated, approach with caution. It is rare that I agree with the MPAA, but La Grande Bouffe is deserving of the “NC-17” rating that it has been assigned.

And a tip of the hat to Arrow Films of the UK as they continue to raise their bar on restoration and distribution beyond region restrictions.

La Grande Bouffe Marco Ferreri, 1973

La Grande Bouffe
Marco Ferreri, 1973

Their job is every bit on par with The Criterion Collection. I suspect that we are going to see an interesting turn in the world of Art House Boutique Labels as Arrow Films continues to have a more current perspective on Film Art while The Criterion Collection seems to be continuing to lose touch with their younger audiences’ cinematic interests. Do not mis-read me. TCC is going nowhere, but their recent choices for film restoration/distribution have been more than a little off. Arrow Films seems to be taking appropriate aim at Film Art that appeals to a growing population of younger cinephiles who have interest beyond the Film Masters.

Matty Stanfield, 11.5.15

 

 

 

By 1995 Communist Poland was long gone. The state no longer restricted the artist or oppressed it’s people. Capitalism was to be embraced. Along with this sudden shift in economy and freedom came many challenges. For the Film Artist, there seemed to be a freedom. A cinema without restriction.

In reality, the entire Polish infrastructure was unstable. The state no longer funded the arts. Film had to be funded privately. However, there was no real film studio or film producers wiling to fund much beyond silly comedies, biographies and other projects that criticized the former Communist regime. When Andrzej Zulawski returned to Poland to film Szamanka (She-Shaman), he had to secure funding from France and Switzerland in order to bring his vision to the screen.

Szamanka Andrzej Zulawski, 1996 Art | Jean-Philippe Guigou

Szamanka
Andrzej Zulawski, 1996
Art | Jean-Philippe Guigou

Those of you reading this most likely know who Andrzej Zulawski is, but despite his genius and success he remains a largely marginalized film artist. Best known and accepted in France, he obtained some degree of success there. In the US and the UK he is best known for leading Isabelle Adjani and Sam Neil into the dark, disturbing, twisted and innovative cult film, Possession. If that controversial and infamous 1981 film is his most personal work, where does that place Szamanka?

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

This might be one of his more philosophical films, but it is unquestionably his most sexually obsessed film. Looking at the movie from a strictly surface perspective (a mistake when it comes to the films of Andrzej Zulawski) this could be interpreted as a frantically impulsive sexual relationship between a wounded and angry Anthropologist and a clearly disturbed young woman. A sort of demented take on the battle of the sexes. However, this is far too simplistic a way to watch or understand this erotic film that hinges on apocalyptic horror.

Passion, love, madness or taming evil?  Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Passion, love, madness or taming evil?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

If you’ve not heard of Szamanka or seen it, it is likely due to the fact that upon its release it faced an incredible amount of rage from the Polish Catholic Church. Censorship by the State of Poland may have ended, but a new form of repression had sprung up in the form of Post-Communist Catholic Poland. This tale derived from the ideas of Polish writer, Stanislaw Przybyszewski and his controversial coining of the phrase, Naked Soul and Zulawskis’s desire to wake up the Polish masses with his own sort of “Santanic Antidote” to his two contemporaries of Polish Cinema. While both Kieslowski Krzysztof and Zanussi Krzysztof were both brilliant filmmakers, from the ideology of Zulawski were playing into some spiritual idea to which he took exception.

Who is the Sadist? Who is the Masochist? Or, is this demonic possession?  Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Who is the Sadist? Who is the Masochist? Or, is this demonic possession?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Filled with contradictory ideas around Catholicism, good, evil, sexuality and love this film faced a whole new level of censorship that Zulawski had never faced. Communist Rule was tough, but the unbridled adherence of Religion truly knows no bounds. The film is so graphic sexually that it probably would have been banned anyway, but the controversial ideas of this philosophical, mystical and erotic journey remain blasphemous. The Polish community almost immediately began to call this film The Last Tango in Warsaw. Even though they had not seen it, this was and remains the oft-mentioned joke about Szamanka.

The film has been compared to Lars von Trier’s controversial, Antichrist, in that it depicts a male who suffers the wrath and sexual rage of his female wife. Antichrist plays with ideas around cultural misogyny and grief in equal measure. Like Lars von Trier, Zulawski has been accused of misogyny. The problem with this accusation is that it doesn’t hold up when one watches Szamanka with some knowledge of where it’s maker is coming from and where the film ultimately takes us. It is also important to note that the screenplay was written by Manuela Gretkowska, a young Feminist and acclaimed writer who played a key role in founding The Polish Women’s Party. Certainly Andrzej Zulawski pushes forward his own agenda, but he never veered far from Gretkowska’s script.

Rumors that this was real and not simulated sex has earned the film the nickname of "The Last Tango in Warsaw" Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Rumors that this was real and not simulated sex has earned the film the nickname of “The Last Tango in Warsaw”
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Boguslaw Linda was an established Polish movie star when he was cast as Michal, the unhappy and profoundly conflicted anthropologist who has just come into the job of investigating the rarest of anthropological finds. There are more than a few stories about the casting of the female lead. Zulawski was not known to work with “unknowns” or “untrained” actors, but something about Iwona Petry’s beauty and presence deeply fascinated Zulawski. She was just barely twenty years of age when he saw her ordering a cup of coffee. Described as a bit eccentric and a strict vegetarian, Zulawski convinced her that she was meant to be his star and to play the role of Wloszka / The Italian.

An unforgettable cinematic presence and debut which would be her final turn in front of film cameras. Iwona Petry as Wloszka AKA "The Italian" Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

An unforgettable cinematic presence and debut which would be her final turn in front of film cameras.
Iwona Petry as Wloszka AKA “The Italian”
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

While Szamanka was a huge critical and commercial failure in Poland — largely because the Polish Catholic Church. Honestly, the film was never even given a chance to screen much at all due to protests and the ultimate banning of the film. However the film scored incredibly well in Italy and France. It was expected that Petry would be a major and perhaps first true Polish female movie star. She didn’t. In fact she has become a huge part of this movie’s infamy. During production the Polish media had a frenzy in reporting that Zulawski was manipulating, forcing and abusing the young woman. Rumors ranged from beatings to forced sex to psychological torture.

Looking back at the situation, it would seem that Zulawski’s dark sense of humor had some fun playing with what were clearly rumors. When the film finally screened to great acclaim at the 1996 Venice Film Festival, Zulawski answered the charges with his typical blunt intellect. There was no truth to any of it. Yet another ploy to set the film up by the oppressive Polish Catholic Church.

Religious symbology and Mysticism loom constantly around these two rage-filled lovers. Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Religious symbology and Mysticism loom constantly around these two rage-filled lovers.
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

However, Iwona Petry failed to show up for the premiere. She actually went missing for a short while. Apparently exhausted from the tough shoot and terrified by the media attention she took her money and ran off to India. In 1998 she gave a few interviews and admitted that the sudden brush with fame was far more than she had bargained. A roll of eyes to the rumors that continue in Poland to present day. She returned to university and is now a published fiction writer. She has no interest in returning to the world of acting.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

This is a shame as her performance in the film is quite impressive. Iwona Petry had the presence of a movie star and she played the role of the She-Shamen with an almost insane level of erotic energy. One hardly has time to notice the well-trained middle-aged Boguslaw Linda. When Petry is on screen, it is she you watch. And, no. She is not nude the entire time. It is an interesting and terrifying performance. Once you see this odd film, you will never forget her.

Most importantly, you will never forget Szamanka.

The anthropological find of a lifetime: a nude mummified Shaman  covered in mystical tattoos and a pouch of ancient hallucinogenic mushrooms Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

The anthropological find of a lifetime: a nude mummified Shaman covered in mystical tattoos and a pouch of ancient hallucinogenic mushrooms
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Boguslaw Linda’s Michal is a frustrated scientist about to marry a woman for whom he feels no love or passion. During an unseen excavation with his students, a mummy is discovered. It is determined that this mummy is close to 2,000 years old. Michal’s interest in this mummy goes far beyond the academic or scientific when he discovers this is the body of a Shaman.

Touching, connecting and trying to merge with God Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Touching, connecting and trying to merge with God
Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

The body is incredibly well preserved. Covered in mystical tattoos, they also find a pouch full of what turns out to be  hallucinogenic mushrooms. While Michal and his team try desperately to understand the cause of the Shaman’s death, there is only one clue: the back of the Shaman’s skull is crushed. This does not signal the cause of death but an ancient pagan ritual in which after death, the Shaman’s skull is opened to release the potent spirit free.

Andrzej Jaroszewicz’s camera seems to be drawn to offering us views of the Shaman’s rather pronounced penis. And Michal is unable to hold back. He breaks protocol and touches the Shaman with his bare hands. Clearly there is a sense of connection for Michal, but the reason for this is not entirely clear to us or him. It is as if he wants to find a way to truly connect with this ancient dead being. This need verges toward the sexual.

What secrets and powers are hidden in the Shaman mummy?  Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

What secrets and powers are hidden in the Shaman mummy?
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

The Anthropologist and his mummy are a a constant subplot of the film. The main interest is on the strange young woman who captures the lustful attentions of the scientist almost as strongly as the mystical-pull of the Shaman. A rude and socially inept, but beautiful woman. We first see Petry’s The Italian as she lunges and plunges her way along a buffet of food which she shovels into her mouth and down her throat as if her hunger can never be satisfied.

Erotic desire beyond reason... Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Erotic desire beyond reason…
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

She is to rent an apartment owned by Michal. The modest flat was formerly occupied by his brother. The Italian wants the apartment. The deal is done, but signed with a frantic and brutal sort of sex that feels as angry as lust-driven. Like the mummy, Michal seems to want to somehow merge more into this beautiful girl than sexual penetration will allow. And like with her food, The Italian’s erotic desire seems to be unhinged and impossible to satisfy.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Between the ever-mounting frenzied levels of brute force, kink, domination, submission, pain and pleasure, Michal attempts to communicate with this woman of his sexual dreams. She, however, seems more concerned with her consuming passion and seeks more to “commune” than communicate. She is obsessed with him and seems to ache to form a possession of his desires. Not articulate, but psychical in her nature.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Michal is becoming more and more obsessed with her. He attempts to discuss philosophy with her but to not ready interest. He discusses religion with disdain. Here she seems a bit more interested, but it always comes down to sex. Our Anthropologist suspects his fever-pitched lover might be no more than a beautiful idiot. The Italian seems unable to offer him nothing more than hot sex. He wants more.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

You see, that’s why there are common saints, just God’s morons with a soul. No brains.

This sort of comment seems to cause a pulse within the ever-sexually-rabid woman. And as hard as Michal seems to want to walk away from her, he simply can’t. She mystifies him. Occupies his thoughts. Drives him to rage-fueled sexual encounters. The sex becomes desperate. Yet for her, the sex is almost magical. A sort of erotic ritual.

Michal watches his sleeping lover. Or is she something less or more? Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Michal watches his sleeping lover. Or is she something less or more?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

He finds himself more miserable with her than he had been with his loveless marriage potential. The mummy no longer holds the power over him. This crude, intolerant, polymorphously perverse, tyrannical and hysterical woman seems to offer an inexplicable power over him.

This is not just unrestrained passion, this is something sinister.

Or is it possibly something that offers our Anthropologist a meaning to his existentially challenged existence. He no longer fits in. Poland offers opportunity, but it seems a false promise. His mummy holds no answers. But there seems to be something bleakly powerful in these cruel sexual encounters. The Italian becomes transformed. Already beautiful, during sex she seems to become transformed to the level of sexual goddess. But the orgasm appears to be more like gasoline tossed on some spiritual fire.

There is no pay off or hope in this sex.

Defile. Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Defile.
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

And as this deeply odd but impossibly fascinating Art House film pulls us deep into this mire of confusion, identity crisis, sexual obsessions, perversions and religious conflict. It is also as the film enters it’s third and final act that Zulawski and Manuela Gretkowska push us into the dark theatrical thinking of Stanislaw Przybyszewski and his outright Satanic symbolism.

For Przybyszewski there is no such thing as “love,” it is nothing but a magical illusion. When Michal meets The Italian he his helpless. There can be no free will here. Michal cannot turn away from his She-Shamen even when he seems to realize this girl’s insanity is something of a mystical and most-likely demonic nature. He is rendered to the state of the somnambulistic when it comes to this darkly magik lover who seems to have access to fully influence him to the very core of his being. This “love” is truly apocalyptic. It does not seem to matter if the She-Shaman influences for good or evil. If her ritualistic sex is served for healing or wounding. For Michal has no choice in the matter.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

And, here is the clear separation from the Nihilistic turn of Lars von Trier’s Antichrist. Unlike the husband in that film, Michal is not meeting a mere symbol of angry female energy oppressed by centuries of human cruelty, Michal has fallen prey to a demonic sort of force. He is nothing more than a sort of life-force for the She-Shaman. He is one of those common saints. He has been deceived. His nothing more than brains for the She-Shaman‘s food.

As Stanislaw Przybyszewski might have appraised it, for this man survival is not an option. He must submit to the illusion and power of love. In a strange way, this intellectual is taking part in a consensual murder. In this odd bit of socially conscious cinema, everything is fucked.

God, Faith, Spirituality, and Hope looks down... Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

God, Faith, Spirituality, and Hope looks down…
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Without love. Without hope. Szamanka must be satisfied.

Even to write about this true cinematic anomaly makes one feel a little loopy. By the time Andrzej Zulawski’s grim film comes to it’s conclusion the viewer is left spent and more than a little dazed.

The folks at Mondo Vision have done an outstanding job at restoring this deeply weird but exceptional film. Sadly, there are no plans to issue it to VOD or Blu-Ray format. It is only available from them on region free DVD. But they have loaded it with extras. If you’ve an interest in Eastern European cinema or the work of Andrzej Zulawski, you really can’t afford to miss it.

You can find it, and several of Zulawski’s titles here: http://www.mondo-vision.com/szamanka.php

Matty Stanfield, 9.15.2015

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

God, Faith, Spirituality, and Hope looks down... Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

God, Faith, Spirituality, and Hope looks down…
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

As there are less than three months of the year left, I find myself thinking of the films that had the biggest impact on me. In other words, my favorite films of the year. My list is not finalized and could easily change as we move into January. There are more than a few films I’ve not yet seen that will be coming out within the next three months are so. This views are my own and should not be attached to any other person or entity but me. 

Uh, oh. This might present more fright than you expect... Mark Duplass CREEP Patrick Brice, 2015

Uh, oh. This might present more fright than you expect…
Mark Duplass
CREEP
Patrick Brice, 2015

There are a few things that come to my mind as I look over my list of favorite films:

  1. I’ve never noted so many “horror” films to make my list.
  2. The salary gap between female and male actors has never been so bad, but there have been a number of truly exceptional work by female actors. And contrary to the general tone of what I’ve been reading/hearing, there are a number of amazing performances by women.
  3. The voice of women is most notably strong in my current list. This is wicked cool! 
  4. This will read as “crass” but I do not give a shit about Oscars, BAFTAs and the slew of other awards. These are political in nature and most usually always suspect in terms of artistic evaluation.

    According to The Oscars, this is THE BEST Film Director of 2012. I content this as one of many reasons to disregard The Oscars.

    According to The Oscars, this is THE BEST Film Director of 2012. I content this as one of many reasons to disregard The Oscars.

  5. In my view, there is no such thing as a “best” when it comes to collaborative art. Actually, art in general is subjective. What resonates for me might not register for the person next to me. It is rare that I see one movie or one performance that I feel deserves title of “best.” And usually, when I grow to feel that someone did present “the best” it is a number of years after the fact.
  6. These are just my personal favorite films thus far. No reason to get upset with me. 
  7. You might not agree, but if you are like me — when I read the list of another individual’s favorites it often gives me pause to revisit my opinions regarding certain films. It also sends me out to view films I might have somehow missed.
  8. George Miller’s Mad Max: Fury Road is not among my favorite films. Stop! Don’t be flaming me! I didn’t say I hated
    Cinematic Masterpiece, Relentless Visual & Audio Assault, Creative but not among my favorite films of the year. Mad Max: Fury Road George Miller, 2015

    Cinematic Masterpiece, Relentless Visual & Audio Assault, Creative but not among my favorite films of the year.
    Mad Max: Fury Road
    George Miller, 2015

    it! Leave me alone. Granted it was an impressive visual and audio assault, but I didn’t see it go anywhere particularly “new.” For me this exorcise in unrelenting violence was of merit, but I didn’t think it particularly “great.” Far from being “bad” but equally far from being “great.” The movie was essentially a smartly executed 90’s metal demolition derby race from one point to another. …Twice. I honestly expected more. Just my opinion.

  9. F. Gary Gray’s Straight Outta Compton had more of an impact for me, but had too many flaws for me to consider it a “great” movie. I thought it was good. But I really wanted to love this movie. I thought it was interesting in the way it opted to depict the women in the N.W.A. history without comment. Also interesting to me was what often felt like a celebration of, in my 1990’s ingrained brain, sees as a sort of corporate appropriation or selling out. In many ways this film is as much about business than Hip-Hop culture or art form. And an interesting culture and art form in which women are relegated to important roles as “holes” of one sort or another rather than fully fleshed out female characters.  I am not sure “interesting” is a good thing, but I’m certain it is not altogether “bad.” Straight Outta Compton has as much to not say as it does. This is an entertaining, important and good film.But it did not make my list.
  10. The Safdie Brothers film, Heaven Knows What, refuses to leave my mind.
    There can be no denial of this film's import and power. However, this film verges toward a an uncomfortable line... Heaven Knows What Benny Safdie & Josh Safdie, 2015

    There can be no denial of this film’s import and power. However, this film verges toward a an uncomfortable line…
    Heaven Knows What
    Benny Safdie & Josh Safdie, 2015

    This effective and disturbingly passive view of young homeless junkies kicked me in the gut. I’m still unsure how I feel about this dark film. It is an ethical issue for me. But I’d be a hypocrite if I didn’t include it on my my list. Arielle Holmes’s story and The Safdie Bros. filming of it is unforgettable to me. But I squirm as I list it. The intention of this film is worrying to me, but the artistic value and what it ultimately presents are far too powerful for me to dismiss. Also, I’m very tender-hearted when it comes to issues relating to mental illness and drug addiction. My feeling about this film may say more about me than the art of the film.

  11. I have seen legal and invited screenings of rough cuts for Rick Alverson’s Entertaiment, Danny Boyle’s Steve Jobs, Justin Kurzel’s Macbeth and Todd Haynes’ Carol. As far as I know only Carol has not been re-edited. Boyle’s film has apparently been completely re-cut and faces more tweaking as it’s official release edges forward. No amount of editing will be able to steal the power that Fassbender brings to the film. He is reason enough to see this film. Trust me.
    Tiny rainbow circulates as more editing goes on... Michael Fassbender IS Steve Jobs Danny Boyle, 2015

    Tiny rainbow circulates as more editing goes on…
    Michael Fassbender IS
    Steve Jobs
    Danny Boyle, 2015

    Maybe the new edit will ease some of the worrying issues with Kate Winslet’s accent — or perhaps explain it if it was intentional. It is my understanding that Macbeth has been shortened (and hopefully some of the far too mumbled/quiet dialogue has been somehow enhanced.) There was a constant struggle to understand what Fassbender and Cotillard were saying.

    Wait. What did Lady Macbeth just say? What accent is that? What did Macbeth say? Speak up! But it and they look pretty! Marion Cotillard Macbeth Justin Kurzel, 2015 Cinematography | Adam Arkapaw

    Wait. What did Lady Macbeth just say? What accent is that? What did Macbeth say? Speak up! But it and they look pretty!
    Marion Cotillard
    Macbeth
    Justin Kurzel, 2015
    Cinematography | Adam Arkapaw

    I LOVED Alverson’s film, Entertainment, but as it is still in “post-production” I’m not sure it will be the same version that I saw. As for Carol, I thought it was a great art piece. Cate Blanchett was almost flawless in her performance, but the whole of the film felt like a Sirkian-drenched non-ironic soap opera. The movie is beautifully shot but trapped within a box of it’s own design. It feels pretty but false. It was a sort of lifeless film to me. I’ve a feeling I’m going to be alone in my opinion. I do plan on seeing it again when it is officially released.

So Here Are My Favorite Films of 2015 Thus Far In No Particular Order:

  1. The Wolf Pack | Crystal Moselle’s documentary is as much an ode to human survival as it is to the magical power of movies.

    Learning and understanding the world from movies... The Wolfpack Crystal Moselle, 2015

    Learning and understanding the world from movies…
    The Wolfpack
    Crystal Moselle, 2015

  2. Love & Mercy | Bill Pohlad’s bio film about Brian Wilson is as realistic as it is surreal in the exploration of a deeply troubled but incredible visionary mind. Deconstructed scene-by-scene, Pohlad’s film is an amazing study of Art and Artist.

    A masterful and surprising film that seemed to come from nowhere completely by surprise. Pure Cinematic Magic. Bill Pohlad, 2015

    A masterful and surprising film that seemed to come from nowhere completely by surprise. Pure Cinematic Magic.
    Bill Pohlad, 2015

  3. Turbo Kid | I didn’t expect to even like this movie, but I feel head over heels in love with it quicker than the opening credits could finish. Filled with early 80’s synth music and a gleeful gore-filled energy. This is a smart film. 
    Welcome back to artistic movie posters. Grab your BMX and be a hero! TURBO KID François Simard, Anouk & Yoann-Karl Whissell, 2015

    Welcome back to artistic movie posters. Grab your BMX and be a hero!
    TURBO KID
    François Simard, Anouk & Yoann-Karl Whissell, 2015

    Anouk Yoann-Karl Whissell and François Simard have created a mini-masterpiece of retro Sci-Fi BMX magic.

  4. Queen of Earth | Alex Ross Perry’s experimental and often surrealistic study of an emotional break has stirred up so many heartfelt opinions it’s hardly worth debating it’s impact.
    You are the reason there is no escape from indecency and gossip. And, lies." Queen of Earth Alex Ross Perry, 2015

    You are the reason there is no escape from indecency and gossip. And, lies.”
    Queen of Earth
    Alex Ross Perry, 2015

    Any work that causes so many conflicted, passionate and opposing reactions is obviously touching a nerve. I love absolutely every aspect of this movie.

  5. Kumiko, the Treasure Hunter |  David & Nathan Zellners’ latest film is their best and interestingly most experimental.
    "Solitude? It's just fancy loneliness." Rinko Kikuchi Kumiko The Treasure Hunter The Zellner Bros, 2015

    “Solitude? It’s just fancy loneliness.”
    Rinko Kikuchi
    Kumiko The Treasure Hunter
    The Zellner Bros, 2015

    Taking the concept of “meta film” to a whole new level. This is a fascinating, unique, original film that plays with truth and horror in much the same way that The Coen Bros. did in 1996 with the film that inspired the events that inspired the movie that inspires. Amazing film from all perspective.

  6. It Follows | David Robert Mitchell’s slick horror film plays out like a horrible nightmare.
    "You don't believe me do you?" IT FOLLOWS David Robert Mitchell, 2015

    “You don’t believe me do you?”
    IT FOLLOWS
    David Robert Mitchell, 2015

    The movie flows the audience into a dark, scary and often opposingly beautiful dream. As disturbing as the film is, I always hate to see it end. Like Ana Lily Amirpour’s horror film, Mitchell’s elevates beyond the horror genre in which it resides. It is all the more amazing when you realize how low the budget for this film was. Also worth noting is the way in which David Robert Mitchell plays around with eras. It is impossible to know when this dark tale is taking place — and this is intentional.  Since this film’s release, there has been a critical backlash that I find problematic. This is an extraordinary bit of filmmaking. Ana Lily Amirpour’s A Girl Walks Home Alone At Night almost made my list. I quite liked it.

  7. Creep | Patrick Brice’s film took me by complete surprise — in a very good way.
    "I got a little surprise for you in there. See ya soon, Buddy!" Creep Patrick Brice, 2015

    “I got a little surprise for you in there. See ya soon, Buddy!”
    Creep
    Patrick Brice, 2015

    The movie is truly horrifying. You might find yourself laughing, but later as you rethink what Brice and Mark Duplass co-wrote, the strange realism that exists here is unsettling.

  8. FELT | Jason Banker’s film is clearly based on the artwork and traumatic experience of Bay Area artist, Amy Everson. This sleek, twisted and disturbing examination of rape culture from the perspective of a recovering female victim is a polarizing movie. Some hate it, some love it, some consider it flawed beyond redemption and others are simply confused by what Banker presents. I loved it.
    "My life is a fucking nightmare." FELT Jason Banker, 2015

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

    True, Amy Everson is not a professional actor and there are limitations as a result. However, she comes through when it matters. And this is a topic that should matter to all of us. It is certainly a risky proposition to make a “horror” film out of a tragedy that so many women face. This movie is nothing if not bold. In my view, the film “discusses” Rape Culture in an acutely articulate manner. The film manages to creatively remind us that we are all playing into this culture whether we realize it or not. The main character of FELT is clearly wrong, but much of what she attempts to communicate is valid. Kentucker Audley is highly effective here as a sort of wolf in sheep’s clothing. I stand by this movie.

  9. Ex-Machina | Alex Garland is not re-inventing any wheels, but he polishes them brilliantly. This is a creative, innovative and brilliantly executed Sci-Fi horror film featuring two great turns by Oscar Isaac and Domhnall Gleeson.
  10. Reality | Quentin Dupieux’s latest film remains tied to Surrealism and Absurdism.
    The ever-growing farce of culture... Reality Quentin Dupieux, 2015

    The ever-growing farce of culture…
    Reality
    Quentin Dupieux, 2015

    Here he is exploring the barren wasteland that is quickly taking the place of culture.

  11. The Falling |  Carol Morley’s British film is less horror than a sort of lush cinematic poetry fully supported by Maisie Williams who gives an amazing performance. This is Peter Weir territory made with a stronger Feminist viewpoint. A filmmaker to watch. This film seems to have slipped beneath the radar for many. It is more than worth a look.
  12. 6 Years | Hannah Fidell’s masterful film has been tragically missed by a majority of film critics and audiences. I suspect this has something to do with the promotion of the film. This is tragic because the promotion was actually rather brilliant in a unique way.
    "Look me in the eye and tell me." 6 Years Hannah Fidell, 2015

    “Look me in the eye and tell me.”
    6 Years
    Hannah Fidell, 2015

    Fidell drenches her film in a sort of idealistic dewy haze intended to capture that amazing powerful feeling of true first love. I suspect that many expected this film to actually be a lush and romantic “chick flick.” This movie is as far from that universe as a film can get. The question Fidell’s film poses is not “Will they be able to make it work?” The question here is “Should 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 and Ben Rosenfield both provide brutally realistic performances. The all too serious topic of domestic abuse has never been captured in this way. It is potent and heart breaking. 6 Years is a Must See film. Do not miss it. 

*** SABBATICAL | Brandon Colvin’s masterful film is actually from 2013, but it has yet to secure a distribution deal. It is however available for rental/purchase here:

http://sabbatical-mossgarden.com

Robert Longstreet and Rhoda Griffis stand out among several potent performances.

A challenging film virtually flawless in execution remains without a distributor. Sabbatical Brandon Colvin, 2013 Poster Design | Jenni Dickens

A challenging film virtually flawless in execution remains without a distributor.
Sabbatical
Brandon Colvin, 2013
Poster Design | Jenni Dickens

Aaron Granat’s cinematography and Tony Oswald’s editing like all of the actors involved merge perfectly into Colvin’s Formalist approach which reminds of Robert Bresson, remains firmly unique unto itself. Brilliant and rewarding. I continue to “pimp” this film out to everyone I know in the World of Film Art. I have no choice but to mention it again here.

As for the performances that most resonated for me:

Paul Dano as Young Brian Wilson is incredible.

Paul Dano is the Young Brian Wilson Love & Mercy Bill Pohlad, 2015 Cinematography | Robert D. Yeoman

Paul Dano is the Young Brian Wilson
Love & Mercy
Bill Pohlad, 2015
Cinematography | Robert D. Yeoman

Michael Fassbender’s doesn’t so much play Steve Jobs as he literally seems to become him. Jason Segel almost does the same in his performance as David Foster Wallace in End of the Tour. Ben Rosenberg is brilliant as the torn young man who must make a tough choice in 6 Years.

Everything else aside, the line between "acting" and "reality" feels blurred by the strength of Michael Fassbender. Steve Jobs Danny Boyle, 2015 Cinematography | Alwin H. Küchler

Everything else aside, the line between “acting” and “reality” feels blurred by the strength of Michael Fassbender.
Steve Jobs
Danny Boyle, 2015
Cinematography | Alwin H. Küchler

James Hebert probably made the most startling film performance in Two Step.

Nothing can quite prepare you for where James Hebert takes his role... Two-Step Alex R. Johnson, 2015

Nothing can quite prepare you for where James Hebert takes his role…
Two-Step
Alex R. Johnson, 2015

And, I’m sorry, but Mark Duplass scared the shit out of me in Creep. In addition, Josh Lucas blew me away in John Magary’s odd experimental character study of two brothers. If you’ve not seen The Mend, you should add it to your list to see.

Josh Lucas, e-cigs, hair balls and rage.  The Mend John Magary, 2015

Josh Lucas, e-cigs, hair balls and rage.
The Mend
John Magary, 2015

Lily Tomlin was so good in Grandma, I didn’t want the movie to end. Chiara D’Anna and Sidse Babett Knudsen deliver clever and complex performances in Peter Stickland’s The Duke of Burgundy that are as intelligent as the are erotic and disturbing.

Searing into your brain. Sheila Vand as your vampire next door. A Girl Walks Home Alone at Night Ana Lily Amirpour, 2015 Cinematography | Lyle Vincent

Searing into your brain.
Sheila Vand as your vampire next door.
A Girl Walks Home Alone at Night
Ana Lily Amirpour, 2015
Cinematography | Lyle Vincent

Sheila Vand is absolutely unforgettable as that girl walking home alone at night. Maika Monroe blew me away as “Jay” in It Follows. She goes well beyond the expectation of the genre. Maisie Williams was equally powerful in her turn in The Falling. Taissa Farmiga proved to be more than up to the challenge of portraying the darker side of insecurity in Hannah Fidell’s 6 Years.

Taissa Farmiga loves Ben Rosenfield into a tight corner. 6 Years Hannah Fidell, 2015 Cinematography | Andrew Droz Palermo

Taissa Farmiga loves Ben Rosenfield into a tight corner.
6 Years
Hannah Fidell, 2015
Cinematography | Andrew Droz Palermo

Cobie Smulders’ work grabbed me twice this year: Andrew Bujalski’s charming Results and Kris Swanberg’s quietly potent, Unexpected. Rinko Kikuchi’s work in The Zellner Brothers’ Kumiko The Treasure Hunter is miraculous performance. Greta Gerwig delivered her charismatic best in Mistress America.

Lily Tomlin owns the show and the road. Grandma Paul Weitz, 2015

Lily Tomlin owns the show and the road.
Grandma
Paul Weitz, 2015

And, of course, there is Cate Blanchett. She is great as Carol, but Todd Haynes really poses some unexpected challenges for his leading ladies — this is acting in a sort of vacuum. While there are still several key films I’ve yet to see, this is one of those years when one actress stands out in my mind as “the best” — I would be shocked if any artist male or female delivers a more strange, perverse, disturbing and unforgettable turn than Elisabeth Moss in Queen of Earth.

Elisabeth Moss Queen of Earth Alex Ross Perry | 2015 Cinematography | Sean Price Williams

Elisabeth Moss
Queen of Earth
Alex Ross Perry | 2015
Cinematography | Sean Price Williams

Even if one dislikes the film, it would be difficult to dismiss this performance.And Katherine Waterston’s performances in both Queen Of Earth and Steve Jobs are quite worthy. Curiously, I’m still confused about Marion Cotillard’s performance in the rough cut I’ve seen of Macbeth. But as that film has been re-edited I need to wait to actually form a solid opinion.  Any way I look at it, 2015 belonged to female actors. This has not been so true in a while.

Well, this is my list for now. To be honest, I’m not all that excited about the final months of 2015 film releases.

The Lobster Yorgos Lanthimos | 2015

The Lobster
Yorgos Lanthimos | 2015

There are a few films I’m quite eager to see: Ben Wheatley’s High Rise offers a great deal of interest for me. Can’t wait. Yorgos Lanthimos’ The Lobster is also a movie of interest, even if it looks a bit too obvious and comedic than what I had anticipated. And Sarah Gavron’s Suffragette might offer more than I’m expecting. She has gathered a mighty force of acting talent!  It is one I want to see.

Joseph Gordon-Levitt as Philippe Petit The Walk Robert Zemeckis, 2015 Cinematography | Dariusz Wolski

Joseph Gordon-Levitt as Philippe Petit
The Walk
Robert Zemeckis, 2015
Cinematography | Dariusz Wolski

I’m also curious to see Joseph Gordon-Levitt, a very under-rated actor, in both Snowden and The Walk. However, I’ve a great deal of worry regarding the quality of these two films. The mix of Oliver Stone with the topic and issues related to Edward Snowden looks good on paper, but cocaine and paranoia seem to have eroded Stone’s work since 1994. And I don’t think I’ve enjoyed a Robert Zemeckis film since 1992. …And, even then, Death Becomes Her was not altogether good.  I’ve also been waiting all year to see Alison Bagnall’s Funny Bunny.

Funny Bunny Alison Bagnall, 2015 Cinematography | Ashley Connor

Funny Bunny
Alison Bagnall, 2015
Cinematography | Ashley Connor

Of all these films, this is the one I’m most excited to see.

Of course I am writing about Film Art. It is often unpredictable and surprising. As it turns out, Jean-Luc Godard was not correct. Cinema is not dead. Of course we knew that as his brilliantly perverse and wrong film, Weekend, was not at all a signal of death. It was actually an alarming reminder of the power of cinema.

the death of cinema? The Weekend Jean-Luc Godard | 1967

the death of cinema?
The Weekend
Jean-Luc Godard | 1967

Matty Stanfield, 9.8.15