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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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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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…

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“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.

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

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

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

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

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

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

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

Filming with smart phones…
TANGERINE
Sean Baker, 2015

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

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

Felt Jason Banker, 2014

Felt
Jason Banker, 2014

The San Francisco audience sat in silence as the credits rolled. The majority of the audience was female. I am male. But I approached and discussed the film outside with three young women. They were obviously shaken and unable to articulate how they felt about Felt. But each agreed that Banker’s movie conveyed an all-too real experience. The most expressive of the three women told me, “It’s so weird I hardly ever allow myself to think about it. But I’m always so uncomfortable when I’m in a room with more than a few men.” The other two women agreed, but none could articulate why. As I walked away one noted to me, “Actually, it was in that movie.

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

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

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

KUMIKO THE TREASURE HUNTER David Zellner and Nathan Zellner, 2015

KUMIKO THE TREASURE HUNTER
David Zellner and Nathan Zellner, 2015

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

Matty Stanfield, 11.27.2015

 

 

 

 

 

 

 

 

 

 

 

No one quiet knew what to think when Ken Russell's surrealistic absurdist comedy-rock musical opened in 1975. However a number of smart university students got in line to drop a bit of acid with their popcorn as the movie unspooled... LISZTOMANIA Ken Russell, 1975 (The UK Poster)

No one quiet knew what to think when Ken Russell’s surrealistic absurdist comedy-rock musical opened in 1975. However a number of smart university students got in line to drop a bit of acid with their popcorn as the movie unspooled…
LISZTOMANIA
Ken Russell, 1975
(The UK Poster)

I love movies. All types of movies, but most those of the Art House variety. Among the world of serious cinephillia, British filmmaker Ken Russell often causes a sort of frantic run to the nearest Exit. While nearly all will agree that his early BBC films and his adaptation of D.H. Lawrence’s Women In Love are brilliant. The rest of his work is generally regarded as excessive and hysterical madness. In the last decade a new found appreciation has evolved for his still controversial critique of merging Church and State, Catholicism, religion and the human tendency toward cruelty in his 1971 film, The Devils.

Your senses will never be the same... Ken Russell's biggest commercial success would end up elevating the concept of something we would call "the music video." TOMMY Ken Russell, 1975

Your senses will never be the same… Ken Russell’s biggest commercial success would end up elevating the concept of something we would call “the music video.”
TOMMY
Ken Russell, 1975

His biggest commercial success was the filmed rock opera, Tommy. Released in 1975, film critics had a hard time dismissing it. Nothing had shown up on screens quite like it. 40 years later this loud and hopelessly entertaining film is still regarded as the perfect marriage of Ken Russell cinematic urges and mid-1970’s rock culture. That same year, feeling inspired and with a bit of film industry power he had never enjoyed, he went for the pop culture jugular: He made Lisztomania.

If you should find yourself in a room of film loving intellectuals and bring up this notorious big-budget major studio released rock musical flop, you will either encounter smirking laughter or a total silence of seething judgement. I have never really seriously cared what people think of me.

Though, I do hate it when someone thinks me to be a mean-spirited person. That I am not.

But am I a fan of Ken Russell? Yes. Do I love Russell’s odd cinematic error that is Lisztomania? Oh, yeah. I love it.

"Well, this will teach you not to BANG on the piano!" Says The Count before extracting his revenge for catching Roger Daltrey and Fiona Lewis going at it. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

“Well, this will teach you not to BANG on the piano!”
Says The Count before extracting his revenge for catching Roger Daltrey and Fiona Lewis going at it.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

I fully embrace the insanity that is Lisztomania. I bow my head in awe that there was ever a time in the history of Warner Bros. that they would fully engage, promote and full scale release a movie like Lisztomania. While I know the film is more than a little problematic, I struggle to understand how anyone could refute the uniqueness of this crass bit of Pop Art. I struggle even more to understand why anyone would not enjoy the insane logic of it’s existence. And my jaw drops when someone tells me that they find it dull.

Well, here I do exaggerate. Only two people have ever told me that they were bored by Ken Russell’s Lisztomania. And both of these people pointed out that they found the first 15 minutes of the movie dull. Once Roger Daltrey’s cockney-accented take on Hungarian/German composer, Franz Liszt. True enough, the only even minor slow-paced moment in the film is a concert in which Daltrey entertains an audience of mostly young female fans swooning and screaming if at a rock concert. The scene does seem a bit out of place in the film, but it makes sense given the point that Ken Russell is attempting to make.

Marie d'Agoult fumes as her lover, Franz, pulls on his rock star platform boots to head off on yet another tour to be filled with groupies and fun... Fiona Davis / Roger Daltrey Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Marie d’Agoult fumes as her lover, Franz, pulls on his rock star platform boots to head off on yet another tour to be filled with groupies and fun…
Fiona Davis / Roger Daltrey
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

And, of course, prior to this concert sequence, we are treated to a British Music Hall-sylte (the British version of similar to American vaudeville theater) gone into the profane and raunchy. The opening of the film features Count d’Agoult catching his wife, Marie, enjoying frantic sex with her piano tutor, Franz. Nude and silly antics ensue accompanied by a from of sort of Gaelic-Country musical narration. End all ends with the count having poor Marie and Franz placed nude inside a piano as the Count plays chords. Franz is panicked and Maria seems to be gaining a bit of, well, pleasure from some of the piano banging.

Suddenly they are nailed into the piano left on train tracks about to face their death. Cut to a backstage gathering of some of the great European composers, artistes and groupies awaiting for Franz to take to the stage. Enter a young, idealistic and ambitious Richard Wagner who attempts to pimp his music to Franz.

It is all quite over-the-top, silly, illogical, surreal and just straight-up weird. Please note: This was all Ken Russell’s intent. Everything in Lisztomania is intentional, profane, silly and often spastic.

Who needs the old tired religious icons of dull saints and martyrs when we can worship St. Elton and St. Pete? Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Who needs the old tired religious icons of dull saints and martyrs when we can worship St. Elton and St. Pete?
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

As Russell had just wrangled the Rock God Machine that was/is The Who to create the movie, Tommy, — he noted several similarities to the level of decadence and public sensation that followed the band and it’s lead singer to that of classical composer, Franz Liszt. It dawned on Russell that when one reads accounts of Franz Liszt’s career one could easily draw comparisons that form the idea that Liszt was in many ways the world’s first Pop Star.

Kissing The Holy Cowboy Boot of The Pope and all of his movie star saints... Roger Daltrey and Ringo Starr's foot Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Kissing The Holy Cowboy Boot of The Pope and all of his movie star saints…
Roger Daltrey and Ringo Starr’s foot
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

True enough. Liszt had legions of young women who would fight their way into the places he performed. These women were fanatical in the way they would behave as Liszt played his piano. Screaming, swooning and often having to be restrained from trying to touch the renowned artist. And if one is to believe commentary of his day, Franz Liszt quite enjoyed the attention. In the early 1800’s German Essayists and Cultural Critic, Heinrich Heine, coined the term “Lisztomania” to describe the hysteria that the composer’s playing, music and mere presence seemed to drive many of his female listeners to hysterical reactions and distractions. However, it should be pointed out that this was not really given the same levity as Beatlemania in the early to mid-1960’s. The idea of “Pop Star” or “Rock Star” and “Celebrity” had no where began to take hold of culture. This seemed more like a strange temporary illness than a “normal” fever-pitched reaction to a performer.

Soothing his audience of demanding female fans... Roger Daltrey as Liszt Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Soothing his audience of demanding female fans…
Roger Daltrey as Liszt
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Female audience members of Liszt’s piano performances were known to scream his name, swoon, attempt to climb onto the stage, scream out demands that he play the piece we all know as “Chop Sticks” and often followed him about in hopes of grabbing a tossed cigar butt to stuff down their blossoms. Up until his early 30’s Liszt was known to play the piano standing and often jump from behind the piano to speak to his audience. He was also never too far from scandal. His on-going and tempestuous affair with Marie d’Agoult was the cause of much rumor and discussion. Interestingly this only served to promote his popularity. Then there was Russia’s Princess Carolyn’s patronage and obsession with him and his work. Later in life he suffered the indignities of a piano student, Olga Janina, who could be called the first known insane “Fan Girl” who wold break into his home, steal personal belongings, stalk and even write controversial books about him. She wrote these more to get his attention than for profit.

The fans want more than music from Franz... Roger Daltrey Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

The fans want more than music from Franz…
Roger Daltrey
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

His daughter, Cosima, would go on to marry Richard Wagner. Wagner’s interests were not limited to music, but also to philosophy. A philosophy which was alarmingly worrying in it’s view of German superiority. Cosima was quick to pick up and fuel her husband’s ideals about German cultural and racial superiority. She is largely to credit with the establishment and curation of the Bayreuth Festival. This festival became more about promotion of philosophy that would lead into pure antisemitism. This would continue to grow as Germany entered the NAZI Era. Cosima died in 1930. Without question, the legacy of she and Wagner’s Bayreuth Festival remains controversial to say the very least.

Devoted daughter turns into Super Evil Goddess, Cosima finds some new uses for the doll created in the likeness of her dad, Franz. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Devoted daughter turns into Super Evil Goddess, Cosima finds some new uses for the doll created in the likeness of her dad, Franz.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

All of this strange history wrapped up in the lives of classical music composers was like a magnet to Ken Russell. Russell adored the biography film, but never limited himself to the typical “by-the-numbers-film-rule-book” when making them. Far more concerned about creating the passion and ideals of the artists’ works than sticking to traditional narrative, Russell’s composer bio films are unusual in the way in which he approaches their lives. He viewed the artist as rebel.

Capturing it all, and given more freedom of expression than any other filmmaker had yet to allow him, Peter Suschitzky’s work truly shines in this movie.

Super Ego translates to an erection beyond expectation and worthy of a British Hall musical dance. Roger Daltrey and his Rock Cock Rock Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Super Ego translates to an erection beyond expectation and worthy of a British Hall musical dance.
Roger Daltrey and his Rock Cock Rock
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

But when he made Lisztomania, he threw out all sense of logic. He become unhinged as he crafted a a sort of Pop Culture Comic Book movie about the life of Franz Liszt. The logic of any adherence to history time lines is absent. Franz List starts out as a sexy, raunchy and sex-crazed rock star. Soon he retreats to find his spiritual core only to be called out to defend not only the sanctity of music, but his emerging arch-enemy, Richard Wagner, breaks into his spiritual isolation to feed off his talent filled blood. Like a vampire, Wagner sucks a good deal of life force from Liszt.

Paul Nicholas as Wagner turned Artistic Vampire out for Franz's special creative force blood... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Paul Nicholas as Wagner turned Artistic Vampire out for Franz’s special creative force blood…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Wagner sets out with Franz’s daughter, Cosima. They form a Nazi Cult! The Pope, played by Ringo Starr, calls on Franz to perform an exorcism to rid Wagner of the demon that has possessed him. Franz, playing at being a priest, kisses the cowboy boot of the bedazzled Pope, kicks his lover – Olga Janina (played by Little Nell) to the curb – and meets Wagner’s attempt at a German God Creation, THOR, (played by Yes’ Rick Wakeman) – this creation is a joke. The exorcism backfires. Through Cosima’s evil magik, Wagner rises up from Hell as The Hitler Monster and it is up to Franz and his harem of beautiful lovers and assorted groupies to fly down from Heaven in a rocket ship and blast Evil Old Wagner to bits!

Adorned with Saints Judy Garland, Monty Cliff, Elvis & Marilyn -- Ringo Starr is Your Pope! Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Adorned with Saints Judy Garland, Monty Cliff, Elvis & Marilyn — Ringo Starr is Your Pope!
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Along the way, Ken Russell injects more glitter and wacked-out visionary trip-outs faster than a mood ring changes colors. Franz slips into Princess Carolyn’d vaginal canal, comes out to the sirens of former lovers who manage to tease his penis out to gigantic proportions. Sporing a hard-on of about 8 feet, a an old-school Vaudeville like dance number ensues. Believe it or not, the set pieces just continue to amp-up until Ken Russell’s Franz Liszt saves the world from Nazis.

Little Nell watches unimpressed as Ringo The Pope warns Roger Daltrey's Liszt of Wagner's turn to the dark side... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Little Nell watches unimpressed as Ringo The Pope warns Roger Daltrey’s Liszt of Wagner’s turn to the dark side…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

And, just to make it all the more odd, Rick Wakeman re-arranges the music of Liszt and Wagner to early-electro-prog rock with Roger Daltrey supplying of so very modern lyrics. A&M Records and Warner Bros pimped the soundtrack album hard and released a single. The original vinyl is now a collector’s item, but Rick Wakeman re-mastered it all and released via iTunes in 2005.

Rick Wakeman gives Liszt & Wagner the FM Prog-Rock treatment for the soundtrack of Lisztomania. A&M Records, 1975

Rick Wakeman gives Liszt & Wagner the FM Prog-Rock treatment for the soundtrack of Lisztomania.
A&M Records, 1975

The movie bombed and the soundtrack failed. If you want to see the movie, you will need turn to the Warner Archive for a fairly solid transition to DVD.

http://www.wbshop.com/product/lisztomania+1000336824.do?sortby=ourPicks&refType=&from=Search

If you have a multi-region DVD player, you can still find a limited edition printing out of the UK. The quality of the UK print is fantastic and features a rambling commentary track by the great Ken Russell himself recorded not too long before his passing.

Wagner rises from Hell as The Nazi Super Monster. Only Franz and his groupies can save the day! Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Wagner rises from Hell as The Nazi Super Monster. Only Franz and his groupies can save the day!
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Lisztomania is not a great movie. Despite moments of true brilliance and experimental cinema, it is ultimately a cinematic error that holds an interesting bit of merit. This is a movie that stretches so far beyond the boundaries it is hard to use any normal criteria for judging it. It is a crazy and oddly entertaining film that sits by itself. Surrealistic, Absurdist, Satire and Super Hero Comic Book mess of a movie. It has most certainly become a Cult Movie, but it is a bit too intellectual to fully fit into the “So bad it’s good” ideology. And it is far too silly to be taken at all seriously.

Franz looks on as Wagner readies to "turn on" his creation of German Perfection. Played by Rick Wakeman, Wagner's creation drinks a whole lotta beer, belches and literally takes the piss on the floor... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Franz looks on as Wagner readies to “turn on” his creation of German Perfection, THOR! Played by Rick Wakeman, Wagner’s THOR drinks a whole lotta beer, belches and literally takes the piss on the floor…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

It sits all alone as a film completely unique unto both itself and to the Film Artist who was Ken Russell.

This is my last defense of one of my favorite movies. I’ve intentionally tried not to give too much of the film away. My hope is that someone who has not seen it will venture to see it.

Comforted only be the boob of Little Nell, Franz finds little comfort in the isolation of the Catholic Church. But hold steady, Pope Ringo is on the way... Roger Daltrey / Little Nell Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Comforted only be the boob of Little Nell, Franz finds little comfort in the isolation of the Catholic Church. But hold steady, Pope Ringo is on the way…
Roger Daltrey / Little Nell
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

From time to time the unedited R-rated film shows up in full on YouTube, tho Warner Brothers is rightly quick to yank it off. I do not expect we will ever see this film restored.

However, it’s fanbase continues to build. Just search the Internet.

Alone, odd, wacky, profane, and rocking to it's own beat -- This odd cinematic error stands alone. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky (US Original Movie Poster)

Alone, odd, wacky, profane, and rocking to it’s own beat — This odd cinematic error stands alone.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky
(US Original Movie Poster)

Rock on.

Matty Stanfield, 9.25.2015

When I hear or read “What doesn’t kill you makes you stronger!” I want to curl myself into a cataclysmic ball of rage and explode. No. The horrors and challenges in life that do not kill you do not really make you stronger. In reality they make you cynical, confused, damaged and tired. When discussing the survival of child abuse trauma we enter a whole new realm of fresh Hell.

Jean-Luc Godard Editing "Weekend" Paris, 1967 Photographer | Unknown to me

Jean-Luc Godard
Editing “Weekend”
Paris, 1967
Photographer | Unknown to me

For me this saga continues. It isn’t like I’m not fighting like hell to resolve it. But as I’m so tired of hearing: “There is no time limit on these things.” or “Let’s just take it day by day and further develop coping skills” or worse yet, “But you are getting better!” But I push onward and forward as best I can. I don’t know, maybe I am stronger because of what I endured or survived. However, I can’t help but thing I’d be more effective had I not had to survive such things. I suspect I’d still be strong. Who knows? It is hardly worth considering. As much as I hate this phrase, it does hold true: “It is what it is.

And sometimes we just don’t have the ability to change “it.” The “it” just sits on us as we try to understand exactly what “it” needs or wants so that we can be free of the weight. Damage is impossible to avoid. If you are 30 and have not been seriously damaged in one way or another – you are most likely not actually living life. You are probably avoiding it. Sadly, some damage is more significant than other types.

And this brings me to Film Art.

And chaos reigns. Surrealistically, Willem Dafoe and Charlotte Gainsbourg are working through some of life's cruelest turns. Antichrist Lars von Trier, 2009 Cinematography | Anthony Dod Mantle

And chaos reigns. Surrealistically, Willem Dafoe and Charlotte Gainsbourg are working through some of life’s cruelest turns.
Antichrist
Lars von Trier, 2009
Cinematography | Anthony Dod Mantle

Much to the bewilderment of my love, my family and my friends — I often find “comfort” in the darkest of film. Steve McQueen’s Shame is especially important to me. As is Christophe Honre’s Ma Mere or Darren Aronofsky’s Requiem for a Dream or Lars von Trier’s Anitichrist.

These are very bleak and almost apocalyptic movies. Yet, each one seems to offer me a chance to escape into someone else’s personal horrors and remind me that not only am I not alone — but it could be ever so much more worse. These films also offer resonation and catharsis.

Sugar-sweet brain candy cinematic manipulations tend to annoy me. I find no means of escape within them. If one is particularly good, such as Mel Brook’s Young Frankenstein — if I’m in the right mood I will love watching it over and over again.

Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Persona
Ingmar Bergman, 1966
Cinematography | Sven Nykvist

But if one of those toxic waves crash into me I’d much prefer to watch Ingmar Bergman’s Persona or David Lynch’s Earaserhead. Another couple of films that provide me with escape is Luis Bunuel’s Belle de jour, Robert Altman’s 3 Women and Ki-duk Kim’s Pieta. As well as David Cronenberg’s Naked Lunch, Nicolas Roeg’s Don’t Look Now or Godard’s Weekend. All of these movies project complex ideas and themes that require the mind to focus and think about what is being shown (or often not shown) — therefore, I find a way to temporarily escape my problems.

I jump into the problems and horrors examined in these dark films.

A serial killer roaming through the canals of Venice are the least worries facing Julie Christie as she and her husband face the despair, grief, isolation, guilt and tragedy of loss. Don't Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

A serial killer roaming through the canals of Venice are the least worries facing Julie Christie as she and her husband face the despair, grief, isolation, guilt and tragedy of loss.
Don’t Look Now
Nicolas Roeg, 1973
Cinematography | Anthony B. Richmond

The resonation most likely comes from the one actual gift of survival: The ability to understand. While I do not suffer with Sex Addiction or an inability to connect beyond the sexual, I do feel an understanding and empathy for those who suffer with it. When life teaches one that his/her’s worth is tied to sexuality, it leaves that individual with every limited abilities to connect and encage. If ever mankind is haunted by demons, they are manifestations of Self-Loathing, Isolation and Loneliness. The two characters in Shame roam about a blue-toned Manhattan lost, unsure, impotent and desperate.

"We're not bad people. We just come from a bad place." Michael Fassbender Crushing under the weight of human damages SHAME Steve McQueen, 2011 Cinematography | Sean Bobbitt

“We’re not bad people. We just come from a bad place.”
Michael Fassbender
Crushing under the weight of human damages
SHAME
Steve McQueen, 2011
Cinematography | Sean Bobbitt

Neither knows how to escape their respective prisons. The actors, Michael Fassbender and Carey Mulligan do not even need much dialogue. So strong are these talents, they can convey more with a glance, a gesture or most powerfully for Mulligan — in the singing of a song. Mulligan’s deconstruction of the standard, New York, New York, belongs on a pristine shelf of the perfect actor moment.

"If I can make it there..." Carey Mulligan SHAME Steve McQueen, 2011 Cinematography | Sean Bobbitt

“If I can make it there…”
Carey Mulligan
SHAME
Steve McQueen, 2011
Cinematography | Sean Bobbitt

In her hands and voice, the infamous anthem becomes a defeatist glimpse into grief and regret.

In Ki-duk Kim’s dark and angry, Pieta, we are stolen into a world of injustice, cruelty, betrayal and vengeance. Min-so Jo plays “the mother” to Jung-jin Lee’s “son.” Both navigate with minimal use of words. Contrary to what one might expect from the often soap-opreaish work one normally sees these two actors in, here they are both given the freedom to fully explore the veins under the skins of their characters.

Ki-duk Kim’s film is a set-up for both the viewers and the two leading characters. There is nothing holy to be found in this Pieta. The catharsis of vengeance comes with a price that I can only believe is absolute truth. While one might fantasize of extracting vengeance, the reality is far removed from the pleasure we might expect.

Jung-jin Lee opens the door to the parent, Min-so Jo, who abandoned him with a knife at the ready... Pieta Ki-duk Kim, 2012 Cinematography | Young-jik Jo

Jung-jin Lee opens the door to the parent, Min-so Jo, who abandoned him with a knife at the ready…
Pieta
Ki-duk Kim, 2012
Cinematography | Young-jik Jo

Being a survivor, I often find myself imagining what I would do to my attacker if I could and how very happy it would make me. However, being a survivor has also taught me how to examine the tragedy from all sides.

There would be no happiness or pleasure in securing vengeance even if I could. My attacker has long since died. The bitter truth is that we humans are complicated animals. The reality is a child not only needs the love of his parent, he requires it. No matter how cruel a parent might be, there is something in us that needs to be able to love that person who gave us life. And while I have no children, I’m mature enough to know that a parent can feel great love for a child and still manage to deeply harm him/her.

It is a set-up. Despair, Grief & Anger turn to Vengeance.  Min-so Jo Pieta Ki-duk Kim, 2012 Cinematography | Young-jik Jo

It is a set-up. Despair, Grief & Anger turn to Vengeance.
Min-so Jo
Pieta
Ki-duk Kim, 2012
Cinematography | Young-jik Jo

The insanity that drives the parent to such acts in many ways has nothing to do with the love they might feel for the child. It is a tricky proposition to understand and requires a great deal of emotional logic to place this in the appropriate context, but often a victimizing parent is a victim themselves. The strange and very twisted truth is I know my father loved me. I know this to my core. I also know that he damaged me in ways beyond repair. Despite this, when he died I felt no relief. I only felt grief. A grief far deeper than I had ever felt before or since. So much unresolved and so much confusion. As the characters in Pieta secure their “need” for revenge — there is no turning back. They reduce themselves to the level of the victimizer. The “victory” comes at a price too strong to bear.

It is interesting and very telling that I seem to avoid films which tackle the subject of fathers raping, harming and emotionally abusing their sons. Perhaps this is too dark for even me. When I see a film addressing this it rings too close to my own horrors and confusions related to my late father. It is as if I need a bit of distance. These kind of conflicts involving a mother and a son are distanced enough from my life that I’m able to find something to gain.

Perhaps the most confusing film in which I find escape is Christophe Honre’s controversial and often banned film, Ma Mere.

"Wrong isn't what we're about to do. Wrong is wanting to survive it." Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

“Wrong isn’t what we’re about to do. Wrong is wanting to survive it.”
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

Very loosely adapted from the infamous and posthumously published George Bataille novel which intended to shock as a way of both societal and cultural commentary — Christophe Honre had something a bit different in mind. Honre is very intellectual filmmaker. He is almost cliched French. He will stubbornly create a grim musical that refuses denial by a culture which seems to hold little value or appreciation of film musicals. He likes to force his hand. With the great Isabelle Huppert as his leading lady, Bataille’s novel is transferred to the modern day Canary Islands. We are expected to already know that this beautiful place has long succumbed itself to serve as both a tourist destination and a location for anything goes morality. Public sex, sex workers and fringe-dwellers litter the beaches and fill the after hours bar-hopping mall where the characters wonder about in the film’s first  act. Honre does not care to focus his attention to that.

"The pleasure only begins the moment the worm is in the fruit." Isabelle Huppert and Louis Garrel Christophe Honre, 2004 Cinematography | Hélène Louvart

“The pleasure only begins the moment the worm is in the fruit.”
Isabelle Huppert and Louis Garrel
Christophe Honre, 2004
Cinematography | Hélène Louvart

In the film version of Ma Mere, he seeks to tell the very complex, grim and perverse relationship of damaged mother to her damaged son. This is not a sexy movie, but it is very much about sexual experimentation, humiliation and a vexingly profane philosophy that the mother is hellbent on searing into the mind of her barely adult child. Louis Garrel has been raised by his strict Catholic grandmother — a family decision to “protect” him from his depraved parents who have long been exiled to The Canary Islands far from their families. We learn a great deal about the family history in the most casual of ways. Isabelle Huppert’s performance is a below the belt gut punch of realism over what must have appeared as absurd in script form.

Yet as Isabelle Huppert delivers a stream of profane and almost comical ideas, it is never funny. It feels real.

As Garrel’s “son” grapples with his own torn feelings about the loss of his Grandmother and her faith, he is also pulled toward this cruel version of a mother. While he may be technically adult, he is an innocent. He desperately craves the love and acceptance of his mother. He is unable to filter this need.

As she leads him into her confused and brutal world of psychological cruelty, BDSM and most certainly sadomasochistic rituals, the son becomes a sort of pawn with which his mother cannot decide to crush or love.

Victim turned Victimizer Isabelle Huppert and "Friend"  Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

Victim turned Victimizer
Isabelle Huppert and “Friend”
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

We learn that her marriage to his father was born of statutory rape. Most likely he himself is the result of this rape. The film goes farther than it needs, but it is clear that the mother’s abuse is a conflicted result of anger, insanity and love.

As I watch these two almost surrealist characters perform their tragic dance, I do feel a worrying reality to it all. And of course this is the point of Ma Mere. We love our mothers. Our mothers love us. It does not mean they are not capable of inflicting cruelty beyond measure. The mother could just as easily be replaced with a father and a daughter for the son. But Mon Pere would be even more controversial and serve the idea of the film in an even more complex way.

Even his early childhood nanny can't seem to stop the son from desperately seeking the love of his mother... Dominique Reymond and Louis Garrel  Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

Even his early childhood nanny can’t seem to stop the son from desperately seeking the love of his mother…
Dominique Reymond and Louis Garrel
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

Most importantly, Christophe Honre’s film never seeks to eroticize or celebrate the profane actions of its characters. It also  does not seek to judge them. It doesn’t need to. As Ma Mere grinds into its abrupt and deeply disturbing end, the tragic implications of human damage are clear. Worst yet, they seem to be on-going.

"Maybe now you know desire reduces us to weakness." Isabelle Huppert Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

“Maybe now you know desire reduces us to weakness.”
Isabelle Huppert
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

While none of the above is my experience, I relate enough to feel the resonation of the art. It acts as a catharsis. I take a great deal of solace in knowing that I caught and understood what I “survived” soon enough to ensure that the abuse stops here with me. But in an all too clear way, what I survived has not made me stronger. The tragedy of what happened to me follows me constantly. And like the son in Christophe Honre’s tragically forgotten film, the implications seem on-going.

Matt Stanfield, 9.20.2015

An Adam Sandler