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

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

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

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

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

Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It is decaying. Literally.

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

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

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

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

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

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

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

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

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

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

Matty Stanfield, 1.31.2016

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

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

from 2015 Slant Magazine piece by MARC SPITZ

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

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

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

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

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

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

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

At this moment, it was still very much style over substance. But this would soon change. Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

At this moment, it was still very much style over substance. But this would soon change.
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

Having the opportunity to interview or chat with a filmmaker is always interesting, but once in a while it can be somewhat magical. From time to time a highly respected and successful film artist manages to escape the limitations of celebrity. Not all celebrated filmmakers live in bubbles.

And while it often feels a thing of the past, there are still filmmakers who are more concerned with filmmaking as an art form than as the opportunity for the wealth of a franchise. No artist desires creating work that fails to connect with an audience, but there are some who are far more concerned with a personal vision than worrying about selling tickets. While this can create limitations for the filmmaker, it also presents a great level of freedom.

Nicolas Roeg BBC Arena Portrait Photograph | David Thompson, 2015

Nicolas Roeg
BBC Arena Portrait
Photograph | David Thompson, 2015

One such filmmaker is Nicolas Cage. If you’ve ever watched or read an interview with eccentric auteur you will be aware that his style of conversing is at once intellectual and rather free-form. His style of discussing his work, history and ideas often ramble, but they never miss their mark.

If you’ve ever had the pleasure of listening to Nicolas Roeg speak, you will note a highly intelligent and genuine man. It is impossible to miss the fact that he is so filled with ideas that he tends talk in meandering and circular logic sentences. Last year, after overcoming more than a few challenges, The Criterion Collection re-mastered and re-issued Don’t Look Now. It features a discussion filmed in 2003 at London’s Ciné Lumière. It is an entertaining discussion and fully captures the way in which Roeg communicates. More importantly, it lets us see how he thinks and more than a little insight into how he makes films. He has always stretched cinematography and film editing to the limits to mimic the ways the human mind works. It may not always appear logical if we can slow down long enough to notice the jumbled order of our thoughts, but we are able to connect the dots of our odd assortment of ideas to lead us to the ways in which we operate.

If there is one element that shines through when listening to Mr. Roeg is the constant desire to find ways for film to connect with the human brain. When he made his debut as a film director it was a collaboration with writer/director, Donald Cammell.

There is a great deal more going on behind James Fox's "Johnny's" violent actions than simple thuggery. James Fox Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

There is a great deal more going on behind James Fox’s “Johnny’s” violent actions than simple thuggery.
James Fox
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

That debut film was Performance. Essentially a thriller in which a thug makes the mistake of hiding out in the home of rock star and his two groupies. The “thrill” aspect of the film takes a long fall as the film quickly evolves into a surrealistic study of a drug-fueled, hallucinogenic trip into identity. The film remains firmly seated as a dated but groundbreaking film of its time featuring Mick Jagger playing the odd rock star who pulls James Fox into a great deal more than his own isolated world.

“Nothing is true, everything is permitted.”

There only appears to be no rules... Mick Jagger Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

There only appears to be no rules…
Mick Jagger
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

It is an iconic film. It is also offers a key insight into what would soon become Nic Roeg’s life long pursuit toward a whole new kind of cinematic language. The idea of filming and editing a film to reflect the inner-workings of the human mind is forming. As Performance was a collaborative effort and firmly rooted in the culture of late 1960’s Swinging London world of fashion, rock and drugs — the uses of this idea never fully form. Instead the film often employs stylistic choices of jittery fast cuts and odd perspectives that are as ornamental as they are meaningful. Even still Roeg’s approach human thought as a method of plot projection is there.

Even the smallest creatures fight to survive. A picnic in the outback turns into a journey of cruel awakening, self-discovery and survival. A Cinematographer becomes an Auteur. Walkabout Nicolas Roeg, 1971

Even the smallest creatures fight to survive. A picnic in the outback turns into a journey of cruel awakening, self-discovery and survival. A Cinematographer becomes an Auteur.
Walkabout
Nicolas Roeg, 1971

Nicolas Roeg’s true directorial debut is filled with ideas and unique perceptions. A brother and sister escape the insanity of their troubled father to find themselves in the wilds of The Australian Outback. The title of the film comes from the Aboriginal concept of a male’s journey to adulthood. And with the assistance of a young man in the middle of his tribal ritual “walkabout” — the siblings journey through adversity and mystery toward their own adulthood.

What constantly threatens danger springs forward into a celebration of life's possibilities... Jenny Agutter Walkabout Nicolas Roeg, 1971

What constantly threatens danger springs forward into a celebration of life’s possibilities…
Jenny Agutter
Walkabout
Nicolas Roeg, 1971

Along the way cultural differences cause confusion and alarm. It is a film about survival thanks to human kindness. But more than anything it is a startling view of how racism and cultural differences are so engrained, no amount of human kindness can make them go away.  Roeg’s camera captures reality through a sort of surrealistic lens. The careful use of Antony Gibbs and Alan Pattillos’ editing allow us to view the realities and revelations from the perspective of two young adults and a child. It is here that we get a glimpse of identity perspective through the way the characters’ minds take in and view individual perceptions of experience.

A beautiful and tragic experimental film about both the strengths and flaws of the human condition. Another idea is put forward that hints that as our society applies more and more pressures, the concept of a walkabout could become a new sort of ritual for human beings contained within a society that only appears to offer safety and protection.

A young man takes a look at the land of his future and a shot becomes an iconic image. David Gulpilil Walkabout Nicolas Roeg, 1971

A young man takes a look at the land of his future and a shot becomes an iconic image.
David Gulpilil
Walkabout
Nicolas Roeg, 1971

When one watches Roeg’s 1980’s Bad Timing, a story of lust turned to obsession that not only pushes both individuals to the limits — it pulls one of them into the darkest corners of insanity. Bad Timing is graphic in the use of nudity, but the story it tells is not all that unusual. What makes this film standout as a work of cinematic art is the blending and discordant use of plot points into a fluid labyrinthine of perspectives that is often almost impossible to follow. The concept of flashback story-telling takes an almost hysterical detour into uncharted territories.

What often feels like a murder mystery is really far more complex in what it attempts to do. Bad Timing dares to toss a number of film genres our way, but the goal here is not suspense or even mystery. This film charts the deterioration of both the human mind and psyche after the requirements of desire, lust and sexual obsession have overtaken the rational.

"I'll be dead in a minute; just wanted to say good-bye." Who is in control? Who is being seduced? And in what order are these experiences happening?  Art Garfunkel / Theresa Russell Bad Timing Nicolas Roeg, 1980 Cinematography | Anthony B. Richmond

“I’ll be dead in a minute; just wanted to say good-bye.”
Who is in control? Who is being seduced? And in what order are these experiences happening?
Art Garfunkel / Theresa Russell
Bad Timing
Nicolas Roeg, 1980
Cinematography | Anthony B. Richmond

Tony Lawson’s editing of Anthony B. Richmond’s oddly framed cinematography shifts the viewer perspective into a strange flow that is challenging to grasp. The majority of film critics and audiences at the time tended to dismiss the film. Art Garfunkel’s low-key performance mixing with Harvey Keitel’s intensity and Theresa Russell’s unhinged demonstration of carnal obsession often feels like a cinematic experiment with celluloid as rubber band. Bad Timing was so strange at the time it was released that it would take a good decade before it would be reconsidered and re-evaluated for the exceptional film it is. This film remains strange and refuses to give in.

tumblr_ngklgdbxKL1tus777o3_r1_1280

“You tell the truth about a lie so beautifully.” Art Garfunkel / Theresa Russell Bad Timing Nicolas Roeg, 1980 Cinematography | Anthony B. Richmond

Don’t Look Now takes us to a Venice steeped in decay, sadness and uncertain dangers. We are led through a series of seemingly endless loop of dark tunnels. We pass over aged bridges in a fog of mystery. Hope can become deadly. Grief can become a release. Like life, nothing is at it appears. Constantly shifting back and forth in time which only becomes obvious upon a second screening. Everything is viewed with disconnected logic and paranormal hindsight. There is a constant confusion of “real-time” with conscious and subconscious perceptions. An unrelenting sense of déjà vu that our protagonist refuses to own or fully evaluate.

Nothing is what it appears... Julie Christie Don't Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

Nothing is what it appears…
Julie Christie
Don’t Look Now
Nicolas Roeg, 1973
Cinematography | Anthony B. Richmond

A cinematic masterwork that captures a young couple trying to re-connect and support each other in order to survive the worst experience life can offer.  It is a truly horrific film that somehow manages to be both beautiful and hauntingly sad. This is a surreal horror film about love, guilt, connections and grief.

"This one who's blind. She's the one that can see." Don't Look Now Nicolas Roeg, 1973

“This one who’s blind. She’s the one that can see.”
Don’t Look Now
Nicolas Roeg, 1973

This controversial 1973 film remains Roeg’s most successful film. Don’t Look Now is perhaps the best example of how Nicolas Roeg’s films work.

These films are about a whole lot more than seeingthese films are about how we think.

Matty Stanfield, 2.8.2016

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Fidell drenches her film in a sort of idealistic dewy haze intended to capture that amazing powerful feeling of true first love. I suspect that many expected this film to actually be a lush and romantic “chick flick.” This movie is as far from that universe as a film can get. The question Fidell’s film poses is not “Will they be able to make it work?” The question here is “Should they even try to make it work?” As in “real life” – the answer is not simplistic or easy to face. 6 Years explores a relationship from a perspective that few filmmakers have been willing to take. This film isn’t aiming to provoke. It aims to be honest. Taissa Farmiga and Ben Rosenfield both provide brutally realistic performances. The all too serious topic of domestic abuse has never been captured in this way. It is potent and heart breaking. 6 Years is a Must See film. Do not miss it. 

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

http://sabbatical-mossgarden.com

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

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

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

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

As for the performances that most resonated for me:

Paul Dano as Young Brian Wilson is incredible.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Lobster Yorgos Lanthimos | 2015

The Lobster
Yorgos Lanthimos | 2015

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

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

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

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

Funny Bunny Alison Bagnall, 2015 Cinematography | Ashley Connor

Funny Bunny
Alison Bagnall, 2015
Cinematography | Ashley Connor

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

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

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

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

Matty Stanfield, 9.8.15