All posts by G. Smalley (366weirdmovies)

Originally an anonymous encyclopediast who closely guarded his secret identity to prevent his occult enemies from exposing him, a 2010 Freedom of Information Act request revealed that "366weirdmovies" is actually Greg Smalley, a freelance writer and licensed attorney from Louisville, KY. His orientation is listed as "hetero" and his relationship status as "single," but Mr. Smalley's "turn-ons" and "favorite Michael Bay movie" were redacted from the FOIA report. Mr. Smalley is a member of the Online Film Critics Society.

LIST CANDIDATE: THE LOVE WITCH (2016)

Must See

DIRECTED BY: Anna Biller

FEATURING: Samantha Robinson, Gian Keys, Laura Waddel

PLOT: A California witch who casts magic spells to seek out her true love finds that her lovers keep dying.

Still from The Love Witch (2016)

WHY IT MIGHT MAKE THE LIST: The world created in The Love Witch is so obsessively unique—a blend of romance novels, perverse witchcraft fantasies, feminist dialectic, and Technicolor melodramas—that perhaps it can only rightfully described as “weird.”

COMMENTS: One main stylistic feature of The Love Witch is the campy acting—Samantha Robinson’s Elaine speaks as if she’s always lost in an interior world of hearts and unicorns, making her sound insincere even when she’s at her most heartfelt. Other actors take an overly broad, TV-melodrama approach. This technique helps sustain the film’s sense of otherworldliness, but the other, and far more impressive, stylistic feature is the unreal, anachronistic, and impressively detailed mise-en-scene. A girly-girl café where the clientele all dress in pink and white with flowery hats—looking more like bridesmaids than ladies out for a spot of tea—while ethereal blondes play harps and sing medieval love hymns. The local burlesque house, in a lustful red-on-red color scheme, where dancers with feather boas never take it all off but ensorcell the drooling males nonetheless. The Renaissance Faire run by witches, where Elaine and her date “accidentally” end up wed in a mock pagan ceremony. The minutiae of Elaine’s witchcraft rituals, which at one point involves her honoring a corpse with her urine and a used tampon. Clever details and decorative ideas abound in nearly every scene. Reversing the seduction stereotype, Elaine uses a comically oversized brandy snifter to decrease her conquests’ inhibitions. Trish finds Elaine’s witchcraft altar full of bizarre potions and magickal totems, then walks into her adjoining bedroom to discover, oriented in exact mirror image position, a vanity set out with wig, perfume, and makeup.

The smart script is not simplistic in its satire; it prides itself on creating and holding contradictory views. Elaine and her friends toss out ideas about femininity that are sometimes laughably old-fashioned, but are sometimes still with us today, and trusts us to sort out which are which. Witchcraft is shown as harmless New Agey neo-paganism, no more or less ritually ridiculous than Christianity, but it’s also a source of implied abuse and exploitation, and a real threat to the community. And of course, the biggest contradiction of all is Elaine, a mixture of idealism and ruthless cunning, who expresses naïve ideas with a simple conviction that no one can effectively refute, simultaneously a victim and a serial victimizer.

Because the stylistic world Anna Biller creates in The Love Witch is cinematically familiar—with its widescreen compositions, brazen color schemes, cigarette smoking femme fatales and square-jawed cops—many are tempted to go hunting for movie references and homages. Indeed, I was reminded of The Birds (in Elaine’s rear-projection convertible ride up the California coast),  (the nude witchcraft rituals), The Trip (the psychedelic kaleidoscope lens when Elaine seduces the hippie professor) and TV’s “Dragnet” (in the sappy hard-boiled dialogue of the police squad room); others cite , Valley of the Dolls and Beyond the Valley of the Dolls as inspirations. But none of the scenes Biller stages are outright allusions or in-jokes. She absorbs the period style—particularly its vivacious use of the full chromatic scale—-without simply referencing a checklist of favorite films; you’ll search in vain for nods to her specific influences. The Love Witch is a Sixties-era Technicolor B-movie that could have been, but in an alternate universe at a slight tangent to our own. The biggest compliment I can give Biller is to say that she does something for 1960s Technicolor spectacles similar to what did for silents and early talkies: she uses antiquated techniques to create a timeless, abstract setting that reflects her own personality. It’s gratifying to see her receive critical praise for this monumentally inventive and deceptively intelligent feminist statement dressed in Satanic sexploitation robes.

WHAT THE CRITICS SAY:

“The results are wildly over-the-top, in a ‘Beyond the Valley of the Dolls’-meets-‘Dark Shadows’ kind of way, but Biller’s commitment to her vision is weirdly endearing.”–Sean P. Means, The Salt Lake Tribune (contemporaneous)

274. NUIT NOIRE [BLACK NIGHT] (2005)

“Often when we go to the cinema we feel like we’re being taken for fools because things we have instantly understood are laboriously explained. Here it’s a little the other way round.”–Olivier Smolders

Weirdest!

Recommended

DIRECTED BY: Olivier Smolders

FEATURING: Fabrice Rodriguez, Yves-Marie Gnahoua, Iris Debusschere

PLOT: A solitary entomologist works at a natural history museum in a world where it is only light for fifteen seconds a day. One day, he comes home to his empty apartment and discovers an African woman sleeping in his bed. She is ill and pregnant and eventually dies, leaving him to deal with the body.

Still from Nuit Noire (2005)

BACKGROUND:

  • Olivier Smolders was born in the Congo, which explains the source of the film’s African imagery.
  • A prolific short film maker, Nuit Noire is Smolders’ only feature film to date.
  • The movie received a very limited theatrical release even in its native Belgium, and did not appear in U.S. theaters (outside of a few film festivals) at all. Little has been written about Nuite Noir in the English language (an only a little more in French).

INDELIBLE IMAGE: The African woman’s dead body turning into a pupae, then splitting open as a new life emerges.

THREE WEIRD THINGS: 15 seconds of sun; elephant in the alley; African corpse cocooning

WHAT MAKES IT WEIRD: Set in a world of eternal midnight, with troubled dreams of dead children and troubling realities of sick foreign women who mysteriously show up in your bed, Nuit Noire manipulates time and concepts in ways that only film can. One woman changes into another, and then into another. This story could not take place in the light of day.

Short clip from Nuit Noire

COMMENTS: Closeups of squirming bugs a la Blue Velvet. A reserved protagonist taking care of a sick charge in his isolated apartment a la Eraserhead. Billowing red curtains a la… every Continue reading 274. NUIT NOIRE [BLACK NIGHT] (2005)

CAPSULE: CLOSET MONSTER (2015)

DIRECTED BY:  Stephen Dunn

FEATURING: Connor Jessup, Aaron Abrams, Aliocha Schneider, Isabella Rossellini (voice)

PLOT: A closeted gay teenager who wants to be a horror makeup artist finds himself inhibited from the same-sex experiences he craves due to a traumatic hate crime he witnessed as a child.

Still from Closet Monster (2015)

WHY IT WON’T MAKE THE LIST: If you want a coming out story, and you want it to be slightly weird, this is an option. If you want it really weird, you’d be better off with Der Samurai, however.

COMMENTS: In its short existence, the “coming out” film has already adopted certain cliches: the disapproving macho dad who fears a “wimp” son, the ambiguously homosexual/bisexual love interest, loss of virginity at an ecstasy-fueled rave. Closet Monster doesn’t throw away this boilerplate, but it does cleverly distract our attention from the usual structure with bizarre touches meant to evoke the troubled feeling of growing up different. Monster mixes in tropes from the horror movie (an appropriate import) and, in its most whimsical and salable touch, gives us Isabella Rossellini as the voice of Oscar’s hamster spirit guide (wittily, the pet is ambiguously gendered). A series of hallucinations, mostly stemming from a traumatic homophobic assault Oscar witnesses as a child, round out the weirdness.

Steven Dunn’s direction in his first feature is confident, although wen dreamy Wilder enters the picture the will-they-won’t-they second act does drag. The horror angle, which seemed like the film’s  hook, gets pushed aside for the type of dramatic development we’ve seen many times before. But the actors are universally competent, led by conflicted Jessup. Dad Abrams has a nicely complicated character: he is more of an all-around mess—well-meaning but impulse-control challenged—than the simple homophobe he might have been. The horror scenes return at the very end, when Oscar confronts his repressed longings, including hallucinations involving vomiting bolts and a gory impalement with an iron rod. It ends at one of the most marvelously idyllic locations in Newfoundland, a mystical modernist cabin set on a rock outcropping overlooking the sea. Closet Monster is not the whimsically surreal gay horror movie we’ve been waiting for, but it is a decent watch while we wait for someone to perfect the formula.

Closet Monster won the award for Best Canadian Film at the 2015 Toronto Film Festival. At the time of this writing you can catch it streaming on Netflix.

WHAT THE CRITICS SAY:

“Willfully weird tale of a gay youth in a world of confusion. Noisily off-kilter… the determined eccentricity of the entire conceit—liberally laced with moments of hallucinatory surrealism—weighs the movie down, creating an airless ambiance at odds with any youthful verve which might appeal to the viewer.”–David Noh, Film Journal International (contemporaneous)

 

WEIRD HORIZON FOR THE WEEK OF 3/10/2017

Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs, and on more distant horizons…

Trailers of new release movies are generally available at the official site links.

IN THEATERS (LIMITED RELEASE):

Raw (2016): After a hazing prank, a vegetarian at veterinary school develops a taste for meat. It sounds more transgressive/disturbing than weird, but the red-blooded segment of our readership will crave a taste of this. Raw official site.

SCREENINGS – (New York City, Film Society of Lincoln Center, Mar. 10-16):

Who’s Crazy? (1966): Insane asylum inmates escape and set up camp at an abandoned farmhouse. This nearly-lost avant-garde Belgian feature film sounds a bit like Even Dwarfs Started Small without the little-people gimmick, but with a dissonant free-jazz score by Ornette Coleman. Sponsored by Kino-Lorber, so a home video release seems likely. Who’s Crazy? at Lincoln Center.

FILM FESTIVALS – South by Southwest Film Festival (SXSW) (Austin, TX, Mar. 10-19):

If you can’t get your indie film into Sundance, the massive SXSW festival in Austin, Texas is your next best bet. With the continued mainstreaming of Sundance, and the increasingly homogenized “indie” product spotlighted there, if your movie’s a bit on the weirder side, SWSX may even be a better fit. There are a few repeats from other festivals, like the documentary David Lynch: The Art Life.There are also a ton of Virtual Reality installations, which are becoming more and more of a “thing” at film festivals, but… no matter how strange or psychedelic they promise to be, we’re not covering them… we already have enough on our plates right now. Here are some of this year’s weirder movie offerings:

  • “American Gods” – Sneak-peek of the premiere episode of a TV series about an ex-con who gets caught up in the struggle between the Old and New Gods. This adaptation of a novel screens Mar. 11.
  • The Disaster Artist – a fictional account of the making of the notorious disaster The Room, starring James Franco as . “In-progress” screening Mar. 12. To refresh your memory, the original Room screens Mar. 10.
  • Meatball Machine Kodoku – Looks like a straightforward remake of 2005’s Meatball Machine, directed by . Mar. 11, 12 & 16.
  • The Relationtrip – Comedy about two young people who refuse to commit to adult relationships but go on a trip together that turns “really, really weird.” Screen Mar. 11, 13 & 15.
  • Sylvio – The story of a small-town gorilla stuck in a debt collection job, who dreams of starting a puppet show. Mar 11, 13, & 15.

SxSW official site.

NEW ON DVD:

The Brand New Testament (2015): Read our review. God is a jerk, is in love with a gorilla, and all is weird in the world. Buy The Brand New Testament.

Notfilm (2015): A documentary about the making of Film (see description in Blu-ray below) which, at 130 minutes, is almost six times the length of its subject. Includes outtakes from Film and lots of archival extras that didn’t make it into the documentary proper. Buy Notfilm.

NEW ON BLU-RAY:

Aria (1987): Read Alfred Eaker’s review. Ten directors—including Certified Weird laureates , , Nicolas Roeg and Ken Russell—direct a favorite opera aria, music-video style, now upgraded to Blu-ray. Buy Aria [Blu-ray].

The Brand New Testament (2015): See description in DVD above. Buy The Brand New Testament [Blu-ray].

Film (1965): Read Alfred Eaker’s review. Absurdist playwright ‘s only experiment in film, made with, of all people, silent clown . Buy Film [Blu-ray].

Notfilm (2015): See description in DVD above. Buy Notfilm [Blu-ray].

What are you looking forward to? If you have any weird movie leads that I have overlooked, feel free to leave them in the COMMENTS section.

273. THE DISCREET CHARM OF THE BOURGEOISIE (1972)

“…a writer or painter cannot change the world. But they can keep an essential margin of nonconformity alive… The final sense of my films is this: to repeat, over and over again, in case anyone forgets it or believes to the contrary, that we do not live in the best of all possible worlds.”–Luis Buñuel, 1973

Must See

DIRECTED BY: Luis Buñuel

FEATURING: , , , Bulle Ogier, Stéphane Audran, , Julien Bertheau

PLOT: Two well-to-do couples arrive at the home of a third for dinner, but find there has been a misunderstanding on the date, and their hostess has not prepared a meal. The sextet tries to reschedule dinner over and over, but meets with increasingly absurd obstacles: dead restaurateurs, a platoon of soldiers who intrude on the evening, police officers who burst in and arrest the entire party before the first course. Complicating the scenario further is a bishop who imposes himself on their party, flashback ghost stories told by minor characters, a subplot about an ambassador smuggling cocaine and being hunted by a female terrorist assassin, and scenes that turn out to be dreams.

Still from The Discreet Charm of the Bourgeoisie (1972)

BACKGROUND:

  • Buñuel had announced that he would retire after Tristana (1971), but was inspired to make this movie by a story his producer Serge Silberman told him about having dinner guests show up unexpectedly due to a calendar mix-up.
  • Co-written by Surrealist screenwriting specialist , who became Buñuel’s most significant collaborator (surpassing even ). He assisted with writing duties on the director’s great 1967-1977 French renaissance period.
  • Among other honors, Discreet Charm won the Academy Award for Best Foreign Language Film (an indifferent Buñuel did not bother to show up to accept the award) and is included in Steven Schneider’s “1001 Movies You Must See Before You Die.”
  • Stephen Sondheim has a musical based on both The Exterminating Angel and Discreet Charm of the Bourgeoisie in the works.

INDELIBLE IMAGE: Shots of the six bourgeois friends, walking down an isolated country road, inserted at random between scenes. Their stride is purposeful, their destination… nowhere.

THREE WEIRD THINGS: Dinner theater; bishop with a shotgun; electrified piano cockroach torture

WHAT MAKES IT WEIRD: Buñuel’s exercise in bourgeois frustration begins simply, with a canceled dinner appointment, but quickly spirals out of control with a cocaine smuggling subplot, a foxy female terrorist, a vengeful bishop, and dreams inside of dreams. They never do get to that dinner party, although Fernando Rey does get to sneak in a slice of lamb and a midnight snack.


Original trailer for The Discreet Charm of the Bourgeoisie

COMMENTS: Luis Buñuel is cinema’s poet of frustration, of eternal Continue reading 273. THE DISCREET CHARM OF THE BOURGEOISIE (1972)

WEIRD HORIZON FOR THE WEEK OF 3/3/017

Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs, and on more distant horizons…

Trailers of new release movies are generally available at the official site links.

FILM FESTIVALS – MidWest Weird Fest (Eu Claire, Wisc., Mar. 3-5):

A relatively new, small three-day offering that’s an offshoot of a sister festival in Australia. We can’t vouch for everything here—a lot of it looks like the usual low-budget sci-fi/horror tide desperately searching for an audience—but there are a couple of films we can recommend as weird.

  • Atmo HorroX – Read our festival review; an indescribable dialogue-free microbudget horror (?) worthy of the tag “” Screens Sun, Mar 5.
  • Bad Black – Tongue-in-cheek Ugandan action/comedy made for about $200. Also Mar. 5.

Midwest Weirdfest official site.

NEW ON DVD:

A*P*E* (1976): A 36-foot tall ape (despite the title, it’s not an a*p*e*) falls in love with a blonde actress and destroys Seoul. This King Kong ripoff, rushed out to try to exploit interest in Dino DeLaurentiis’ 1976 Kong movie (which turned out to be a flop itself), often shows up on “worst of all times lists,” and famously includes a shot of the giant monkey giving the audience the finger. Buy A*P*E*.

Doctor Strange (2016): Read Alfred Eaker’s review. This “psychedelic” superhero movie is kinda, sorta weird for a Disney-backed blockbuster, if you squint real hard. Buy Doctor Strange.

We Are the Flesh (2016): Read the List Candidate review! Arrow Films gives this ultra-perverse, early weirdest movie of 2017 contender the deluxe treatment, with multiple interviews and two of the director’s short films included in the package. Buy We Are the Flesh

NEW ON BLU-RAY:

A*P*E* (1976): See description in DVD above. Will play in 3D, if your player can handle it. Buy A*P*E* [Blu-ray]

Doctor Strange (2016): See description in DVD above. Buy Doctor Strange [Blu-ray].

We Are the Flesh (2016): See description in DVD above. Buy We Are the Flesh [Blu-ray].

What are you looking forward to? If you have any weird movie leads that I have overlooked, feel free to leave them in the COMMENTS section.

LIST CANDIDATE: A CURE FOR WELLNESS (2017)

DIRECTED BY:

FEATURING: , Jason Isaacs, Mia Goth, Harry Groener

PLOT: A young executive goes to a remote spa planning to recover his company’s CEO, who appears to have gone insane and joined a wellness cult; circumstances lead him to become a patient as he investigates the place and learns its dark secrets.

Still from A Cure for Wellness (2017)

WHY IT MIGHT MAKE THE LIST: Although it’s uneven to the point of frustration, A Cure for Wellness is going to be the weirdest Hollywood-backed movie of the year, making it one we need to consider. Gore Verbinski blew all the Hollywood goodwill he earned from directing the Pirates of the Caribbean series on this majestic vanity, so we are unlike to see anything this strange in cineplexes for a while.

COMMENTS: A Cure for Wellness is a spin on “Dracula”‘s basic plot. Dane DeHaan is Lockhart, the Jonathan Harker character, sent to fetch the Reinfield character (Harry Groener as CEO Pembroke) from the castle (now a sanitarium on a Swiss mountaintop) run by a mysterious aristocrat (now hospital director Volmer, a name that sounds like it could have come out of an unpublished Bram Stoker novella). The villagers living at the base of the mountain despise the residents of the castle—er, spa—-and there’s even legends about ancient degenerate evils perpetrated by an evil Baron on the site now occupied by the sanitarium. There’s a Mina Harker-ish love interest (Mia Goth’s waify Hannah, enticing  both Lockhart and Volmer). The bulk of the film has Lockhart imprisoned and convalescing, under friendly pretenses, in the demonic lair, investigating his surroundings and his host and making terrifying discoveries (Harker’s scenes inside the vampire’s castle were always the best part of “Dracula”). Water takes the place of blood as a symbol of the leeched life-force.

It’s a sturdy and well-tested horror structure, disguised just enough by the modern setting. Unfortunately, it does not completely pay off. Gore Verbinski has a chance to update the dusty old tale with new satirical furnishings: digs at the modern corporate structure and the wellness movement. The targets are set up, but not knocked down. Lockhart has a rich psychological backstory explaining how he became such a selfishly driven bastard, but while flashbacks suggest this history might hold a key to the story’s deeper meaning, it turns out to be either window dressing or a red herring. A Cure for Wellness can’t decide if it wants to be a straight horror story, a twisty psychological thriller, or a pure Surrealist dream movie. It doesn’t commit to any one of the these genres, and in the end it settles for what may be the least interesting possible compromise between the trio of possibilities. (A movie’s not knowing what it wants to be is no bar to weirdness, but in this case I suspect the rough edges are more a result of waffling than of artistic dementia).

When Lockhart first meets Pembroke, he has been tracking him through the spa’s labyrinthine steam room. He enters a room and finds that the exit has disappeared; impossibly, he’s now trapped inside four walls, filling up with steam. Turning in circles, he suddenly spies an doorway in one of the walls; a stag walks past it. He exits the chamber where he was trapped and finds the CEO sitting on a bench, sweating. Immediately, he forgets the previous minutes eerie events and starts interrogating his quarry about why he left the corporate boardroom. He doesn’t waste time asking why wild animals are roaming the halls; his experiences are immediately forgotten. That sort of thing suggests either sloppy screenwriting, or an “it’s all a dream” interpretation (a reading the script supports by repeatedly referring to a dreaming ballerina figurine crafted by Lockhart’s mom). If Wellness means to be a dream film like that more famous Surrealist institution down the road, The Hourglass Sanatorium, however, it shouldn’t take it’s silly conclusion so darn seriously.

It seems more likely that the script simply incorporates fuzzy possibilities of hallucinations into the story as a way to have its cake and eat it to. Fortunately, the cake is good–if, at two-and-a-half hours, there’s a little too much of it. Verbinski fixates on the eel as a horror image. They show up in the strangest places, and elicit delicious chills almost every time. The sanitarium is a winning setting, and slow camera pans through its off-white halls provide effective suspense. Also, I would advise not going to the dentist for at least a week after seeing this film. The whole thing may not add up to much, but the ian intensity of individual scenes is undeniable. I was totally enthralled by Wellness for the first hour or so, before it’s structure began to crumble into repetitive noodling. But it’s rare to see this much money thrown at the screen to evoke such elaborate weirdness—so I would urge readers to get out and see it on the big screen during its sure-to-be-short run.

WHAT THE CRITICS SAY:

“…about as weird as modern Hollywood movies get… Simply put, nothing stranger is likely to make it to multiplexes any time soon. Savor the oddness.”–A.A.Dowd, The A.V. Club (contemporaneous)

271. THE HOURGLASS SANATORIUM (1973)

Sanatorium pod Klepsydra; AKA The Sandglass

“For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. “–Hamlet, Act III, Sc. 1

Recommended

Weirdest!

DIRECTED BY:

FEATURING:

PLOT: As the film opens, Józef is on a train headed to a sanatorium where his dead father is being kept. When he arrives, the grounds are deserted and decrepit, but eventually he finds a doctor who leads him to his now-sleeping father’s room and explains the patient’s comatose-but-alive status: “the trick is that we moved back time… we reactivate past time with all its possibilities.” Józef then wanders through the sanatorium’s grounds, meeting his mother, a collector of automatons, a parade of men dressed in bird costumes, the Three Wise Men, and other strange characters.

Still from The Hourglass Sanatorium (1973)

BACKGROUND:

  • The film was primarily based on Polish Surrealist author Bruno Schultz’s short-story collection “Sanatorium Under the Sign of the Hourglass,” although it included ideas from some of the author’s other short stories. (A Schulz story was also the inspiration for the ‘ stop-animation nightmare “The Street of Crocodiles“).
  • Wojciech Has worked on this project for five years.
  • The Hourglass Sanatorium did not receive the blessing of the Polish censors and was banned. Has had copies smuggled to the Cannes Film Festival, where it tied for the jury prize (at that time, essentially third place). In apparent retaliation for his insubordination, the Communist Party did not approve any of Has’ new film projects for the next ten years.
  • In Poland, an hourglass is a symbol of death.

INDELIBLE IMAGE: Oddly enough, especially given how visually sumptuous The Hourglass Sanatorium is, the image which best evokes the movie isn’t even in it. I speak of the famous theatrical release poster by Polish artist Franciszek Starowieyski, which depicts a giant orange eyeball perched on a jawbone, with a grill of teeth through which a worm crawls (a limbless woman’s torso is also stuck between its molars), while numbers and arrows illustrate features of bone anatomy like occult footnotes. The poster seizes upon the film’s major theme of death; Starowieyski was also picking up on the repeated motif of eyeballs which occurs throughout the Sanatorium, from the train conductor’s blind stare to the cobweb-covered eyeball collection Józef finds under the bed. To illustrate the film, we ultimately chose the image of a toppled wax automaton with his eye-socket popped open to reveal the gears inside—but when I think of The Hourglass Sanatorium, I always think of that poster first.

THREE WEIRD THINGS: Crow frozen in flight; Józef spying on Józef; eyeballs under the bed

WHAT MAKES IT WEIRD: The Hourglass Sanatorium is a rare work of genuine Surrealism. Seldom has any film ever captured the free-falling feeling of being lost in a dream so well: the portentous but inexplicable visions; the tenuous, tantalizing connections between ideas; the smooth and continuous shifting of realities. Let a blind conductor be your guide inside a crumbling hospital whose rooms hold wonder after wonder.


Brief clip from The Hourglass Sanatorium (in Polish)

COMMENTS: Sanatorium pod Klepsydra opens on the silhouette of a Continue reading 271. THE HOURGLASS SANATORIUM (1973)

270. WAX, OR THE DISCOVERY OF TELEVISION AMONG THE BEES (1991)

“The keeping of bees is like the direction of sunbeams.”―Henry David Thoreau

RecommendedWeirdest!

DIRECTED BY: David Blair

FEATURING: David Blair

PLOT: A “supernatural photographer” and beekeeper searching for evidence of the afterlife buys a hive of rare, disease-resistant Mesopotamian bees. Years later, his grandson Jacob, who works as a software engineer designing flight simulators for warplanes, inherits the insects. The hive gives him visions, then drones pierce his skin and insert a crystal—which allows him to see the bees’ version of television—to direct him in his destiny as a metaphysical assassin.

Still from Wax, or the Discovery of Television Among the Bees (1991)

BACKGROUND:

  • Wax took six years to complete and was partially funded with grants from German Public Television, the National Endowment for the Arts, the American Film Institute, and other private and state charitable endowments.
  • Jacob’s grandfather, James “Hive” Maker, is played by (in a non-speaking role).
  • First broadcast on German television in 1991, this shot-on-video feature never received a true theatrical release, although it was blown up to 16mm film for limited screenings in 1993.
  • The New York Times reported that Wax was be the first feature-length motion picture to be broadcast on the Internet.
  • A “hypermedia” version of Wax, or the Discovery of Television Among the Bees is available for free viewing at a site hosted by the University of Virginia. The movie is available to watch or download for free on Vimeo under a Creative Commons license.
  • Two years ago, Blair said that he was still working on a sequel, which has been in progress for at least seven years.

INDELIBLE IMAGE: Oddly enough, in a movie with so many digital distortions and abstract psychedelic graphics, it’s the shots of Jacob in his white beekeeping suit that stick in the mind the most—because, absurdly, he almost never takes it off, whether trudging through the steaming desert or walking past banks of supercomputers at his job at a military facility. Even when cuddling with his wife in front of the TV, he only takes off his hat. The suit becomes both a symbol of Jacob’s insular insanity, and a low budget substitute for a spacesuit a la 2001: A Space Odyssey, as Jacob ventures into cosmic realms far beyond ordinary human conception.

THREE WEIRD THINGS: Semi-intelligent missiles; the dead on the Moon; the Planet of Television

WHAT MAKES IT WEIRD: This is a “documentary” about a man who is sent to the Planet of the Dead via bee television in order to kill the reincarnation of his grandfather’s brother-in-law, thereby becoming Cain, before being reincarnated in paradise. I think. The story is utterly insane, although it makes complete sense to bees.

Wax or the Discovery of Television Among the Bees [10:00/85:00] from David Blair on Vimeo.

The first ten minutes of Wax, or the Discovery of Television Among the Bees

COMMENTS: When I first watched Wax, or the Discovery of Television Continue reading 270. WAX, OR THE DISCOVERY OF TELEVISION AMONG THE BEES (1991)