The classic horror film Child’s Play meets David Lynch’s Eraserhead in this creepy seven-minute short directed by Thomas Lee Rutter. “A Child’s Toy” blends surrealism with an ambient composition to create a product that is nothing short of terrifying.
The band Xiu Xiu (named after the award-winning Chinese film, Xiu Xiu: The Sent Down Girl) is anything but conventional, so it’s only fitting that the strange and innovative Cam Archer should direct the cinematography for their song, “The Fox and the Rabbit”. Instruments, lyrics, imagery: everything comes together in this short to create an experience you won’t take lightly. “When the fox hears the rabbit cry, he comes running… but not to help.”
Heather Mahler takes us on a fanciful journey through the campus of Snow College in Utah. Energetic, imaginative, and fun; “Wake Up” will be the highlight of your Saturday afternoon. Music by Snyder Mahler.
“Kuntsbar” (in English, “Art Bar”) is Whitehouse Animation’s brilliant interpretation of a confusing world where all artist-created realities live side-by-side. Watch for the visual citations to Jackson Pollock, Vincent Van Gogh, Pablo Picasso and others art masters.
For more from the creators, visit http://www.whitehouseanimationinc.com/.
As uncomfortable as it is original, Unglewd will challenge your concept of music. Samples of chatter and screeching, accompanied by erratic drums, blend with a slew of distressful images to make this week’s short a bad trip you must experience.
The films of Georges Méliès are testosterone for surrealists. In 2008 Flicker Alley and the esteemed Blackhawk films released The First Wizard of Cinema, a mammoth 5 disc, thirteen hour collection of Méliès’ surviving films. It was the DVD event release of several years. In 2010, the same forces have released a supplemental collection of 26 newly discovered shorts, aptly entitled “Encore”.
Understandably, this is not the event from two years ago, but it is an essential, released addition in the appreciation of Méliès’ unique art. Contemporary viewers with preconceived notions of the term “film” may be thrown off by the aesthetic mindset from a turn of the century experimental filmmaker. Get over it and don’t look for narrative in the post-Edwin S. Porter sense of the word. There is much to savor here when transported into Méliès’ very different world.
First, there are two films here that were at one time mistakenly attributed to Méliès, but were in fact directed by the Spanish filmmaker Segundo de Chomon in the Méliès style (he was often compared to Méliès). Chomon, who worked for the smae company as Méliès (Pathe), specialized in color tinting and “The Rose Magician” (1906), with its washy blues, yellows, streams of flowers and painted backdrops, including a giant seashell, exudes a heady, exotic nouveau flavor. “Excursion to the Moon” (1908) is clearly a homage to Méliès’ famous “A Trip to the Moon” (1902). Sublime golds, oranges, pinks, greens and blues permeate “Excursion”. Chomon beautifully utilizes snowy imagery, sleep, mushrooms, space rockets, explosions and a snow covered face in the moon, which has to be seen to be believed. Taking nothing from Méliès, the two Chomon shorts may be the most significant discoveries in this collection.
As for the actual Méliès pictures, “The Haunted Castle” (1896), which is not related to Poe, begins in a castle set with a bat (on strings, of course) that transforms into the Devil himself (complete with horns and costume which looks like it was bough from L.S. Ayres). Old Nick waves his hand and a giant cauldron appears. He follows this with some black magic business, summoning forth a servant and a maiden, who emerges form the cauldron, then quickly disappears. The servant, then the cauldron, then the Devil himself all disappear. Two Continue reading GEORGES MELIES ENCORE
For someone who wasn’t around fifty years ago to see the original airings of “The Flintstones”, watching Fred and Barney down a couple glasses of Busch beer may come as a bit of a shock. Younger generations commonly view the Flintstones as a family friendly comedy appropriate for all ages, but the show was initially intended for adults.
Fred and Barney’s casual drinking aside, this commercial has even more odd qualities in store. The hypnotic circle at the beginning, repeating of slogans, and Mr. Slate’s hallucinations make for an anomalous gem.
WHAT MAKES IT WEIRD: Filmed by special effects maven Yoshihiro Nishimura in 2007 as an extra for the Meatball Machine DVD, Reject of Death was made without a net, and without a sense of accountability to anyone who might censor it for content, or for sense. Done in the style of a music video, it displays all the narrative rigor one expects from the form—which actually serves this material well. Add politically incorrect stereotypes to the fast-moving mix of absurdist gore, heavy metal music, and killer boobs, and you have one weird little extra.
COMMENTS: I can only imagine that the correct way to see Reject of Death is to view it before seeing Meatball Machine; not knowing the “rules” of the MM universe likely to boost the already pretty “WTF?” level into the stratosphere. The scene is set by a schoolgirl causally hacking at her arm with a razor, only to find a glowing button encased beneath her flesh. She presses the button, and heavy metal power chords assault our ears. Cut to a scene of a wigged prostitute whose trick turning is interrupted by the whir of tentacles and spray of blood that indicates infection by alien parasites. Intercut those scenes with three ethnic stereotypes—a Native America, and African, and an Asian—wandering bemused around the streets of a Japanese city. Bring all three groups together on a rooftop for a bloody battle royale which sprinkles in kung fu posturing, hermaphrodism, and a nipple that shoots barbed chains into eyeballs, and you have yourself an out-of-control featurette that will score with fans of pop-surrealism and exploitation-extremism alike. Rejects of Death utilizes the thin mythology set up in Meatball Machine, and very well may be an attempt to explain one character’s back story, but it stands apart stylistically from the feature that inspired it. Unabashedly (and gloriously) offensive, the short isn’t special enough by itself to justify a DVD purchase, but packaged together with the feature film, it may be enough to inspire fence-sitters to take a chance on a rental.
WHAT THE CRITICS SAY:
From the title alone, one will likely infer that “Nagasaki Ding-Dong” is not your average short film. Rather, Nagasaki seems to be an experiment on just how far one can stray from the norm. Filled with nauseating scenes and sounds, it’s unpleasant nature will leave weird enthusiasts satisfied with a weighty feeling of unease.
Mathieu Labaye’s tribute to his father, who suffered from multiple sclerosis when he was 29 years old, was confined to a wheelchair at 40, and died of pneumonia at the age of 55. Labaye has an indisputable talent for creating music and visual art that radiates a surplus of energy. Warning: like our last Saturday Short, “Orgesticulanismus” also contains some brief artistic nudity.