WEIRD HORIZON FOR THE WEEK OF 12/7/2012

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 on the official site links.

IN THEATERS (LIMITED RELEASE):

The Rabbi’s Cat [Le Chat du Rabbin] (2011): In this animated fantasy set in Algeria in the early 20th century, a rabbi’s cat find he’s able to speak after he swallows a parrot; he makes sarcastic comments, lusts after his master’s daughter, and tries to secure a bar mitzvah for himself. Director/artist Joann Sfar was last seen directing live actors (and giant-headed puppets) in Gainsbourg: A Heroic Life. The Rabbi’s Cat official site (French).

SCREENINGS (Multiple locations, Dec. 7-22):

Everything is Terrible! Holiday Special 2012: More terribleness, this time themed around the terriblest season of the year, the holidays. Playing one night only at multiple venues across the country: check the EiT website for details. Everything is Terrible! Holiday Special dates and venues.

NEW ON DVD:

The Adventures of Mark Twain (1985): Tom Sawyer, Huck Finn and Becky Thatcher join Mark Twain aboard his airship as he flies off to see Haley’s Comet. this claymation feature sounds cute and kid-friendly, but it’s actually based on Twain’s cynical adult works like “The Mysterious Stranger,” and what everyone seems to remember is the surreal scene where the kids come face-to-face with Satan. Buy The Adventures of Mark Twain.

Alps (2011): Giorgos Lanthimos’ followup to Dogtooth involves a service that sends impersonators out to pretend to be the deceased loved ones of mourning families. It appears to be another weird one, but in a more subtle and quiet mode than the Greek’s provocative debut. Buy Alps.

Beasts of the Southern Wild (2012): Read our capsule review. With this home video release, Beasts becomes officially eligible to be placed on the List—just saying. Buy Beasts of the Southern Wild.

Blood Beat (1983): An early 80s, Christmastime shot-on-video horror; as near as I can tell, the plot involves a samurai who appears and kills people whenever the lead actress masturbates (?) The publicity materials describe it as “quite possible the most bizarre Christmas themed horror film ever made!” [sic], and state that it’s also a limited edition (?) Buy Blood Beat.

Ninja Scroll (1993): Read our capsule review. This re-release of the 1993 fantasy/adventure anime classic is remastered, but has no special features. Buy Ninja Scroll.

Santa Claus Conquers the Martians (1964): Santa does what the title says he does in this ridiculous holiday misfire. This is the remastered version of the public domain “classic,” and it includes additional public domain shorts (some from Max Fleischer) as filler bonuses. Buy Santa Claus Conquers the Martians (Remastered Edition).

NEW ON BLU-RAY:

The Adventures of Mark Twain (1985): See description in DVD above. Buy The Adventures of Mark Twain [Blu-ray].

Beasts of the Southern Wild (2012): See description in DVD above. This release includes a DVD and digital copy. Buy Beasts of the Southern Wild [Blu-ray].

Brazil (1985): Read the Certified Weird entry! Just a year after Universal releases a Brazil Blu, Criterion tops them with this deluxe re-issue. Buy Brazil (Criterion Collection) [Blu-ray].

eXistenZ (1999): David Cronenberg‘s turn at making a mindbending virtual reality movie; parts do for video games what Videodrome did for television. A long-awaited Blu-ray release. Buy eXistenZ [Blu-ray].

“Francis Ford Coppola: 5 Film Collection”: We took notice of this set because of the angry and dreamy Vietnam War classic Apocalypse Now (1979) and its 3.5 hour director’s cut, Apocalypse Now Redux. This box also includes Coppola’s latest drama, Tetro (2009), along with his romantic musical One from the Heart (1982) and the paranoid classic The Conversation (1974). Buy “Francis Ford Coppola: 5-Film Collection” [Blu-ray].

Ninja Scroll (1993): See description in DVD above. Buy Ninja Scroll [Blu-ray].

Santa Claus Conquers the Martians (1964): See description in DVD above. Buy Santa Claus Conquers the Martians [Blu-ray].

Spy Kids 3-D: Game Over (2003)/Adventures of Sharkboy and Lavagirl (2005): Read our Sharkboy review. A pair of bizarrish kiddie movies from cult director together on a single Blu-ray. Buy Spy Kids 3-D: Game Over/Adventures of Sharkboy [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.

BEHIND THE SCENES OF JOHN SEMPER’S “CREEPORIA,” PART 3: INTERVIEW

* This is the third in a three-part series (although we will publish a short interview with “Creeporia” stars Camille and Kennerly Kitt this weekend). Catch up on part 1 and part 2. Interview with John Semper.

On casting choices: The thing that I did in casting, which I tend to always do when I’m casting nonprofessionals, is that I chose people who I thought were very close in personality to the characters that I wanted them to play. I wasn’t always looking for actors who could deliver brilliant performances that are outside of their comfort zone. Often times, all I needed was someone to be reasonably comfortable in front of the camera, being a slightly exaggerated version of themselves.

..

On actors: We had a few really strong actors. Michael Davis is a very strong actor, a lot of experience in improv comedy. Randy Cox is a strong actor. These were actors who played multiple roles because I could tell from their auditions that they could handle it. Creeporia CastThe thing about the girls [Camille and Kennerly Kitt] is that they were perceptive.

Some of the other actors who auditioned were horrible. Some people couldn’t even read, let alone act. So, it was a breath of fresh air when I came across these two young talents who could find the nuances in the dialogue and understand where the jokes were.

Jim Mannan is a good, strong actor. The plus to Jim is he that was also a dedicated worker. He was one of the most professional people on the set, in that he was required to be on set for a very long time and never complained. He just had a fantastic demeanor and dedication to the film.

Tristan Ross: I could tell was a very strong actor and, therefore, I felt very comfortable handing him a significant role. I am happy with what he did, but word reaches me that he is less than appreciative of having been in this film, which I think is a shame, because I think he did a good job.

When you guys originally sent me the audition tape for Mark Carter (Sammy Terry), [executive producer] Patrick [Greathouse] was trying to sell me on the idea of Mark being the male lead. I didn’t see that in Mark. What I saw in his performance was a kind of larger than life personality that would be perfect for the game show host, Blink Nightingale.

Mark is really funny and this character needed a lot of room to expand. I couldn’t tell from the audition tape whether or not Mark had great acting chops (it turns out that he does), but I could tell that there was a comfort in front of the camera and that there was a big personality.

Patrick first started talking to me about Sammy Terry, and Pat was obviously very excited about Sammy Terry, but I didn’t grow up in Indianapolis. I Continue reading BEHIND THE SCENES OF JOHN SEMPER’S “CREEPORIA,” PART 3: INTERVIEW

130. WEEKEND (1967)

“What a rotten film, all we meet are crazy people.”–Roland

DIRECTED BY:

FEATURING: Mireille Darc, Jean Yanne

PLOT: Corrine and Roland are a married couple who are cheating on each other and who hope to inherit money from Corrine’s dying father. They set off on a weekend trip to travel to the father’s deathbed, but find the French countryside is a giant traffic jam filled with burning wrecks. As they struggle to reach their destination they meet fictional and historical characters, magical beings, and feral hippie terrorists.

Still from Weekend (1967)

BACKGROUND:

  • According to writer/critic Gary Indiana, Godard based the structure of his story on Friedrich Engel’s “The Origins of Family, Private Property, and the State,” but reversed the historical progression so that the movie proceeds from civilization to savagery.
  • Mireille Darc, who had starred in the types of popular comedies and spy films Godard despised, petitioned the director for a part in one of his movies. He agreed to cast her in Weekend; when she asked him why, he answered, “because I don’t like you… and the character in my film must be unpleasant.”
  • The scene where Mireille Darc tells her lover about a threesome with another man is a parody of a similar scene from ‘s Persona (1966), and also a reference to George Bataille’s surrealist/erotic novella “The Story of the Eye.”
  • Godard often makes literary and historical references without announcing them. Some of the characters who appear in the film are Robespierre’s lieutenant Louise Antoine de Saint-Just, Tom Thumb, and Emily Brontë.
  • Weekend was condemned by the Catholic Legion of Decency.
  • When Weekend wrapped, Godard reportedly told his usual crew to look for work elsewhere, as he would be abandoning commercial film from that point forward. (This story is probably apocryphal, since Godard’s cinematographer Raoul Coutard didn’t remember such a formal announcement; nonetheless, Godard did cease making commercial movies after Weekend, and Coutard and the other regular crew members didn’t work with the director again for many years).

INDELIBLE IMAGE: The celebrated traffic jam, an eight-minute tracking shot scored to the sound of honking horns. The camera surveys a lineup of stalled vehicles, and our interest never flags as we pass people tossing balls from car to car or playing chess in the middle of the highway, autos upturned on the side of the road or smashed into trees, and trailers housing monkeys and llamas, until we reach the tragic source of the congestion. Roland and Corrine zoom past increasingly angry motorists in their convertible, sometimes racing ahead of the camera and sometimes falling behind it, and we slowly realize the strangest feature of the backup: there’s nothing blocking the opposite lane, and no reason the other drivers can’t simply zoom around the trouble.

WHAT MAKES IT WEIRD: Introduced as “a film adrift in the cosmos” and as “a film found in a scrap heap,” Weekend is, more than anything, a nasty and bitter assault on bourgeois French culture of 1967: a revolutionary rejection of consumerism, propriety, and even (or especially) of the need for plots that “make sense.” Today, Godard’s mix of Marxism, alienation, transgression, Surrealism and fourth-wall breaking seems “oh-so Sixties”; but the passionate hatred that fuels this ambitious attack on good taste and good sense endures, giving Weekend an anarchic vitality that survives its turbulent era.


Original French trailer for Weekend

COMMENTS: Weekend is both a satire and a wish-fulfillment fantasy. Certainly, Corrine and Roland, who care for nothing that can’t be bought (a Continue reading 130. WEEKEND (1967)

CAPSULE: HOUSE OF PLEASURES (2011)

Souvenirs de la Maison Close; AKA L’Apollonide; House of Tolerance

Recommended

DIRECTED BY: Bertrand Bonello

FEATURING: Alice Barnole, , Iliana Zabeth, Noémie Lvovsky, Xavier Beauvois

PLOT: This drama follows the travails of a group of prostitutes in a belle epoque bordello.

Still from House of Pleasures (2011)

WHY IT WON’T MAKE THE LIST: House of Pleasures sports a few stylistically odd and unreal scenes, including a stunner at the end that goes down as one of the strangest and saddest dream images ever committed to film. That single scene very nearly puts the movie into contention for the List, but despite its flirtations with surrealism Pleasures is ultimately more devoted to sorrow than weirdness. Still, it has enough strangeness and beauty in it to make it more than worth your while, if you can handle painfully pessimistic, slow-paced anti-erotic tragedies.

COMMENTS: House of Pleasures begins with a courtesan’s dream, a dream whose elements recur and form the boundaries of the story. The movie itself is dreamy, languid and unhurried, depicting a world where women in flowing gowns and elaborate underwear spend evening after evening lounging on chaises with gentleman callers, drinking champagne, smoking cigarettes, and eventually visiting the upstairs chambers for kinky lovemaking sessions. Sex buyers and sellers alike drift hazily through the curtained corridors of the maison like the smoke rising off an opium pipe. For these women every day is the same as every other: a never-ending party where they must always serve as the accommodating hostess. They dress in the finest silks and drink champagne from crystal goblets, but for them pleasure is a business, a daily grind. They can only be happy in the brief moments when they are together, away from the clients, eating meals, playing cards, sharing a Sunday picnic by a river. We learn the rules of the Parisian bordello game fairly quickly: the ladies make money seeing their clients, but the madame charges them outrageous fees for room and board so that they always owe the house money. Their only realistic hope of escape is that a client will fall in love with them and agree to pay off their debts and marry them; it happens very rarely, but often enough to give them the spark of hope they need to keep going. The wealthy clients have other interests besides matrimony: making the women pretend to be dolls or geishas, or tying them to their beds for rough play. The authorities tolerate the brothels, but they won’t intervene if a landlord decides to charge usurious rent, or if a john decides to take a knife to one of the girls. The women’s daily existences would be rough enough, but writer/director Bonello ruthlessly piles on the tragedies: violence, disease, disfigurement. He’s particularly cruel to Madeleine, the closest thing to a main character in this ensemble piece, who is known variously as “the Jewess” and, in a nod to an Expressionist classic, “The Woman Who Laughs.” She is made to suffer betrayals and humiliations almost beyond imaging. Bonello’s occasionally surreal stylistic choices—the black panther who regularly visits the establishment with his master, a libertine freak orgy, the way that Madeleine’s dreams and memories replay over and over throughout the film, destroying the continuity of time—alienate some viewers. But whether these flights of fancy always succeed or not (I could have done without the anachronistic music, particularly a scene set to the Moody Blues’ “Nights in White Satin”), they provide a necessary counterbalance to the otherwise unbearable reality of these women’s lives—much like the opium pipe one of the prostitutes favors in her downtime. It’s a sad dream gilded in glamor, and the tears it elicits are strange indeed.

House of Pleasures could be seen as a feminist “anti-prostitution” movie, but it is more complicated than that. As the house is facing closure, the madame realizes that the fin de siècle has arrived and the age of the elegant, tolerated bordello is passing: “love is out on the street, no one can stop that.” A bitter modern coda suggests that, as tragic as their circumstances were, the women in House of Pleasure may have been better off than their contemporary counterparts. The only uplifting element in these enslaved women’s lives was the friendship and the support system that came from living together communally; today’s streetwalkers suffer the same indignities as their forebears, but without the camaraderie. While deeply sympathizing with the plight of these women, Bonello also recognizes the inevitability of prostitution, perhaps suggesting indirectly that the proper solution to the problem is neither criminalization nor see-no-evil “tolerance,” but actual humane working conditions.

WHAT THE CRITICS SAY:

“Strictly for art-house fans impervious to things bizarre, offensive and indulgent.”–Doris Toumarkine, Film Journal International (contemporaneous)

CAPSULE: KING OF THORN (2009)

DIRECTED BY: Kazuyoshi Katayama

FEATURING: Brina Palencia, Patrick Seitz (English dub)

PLOT:  A group of randomly chosen global volunteers are cryogenically frozen to escape a petrification virus, but wake up to a world overrun by monsters.

Still from King of Thorn (2009)


WHY IT WON’T MAKE THE LIST: King of Thorn falls afoul of the anime conundrum: because we expect every Japanese sci-fi cartoon to look like a nightmare we had after eating expired sushi and make as much sense as a script where William Gibson and David Cronenberg alternate lines of dialogue, “weird” is actually “normal” for this subgenre. We could technically fill up all of our 366 slots with these efforts, but we reserve spots on the List for animes that are either highly influential, are that go above and beyond in the craft of WTF-ery. King of Thorn is a weird movie by anyone’s standards, but it lacks that extra level of brilliant insanity necessary to stand out from the pack in its crazy genre.

COMMENTS: “What you’re saying doesn’t make any sense!” one character tells another near the climax of King of Thorn. “I don’t want you to understand,” responds the accused. “It’s better that way.”  By this point in the story, the first time viewer might assume that response is the screenwriter’s personal confession. For nearly two hours the script has been juggling multiple plot hot potatoes like a worldwide virus, an apocalyptic doomsday cult, an advanced bioweaponry corporation, intrusive dreams and flashbacks, super-powerful artificial intelligences, correspondences to the fairy tale “Sleeping Beauty,” and complex, psychologically rich backstories for the main characters, but as we reach the dramatic showdown it appears that all of these balls have been dropped in favor of a psychedelic explosion of mumbo-jumbo mysticism. Anyone who saw the movie in theaters without the benefit of the rewind button would be totally flummoxed by the plot; rest assured, however, that this complicated story does ultimately make sense, although it may take you two passes through the story to parse it all out. Things start out simply enough: the world is threatened by a fatal virus, christened “Medusa” because its victims turn to stone. One hundred sixty infectees from around the world are randomly chosen to be frozen in a cryogenic chamber housed in a Scottish castle, to be awakened only once there is a medical cure for Medusa. The first big twist comes when the one hundred sixty awake; the cryonic chamber is overgrown with huge, thorny vines, the facility is abandoned, and the skies are full of mutant bats that make quick work of most of the crew. Seven manage to escape down a side tunnel, only to encounter larger and more bloodthirsty beasties prowling the interiors of the castle. The survivors are a heavily tattooed convict, a black American cop, an architect, an Italian senator, a Japanese teenager who left her identical twin behind, an orphan boy who’s convinced that the castle’s monsters come from his video game, and a nurse who quickly assumes a role as the boy’s surrogate mother. As the plot thickens, it turns out that almost everyone has a secret identity or a deep dark secret; whenever one of the characters turns out to be exactly who they seem to be, it’s a huge shock. One by one, the survivors die off during a midsection of the film that plays  as an almost nonstop chase/battle scene, interrupted by clues that only deepen the mystery. Where did the monsters come from? Why does the little boy instinctively know where to go? How long have they been asleep, and why did they wake up? What happened to A.L.I.C.E., the supercomputer that was supposed to be taking care of them as they slumbered? Rather than answering these questions, King of Thorn keeps piling on more and more as its body count mounts. Reality melts away as the survivors penetrate the castle’s inner sanctum and the director breaks out the lysregic eye candy with fantastic vistas of floating castles, thorny vines entwining like Jack and the Beanstalk with a bondage fetish, and hallucinatory sequences with characters doubled and tripled and giant faces peering down from the ceiling. The visuals are impressive throughout, from the opening scene of a doll-like petrified woman plummeting from a skyscraper and shattering on the streets of New York to picture postcard shots of the Scottish countryside, but the finale pulls out all the stops. No matter how confused you get, King of Thorn satisfies the eye; after a second viewing, or at least a review of some key scenes, you should find it satisfies the mind as well.

King of Thorn has everything a sci-fi anime fan could want: psychedelic visuals, non-stop action, a convoluted, mindbending sci-fi plot, and Japanese schoolgirls in ridiculously short skirts. And yet, the movie has so far failed to gain a huge cult following among the otaku. Unimpressed anime fans raise two objections to Thorn. The first—“the manga was better”—is predictable and inevitable. The second complaint is unexpected, coming from a class that generally worships at the altar of Katsuhiro Otomo’s Akira: Thorn is just too confusing. Of course, that criticism has no effect on us at 366 Weird Movies; to us, “confusing” isn’t a bug, it’s a feature.

WHAT THE CRITICS SAY:

 “With a little tighter writing and a clearer exposition of the film’s central conceit, not to mention its somewhat bizarre climax, this piece could easily be ported over into a live action feature with someone like Guillermo del Toro, James Cameron or even Gore Verbinski at the helm… As it stands, you may be occasionally (or even more than occasionally) a little confused by King of Thorn, but it’s virtually guaranteed you won’t be bored.”–Jefferey Kaufman, Blu-ray.com (Blu-ray)

WHAT’S IN THE PIPELINE

As we move into the chill of December, here’s what we’ve got for you: we’ll take a look at the overlooked mindbending sci-fi anime King of Thorn (2009); pay a visit to the surreally sad courtesans inhabiting The House of Pleasures (2011); and take a trip with  through the bizarrely ravaged French countryside of 1967’s Weekend. In bonus coverage, Alfred will finish off his behind-the-scenes coverage of the “Creeporia” series.

As we begin our survey of bizarre search terms in our quest to find the Weirdest Search Term of the Week, we have to admit we were extremely disappointed by the person who was looking for “something more than weird film.” I guess weird film isn’t good enough for some people. Fortunately, we have the horny pervert ESL search contingent to supply us with some strange search terms to cheer us up; for example, the guy who wonders “weres to finde real sex and porn with relativs not forbidn bat free.” I wouldn’t know firsthand, but from the description I’m guessing that infestations of bats are a constant problem plaguing incest porn videos. By comparison, the fellow looking for “weird,strange big-triple breasted naked cheerleaders galleries” seems like a pretty normal guy. As weird as the festishists were this week, however, we’re giving our Weirdest Search Term of the Week award to the person looking for “the teen movie were the white kids were like google looking glasses on three heads.” At least, we think that wasn’t a fetish search: we admit we can’t visualize “google looking glasses on three heads,” and confess that it might be sexually exciting to someone out there.

Based on comments received last week, I started a forum post regarding the next 10 movies in the ridiculously-long reader-suggested review queue. Speaking of that review queue, here’s how it now stands: Weekend (next week!); The Hour-glass Sanatorium [Saanatorium pod klepsidra]; Liquid Sky (re-review); Society; Final Programme; “Foutaises”; Bloodsucking Freaks; Lost Highway; Valerie and Her Week of Wonders (official Continue reading WHAT’S IN THE PIPELINE

Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!