Tag Archives: Joel Potrykus

Capsules

2024 FANTASIA FILM FESTIVAL: AND THE REST, PART ONE

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Montréal 2024

Walking through a downtown department store my first day, I overheard a fellow say to his wife, “They have some more over here, eh?”, referring to a rack of fanny packs.

It will only get less Canadian from here.

7/18: 4PM

I recently stumbled across an unexpected “horror-of-manners“.  I also was not expecting a “tragedy-of-manners” (one which slips into “thriller-of-manners” on occasion) which unfolds with the breezy charm of a Dupieux picture—and here I mean, a Buñuel picture.

4PM is the most boring festival title this year, and appropriately it focuses on a boring man: a cardiologist by trade, who takes to visiting his new neighbors (a professor on sabbatical, and his wife) every day at… 4 o’clock. Sitting, sitting, sitting, and saying virtually nothing. Promptly at 6, he rises, gathers his coat, and wordlessly leaves the premises. The professor and wife alternately marvel, cringe, fear, and laugh at the phenomenon; and then details regarding their unlikely guest begin to emerge. Jay Song’s film delights and saddens, ending with a crushing act of vengeance.

7/19: The A-Frame

has assembled an interesting “hard” science-fiction film with some poignancy, featuring a just-annoyed-enough protagonist with bone cancer, a just-tough-but-caring-enough support character surviving cancer, and a just-sketchy-enough quantum physicist who has discovered, quite by accident, a cure for cancer. (Oh, and lest I forget Rishi, there’s also a just-sad-sack-enough comedian with cancer, facing his travails with an admirable flippancy and an endless line of bad-but-good jokes.) The A-Frame is a solidly B-movie experience, with neat-o machinery, touching moments, and commendable practical effects.

Vulcanizadora

The latest from Joel Potrykus begins as a buddy comedy: a buddy comedy with opera and metal. Two guys walk resolutely down a country road along the woodland edge, and with a sudden drop of the hardcore Continue reading 2024 FANTASIA FILM FESTIVAL: AND THE REST, PART ONE →

Interviews

JOEL POTRYKUS ON “VULCANIZADORA”: IT HAS NOTHING TO DO WITH THE GOD OF THE FORGE…

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…Or does it? Ultimately, it doesn’t matter. Much like a lot in life. This lesson, and more, comes to you courtesy of ‘ latest romp, the small-gauge tragi-comedy featuring two of the auteur’s classic character creations: Buzzard‘s Marty and Derek. Ambling back to the big screen after a ten year hiatus, they grace Vulcanizadora with pathos and comedy. Joel himself provides cheerful insight in this recorded conversation from Fantasia’s VIP room (and he proves himself indeed to be a very important Potrykus).

Includes bonus film introductory remarks and following Q&A.

Audio only link (Soundcloud download)

List Candidates

APOCRYPHA CANDIDATE: HONEYCOMB (2022)

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DIRECTED BY: Avalon Fast

FEATURING: Sophie Bawks-Smith, Jillian Frank, Mari Geraghty, Henri Gillespi, Destini Stewart, Jaris Wales, Rowan Wales

PLOT: Five friends escape to an abandoned cabin for the summer and form an unsettling commune.

WHY IT SHOULD MAKE THE LIST: Generally I try to approach my “gut instincts” through a rational lens, but that is failing me. Avalon Fast has made a puzzling DIY mumble-core that feels infused with the spirits of both Gaspar Noë and Mark Region.

COMMENTS: But first! A bonus mini-review of the festival companion piece: Joel Potrykus‘ latest short film.

“Thing From the Factory by the Field” is, as best I can guess, Potrykus’ small-town rejoinder to Wheatley‘s A Field in England. In this American field—probably somewhere in the rust-belt, going on prior Potrykus (pre-trykus?) experience—things begin with synth-y dirge music; clattered shots of legs traversing ditches and grass; a ritualist, blindfolded ordeal; and some smart-ass, dumb-ass kids talking band names, local legends, and Jim Morrison. Maddie’s initiation into a young trio’s rock group (name not yet determined, but then neither is Maddie’s instrument) goes awry when the initiation arrow fells a demon-chicken. Maddie’s sheepishness flips as she summons her religious upbringing to guide her new companions through something kind of occult, rather silly, and, as one expects from Potrykus, a little gross.

The theme of errant behavior in nature continues with the evening’s feature, Honeycomb, a new, strange kind of something written and directed by Avalon Fast, with her friends shunted both in front of and behind the camera. This choice (or more accurately, necessity) goes a great deal to explain some of the qualms I was left with afterwards. The remainder of those qualms pertain to the subject matter on screen. Mostly. There is something missing here…

Putting that aside for the time being, the story: Willow has discovered an abandoned house in a field by a lake in the middle of nowhere. With virtually no convincing required, she and her four friends decide to abandon their drab summer lives and live together in this house; at least, for the summer. Ambitions of permanent residence flare up intermittently during the sometimes stilted, other-times organic conversations. These five young women are mirrored by five young men: buddies all in the same rock band, who have an established history of spending their summers getting blitzed together, typically with the girls along. But the guys get elbowed out as the ladies develop closer, and increasingly unhealthy, bonds with one another.

The society they form has nasty overtones of the Chinese Cultural Revolution, with its public shamings (for group cohesion), immediately applied revenge for perceived wrongs (for group cohesion), and submission to the young woman who emerges as the leader (despite her being by far the least charismatic)—also, of course, for group cohesion. Events turn nasty, while generally remaining not altogether clear. The confusion extends even to the methodology: are the actors stilted? Or playing stilted? The characters’ cognizance of the camera is intermittent, with the lads never seeming to “know” they’re being filmed. The whole shebang may well be as ponderously assembled as part of me suspects, or it may not. Regardless, I am hopeful that this is not the movie to remember Avalon Fast by: this jaded critic’s eye sees here in Honeycomb scattered pieces that allow me to imagine her molding devilish narratives in the future.

WHAT THE CRITICS SAY:

“…a wild, wandering, wonderous film, a dreamy, abstracted portrait of that liminal space between adolescence and adulthood.”–Alexandra Heller-Nicholas, Alliance of Women Film Journalists (festival screening)

Interviews

INTERVIEWING JOEL POTRYKUS: THE MAN BEHIND THE COUCH

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A lazy man with a movie-making mission, Joel Potrykus continues to tap the deep creative vein of Grand Rapids, MI with his fourth feature, Relaxer. We sat down together, perched high above the SGWU mezzanine.

366: I’m here with Joel Potrykus whose movie Relaxer debuted at Fantasia to much laughter and applause. I’ll admit from the get-go that I’m not well prepared, so if you’re feeling chatty about anything, feel free to continue talking at me.

JP: I’m never prepared, so we’re on the same page.

366: Then I’ll start with an easy question: other than the promise of fame and riches, what was it that got you into filmmaking?

JP: Shoot, well, it was really all about the fame and riches… I was a “VHS kid,” and there was one summer, when I was ten, I broke my leg playing baseball, so I had to spend the whole summer in a cast up to my hip in the basement. It was so hot, and nothing to do, and we didn’t have cable in the basement, so my dad would bring me five movies every day from the video store, whatever he picked, so I just spent a whole summer watching, like, two-hundred movies. And in there was American Werewolf in London, and that kind of changed a lot of things for me. Seeing that kind of blend of horror and comedy, and [director John] Landis going whatever direction he wanted.

Then when I was fourteen, I was really into the Doors, and I was at a birthday party where they rented that movie and ‘s at the beach saying, “Yeah, I’m going to film school right now!” When I was fourteen, I had never heard those two words connected to each-other: film school. And I was like, “That’s where I’m going to go.”

366: You’re from Grand Rapids, Michigan. Do you have much to recommend about that part of the world?

JP: Yeah, dude, if you want to make a feature film, and don’t want to spend a lot of money for permits, and are asking the police if it’s okay to close off the street, go to Grand Rapids, Michigan. We still make the movies there because it’s really the only place… I have a manager in LA, who’s like, “What are you doing? Come to LA and direct TV, and pitch your big ideas…”. So I guess maybe it’s not fame and fortune I was after, because then I’d be out in LA. But I prefer to just hide out, that’s the only place I know how to make films.

366: Well, maybe the fame and fortune will hunt you down. Your rep said you had big ideas to pitch. What are your big ideas?

JP: In my head they’re big ideas, but I was recently tracked down by Amazon and I pitched the ideas, and I don’t think they were very big. They’re weird and small. [Amazon had] a specific budget range they need to hit, and it was ten-million dollars. I had no idea how to Continue reading INTERVIEWING JOEL POTRYKUS: THE MAN BEHIND THE COUCH →

List Candidates

LIST CANDIDATE: RELAXER (2018)

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DIRECTED BY:

FEATURING: , , Andre Hyland, Arin Bechdel,

PLOT: Abbie is a perennial failure at life, but he makes one final attempt to turn things around by accepting his brother’s challenge to beat the unbeatable Pac-Man score, all while never moving from his seat on the couch.

WHY IT MIGHT MAKE THE LIST: Starting with a “gallon challenge” and ending not-quite-apocalyptically, the ordeals of a seated young man unspool without him ever leaving the couch, nor us ever leaving the room. All the thirst, sweat, and odors pile on as our entrapment goes on. And on. And on. Until something cosmically mystical occurs.

COMMENTS: It seems almost a rule that the most mild-mannered directors are the ones that come up with the most eccentric movies. has his very British affability; has been a Midwestern swell-guy since childhood; and now there’s rising star Joel Potrykus with his laid-back hipster self, who is somehow responsible for the giddily grinding post-slacker comedy, Relaxer. “Gross-out comedy,” now that’s a genre I’m familiar with. But a “charming gross-out transcendental comedy”? I can only presume that Relaxer is the first of that ground-breaking genre.

Oh my dear Abbie (Joshua Burge). We only ever see him covered with sweat (and more) cowering on a couch. From the start, he’s enduring a sickening challenge, one of many put to him by his brother, which soon becomes literally sickening. The boy fails to keep the gallon of milk he’s consumed inside after a… well, best not say what he added to the mix in a bit of bathroom desperation. His brother Cam (a wonderfully nasty David Dastmalchian) leaves in disgust, but not before giving Abbie one last ultimate challenge: the Pac-Man thing. The impossible Pac-Man thing. Abbie cannot—and does not—leave his greasy spot on the leather couch during a six month ordeal in which things grow as strange as they grow unhygienic.

Among the venerable sources Potrykus hijacks ideas from are Buñuel, Kubrick, and, I swear, even the New Testament. The first is obvious, and the director even admitted to ripping off a lot of The Exterminating Angel in his remarks to the audience after the screening. Unlike our heroes therein, however, Abbie makes the wrong choice of what pipe to burst open for water—wonderfully fusing gross-out with the surrealism. 2001: A Space Odyssey  necessarily comes to mind toward the end, as Abbie breaks the sequence and rises to a higher plane as the masses outside seemingly cheer him on. As for the third reference, I’m possibly stretching things, but over his ordeal Abbie grows to look like a shaggy Jesus, and Simon of Cyrene makes a cameo in the form of Arin (Adina Howard), a friend who helps Abbie on his path toward the divine. What locked it for me was the final scene when Abbie-Jesus seemingly rises from the dead to be greeted by his long-sought Father.

Potrykus stated without shame that he made Relaxer for himself, but its elements suggest that this bizarre slice of late ’90s throw-back might reach more than expected. There’s comedy, there’s cinematic dexterity (the camera stretches to most every available piece of the room without looking like it’s trying too hard), and even an epic feel to Abbie’s journey from Novice couch potato to Master couch potato. Skipping surreptitiously from Clerks-style comedy to an outer-zone of awareness, Relaxer reaches for the impossible—typically with the aid of a grabber-arm.

WHAT THE CRITICS SAY:

“The film takes on an element of magical realism as the days and months pass, framing Abbie as a martyr with superhuman endurance … That Relaxer is structured as a countdown to Y2K suggests that Potrykus is offering a period-specific diagnosis of technologically dependent delusion, of the hallucinations of omnipotence that spring in the minds of marathon gamers. Fuzzy as this hodgepodge of signifiers may seem, there’s a pronounced critique at the heart of Relaxer clearly aimed at young people who are perilously glued to their screens, though it’s one that feels somewhat passé alongside the meaty class commentary of Buzzard.–Carson Lund, Slant Magazine (festival screening)