Tag Archives: Palme D’or

APOCRYPHA CANDIDATE: TITANE (2021)

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Recommended

DIRECTED BY:

FEATURING: Agathe Rousselle, Vincent Lindon

PLOT: After a car accident, a young girl has a titanium plate installed in her head; she grows up to be a sexy car-show dancer obsessed with automobiles, and then things get strange.

Still from titane (2021)

WHY IT MIGHT JOIN THE APOCRYPHA: The weirdness Julia Ducournau conceived in her cannibal debut Raw is delivered in the biomechanical horror Titane.

COMMENTS: We recommend avoiding spoilers in this case; fortunately, the trailer appears as baffled by Titane‘s action as most viewers were when the final credits rolled. Titane‘s grounded-yet-bizarre story goes in at least two directions you wouldn’t expect. It’s fair to say that it thoroughly addresses body horror—of multiple flavors—but there are also episodes of black comedy and dangerous eroticism, followed by a segue into grief drama and a delusional love story; all the while, in the background, the consequences of an inexplicable and strange assignation grow to an illogical conclusion. The synopsis suggested in the pressbook—“TITANE: A metal highly resistant to heat and corrosion, with high tensile strength alloys, often used in medical prostheses due to its pronounced biocompatibility”—may be as helpful as anything.

The two main performers rock. Agathe Rousselle comes out of nowhere, starting her feature film career with a bang. She starts as a seductive lingerie dancer with a violent side, then turns androgynous and mute. Vincent Lindon has one of those weathered faces that looks like it has absorbed a lifetime of beatings, physical and emotional. He’s as obsessed with his hyper-masculine physique as professional dancer Alexia is with her feminine curves; despite his impressive steroid-aided bulk, his inability to clear a high pull-up bar is the perfect illustration of the frustrated desire to conquer corporeality.

The cinematography and editing is top-notch. From the opening car-show debauchery to a homoerotic firefighter dance party, Ducournau shows an affinity for rave-type dance scenes, relishing the disorienting beauty of being lost in motion inside a beat. Arguably, the sound design is even better; there are moments where the sound of ripping flesh makes you cringe. The musical cues are well-chosen; this is perhaps the only film where you will see someone twerk to a cover of the bluegrass classic “Wayfaring Stranger.” All in all, Titane is a collection of incompatible parts that shouldn’t work, but somehow gear up to create a gruesome but movingly human head-scratcher nonpareil. After making two excellent movies, I’m convinced Ducournau has an unqualified masterpiece inside her somewhere, just about ready to tear itself out.

The fact that a horror movie as violent and transgressive as this one could win the Palme d’Or in 2021 suggests that Cannes has come a long way since it was scandalized and outraged by ‘s similarly-themed Crash (1996). What is it with the French and objectophilia at this moment in history? After this and Jumbo (2020), both of which incorporate motor oil as a bodily fluid, it’s like Tetsuo: The Iron Man (1989) had a French baby, and she’s all grown up now and ready to party.

WHAT THE CRITICS SAY:

“Building a nightmarish dreamscape that Davids Lynch and Cronenberg would love, Ducournau puts Alexia on an increasingly weird journey… ‘Titane’ is so self-consciously transgressive and weird, that it’s difficult to discern who it’s for, besides fetishists, freak-flag fliers and fans of auteurism at its most hermetic and solipsistic.”–Ann Hornaday, The Washington Post (contemporaneous)

341. UNDERGROUND (1995)

“If you saw what I see for the future in Yugoslavia, it would scare you.”–Marshall Tito, 1971

“I think that this current conflict is the result of tectonic moves that last for a whole century. If there is anything good in this hell and horror, it is that the tectonic disturbance will result in absolute absurdity. And then a new quality will emerge from it.”–Emir Kusturica, circa 1995

Recommended

DIRECTED BY:

FEATURING: Predrag Manojlovic, Lazar Ristovski, Mirjana Jokovic, Ernst Stötzner, Slavko Stimac, Srdjan Todorovic

PLOT:Two Yugoslavian gangsters join the Communist Party to resist the invading Nazis. One tricks the other into hiding out in a large cellar, where he and a small tribe of partisans manufacture munitions he believes are going to the resistance but which are actually being sold on the black market for years after the war has ended. Decades later, the ruse falls apart, and the former friends meet on the battlefields of Kosovo.

BACKGROUND:

  • Kusturica adapted Underground from a play by Dušan Kovačević, although he only took the premise of people tricked into residing in a cellar under the pretense of a fake war from that source.
  • The movie was filmed in 1992 and 1993, while the Bosnian War was raging—and ethnic cleansing was going on.
  • Emir Kusturica’s original cut ran for 320 minutes, about the same length as the six part serialized television version released later.
  • Underground won the Palme d’Or at Cannes, but was not nominated for a Best Foreign Film Oscar.
  • Despite its international success, Underground was controversial nearer to home. Kusturica was accused of taking money from the Serbian Broadcasting Corporation, which would have been a violation of sanctions against the Serbian government. (The director countered that he had only accepted non-financial assistance, and won a lawsuit for libel against a playwright who accused him of taking money from the Serbs.) The film was also criticized for being too conciliatory by not blaming Serbia and Slobodan Milošević’s regime directly for the Bosnian conflict. (Kusturica himself is ethnically Bosnian).

INDELIBLE IMAGE: A burning wheelchair circling an inverted crucifix under its own power.

THREE WEIRD THINGS: Flying bride; chimp in a tank; underwater brass band

WHAT MAKES IT WEIRD: Up until the third act, Underground plays as an absurd, Balkanized satire—a far wilder ride than the average moviegoer is accustomed to, but not a film that went all the way to “weird.” That final half-hour, however, pulls out all of reality’s stops, sending the film off into a nightmarishly surreal conclusion, then soldiering on to a more conciliatory mystical ending. It’s the perfect, weird way to cap off a world cinema masterpiece.


Original trailer for Underground

COMMENTS: Emir Kusturica considers himself Yugoslavian. “In my Continue reading 341. UNDERGROUND (1995)

253. IF…. (1968)

“What child has ever been silly enough to ask, when Cinderella’s pumpkin turns into a golden coach, where reality ends and fantasy begins?”–Lindsay Anderson

Recommended

DIRECTED BY:

FEATURING: , David Wood, Richard Warwick, Robert Swann, Hugh Thomas, Peter Jeffrey, Christine Noonan

PLOT: Mick Travis is a rebellious teenage boy at a British boarding school. Because of “general attitude,” he and two friends are persecuted and beaten by the “whips,” older students given privileges to enforce discipline. During military exercises, Mick and his friends discover a cache of automatic weapons and make plans to disrupt the school’s Founders’s Day celebration.

Still from If.... (1968)

BACKGROUND:

  • In England if…. was controversial due to its unflattering portrayal of English boarding schools (particularly, one suspects, of the depiction of pervasive homosexuality) and, by extension, of English traditions in general. When David Sherwin and John Howlett brought their original screenplay to one producer, he called it “the most evil and perverted script he’s ever read.”
  • The film was inspired by ‘s 1933 Certified Weird anarchist screed Zéro de conduite, relocated from 1930s France to then-contemporary Britain.
  • if… was filmed mostly on location at Cheltenham College, director Lindsay Anderson’s alma mater. Many of the boys who appear in smaller roles were students there at the time. A doctored script, missing the final scenes, was given to the college, since the school never would have granted permission to shoot if they had known if…’s climax beforehand.
  • This was Malcolm McDowell’s film debut.
  • Look for portraits of famous revolutionaries and icons of rebellion like Che Guevara, Geronimo, Vladimir Lenin, James Dean and others hanging on the boys’s walls.
  • There is a legend that the film shifted from black and white to color because the producers ran out of money for color stock. Lindsay Anderson contradicted these rumors, saying that they decided to shoot the first chapel scene in black and white due to lighting considerations. He liked the effect so much that he inserted black and white scenes at random to disorient the viewer and to hint at the fantasy elements to come later.  Anderson insists there is no symbolic “code” or reasoning for why some scenes are monochrome and some in color.
  • Distributor Paramount was horrified by the film and certain it would bomb in Britain. They wanted to bury it, but at the last minute they needed a movie to screen in London to replace their current flop: Barbarella. if… went on to be a hit.
  • if…. won the Palme d’Or at Cannes, although in the commentary Malcolm McDowell recalls that he was told that the film actually came in third in the voting, but was chosen as a compromise because the jury could not break a deadlock between supporters of Costa-Gavras’s Z and Bo Widerberg’s Adalen 31.
  • Lindsay Anderson and Malcolm McDowell made three films together, in three different decades. In each of them McDowell plays a character named “Mick Travis,” although based on their varying personalities it’s unlikely that they are intended to be the same person. The other two “Mick Travis” films are 1973’s O Lucky Man! and 1982’s Britannia Hospital.
  • Anderson actually wrote a proper sequel for if…, which was to take place at a class reunion, which was unfilmed at the time of his death in 1993.

INDELIBLE IMAGE: The final shootout, as a whole; it’s both a troubling massacre and an immensely satisfying revenge. Early posters of if… favored shots of star McDowell or the photogenic Girl; we prefer the brief image of a dowager who grabs a machine gun and pitches in for the defense of the school.

THREE WEIRD THINGS: Tiger mating ritual; chaplain in a drawer; granny with a machine gun

WHAT MAKES IT WEIRD: Throughout most of its run time if… is a viciously realistic boarding school drama. But when the Headmaster sternly tells the boys “I take this seriously… very seriously indeed” after Mick shoots a chaplain and bayonets a teacher during the school’s campus war games, we suddenly realize the line between realism and fantasy has been thinner than we thought.


Original U.S. release trailer for if….

COMMENTS: if…‘s theme is the conflict between tradition and rebellion, age and youth, especially resonant concerns in the tumultuous year of 1968, when the firebrand film was fortuitously released a few months after the student riots in Paris. Structurally, ifContinue reading 253. IF…. (1968)

203. WILD AT HEART (1990)

“This whole world’s wild at heart and weird on top.”–Lula Fortune, Wild at Heart

DIRECTED BY:

FEATURING: , , Diane Ladd, , , J.E. Freeman

PLOT: After being released from prison for manslaughter, Sailor Ripley and love-of-his-life Lula Fortune head west to California, but are waylaid by Lula’s psychotically protective mother and various colorful agents under the employ of the effete and mysterious Mr. Reindeer. Their travels take them to New Orleans, where Johnny Farragut, a hired detective, tracks them down. As the noose tightens, the West-bound lovers make a detour to the town of Big Tuna, where, unbeknownst to Sailor, hit man Bobby Peru awaits his arrival.

Still from Wild at Heart (1990)
BACKGROUND:

  • Wild at Heart was adapted from Barry Gifford’s pulpy 1989 novel “Wild at Heart” (which gave birth to multiple sequels). While the movie ending’s differed greatly from the book’s, Gifford was pleased and praised David Lynch’s choice.
  • Winner of the 1990 Palme D’Or prize at Cannes, the year before fellow Certified Weird movie Barton Fink. Film critic Roger Ebert headed a large group of those dissatisfied with the jury’s choice, and was among many American reviewers who were much less impressed than the Cannes crowd.
  • Wild at Heart was released just before “NC-17” became a ratings option with the MPAA later in 1990. It scraped by with an “R” rating by obscuring the effects of a nasty shotgun head wound. (It was subsequently re-rated NC-17 for the home video release).
  • Actors from Lynch’s then-current hit series “Twin Peaks” who have cameo roles in Wild at Heart: Sherilyn Fenn, , , David Patrick Kelly, and (appearing in his fourth Lynch feature).

INDELIBLE IMAGE: Like so many offerings from David Lynch, Wild at Heart is riddled with great shots—but an early image of Sailor Ripley pointing defiantly at the woman who just tried to have him killed captures his character’s sheer force-of-nature that drives the film’s unrestrained progression.

THREE WEIRD THINGS: Lipstick face; cockroach underpants; the Good Witch

WHAT MAKES IT WEIRD: While in the middle of working on his hit soap-opera “Twin Peaks,” David Lynch took a break to make something that allowed him to explore his weirder side. Throughout Wild at Heart, the viewer is exposed to such a smorgasbord of road-movie madness—highway hallucinations, small town weirdos, classic-cool criminals, a mountain of lipstick, and dozens of lit matches—that by the end of the movie, Lynch has already accomplished most of what and would spend the subsequent decade retreading.

Original trailer for Wild at Heart

COMMENTS: Before he got lost on a highway and before he went to Continue reading 203. WILD AT HEART (1990)

BUNUEL’S VIRIDIANA (1961)

Viridiana (1961) has quite a reputation among film critics and historians, often being listed as one of ‘s best efforts. It is certainly among the most heterodox offerings in his considerable canon.

Viridiana marked Buñuel‘s return to his native Spain after a twenty-five year absence. With the fascist Franco still in power, Buñuel was severely criticized and accused of making his bed with the enemy, but the filmmaker’s critics should have known better. Buñuel had an ulterior motive, with a predictably incendiary opus tucked securely in his Surrealist vest pocket.

Upon receiving Buñuel’s original script, which ended with the protagonist nun engaging in ménage a trois with her cousin and his mistress, the government promptly rejected the story. Undaunted, Buñuel rewrote it, with all the implications gloriously intact through the trio joining in a card game inside the cousin’s bedroom. Having outwitted the censors, Bunuel congratulated himself over an even more immoral ending.

Despite Viridiana having won the , the Spanish government was furious for having been so easily duped by the insurgent Surrealist, and banned him from the country until after Franco’s death. Predictably, the Vatican followed suit and condemned both filmmaker and film as blasphemous. Fortunately, attempts to burn all existing copies proved futile. It had to be a hell of a compliment to Buñuel, who soaked in his resounding success of provoking the status quo. Years later, when a pope removed a ban from one of Buñuel’s films, the filmmaker was reported to have lamented: “What has my life and this world come to when even a pope accepts me?”

As one may expect of Buñuel, Viridiana is a far more labyrinthine composition than its shock publicity would indicate. Rooted within an anti-clerical, anti-pious battering ram is a film so intrinsically religious that its heterodox classification was inevitable.

An incandescent  embodies the title character with such singularly stoic personality that her Buñuel  followup as the Devil in Simon of the Desert (1965) seems perfectly apt in hindsight.

Viridiana is content in her cloister, about to make her wedding vows to Christ, when Mother Superior orders her charge to visit uncle Don Jaime (). He is Viridiana’s only living relative and, more importantly, a financial backer of the convent. Viridiana is the quintessence of objectified perfection, a forbidden Eve’s apple in a black habit. Viridiana is so thoroughly reduced to potential receptacle that she never entirely convinces as a novice, which was clearly Buñuel’s motive. In typical Buñuel fashion, it is the ecclesiastical curator who throws the innocent out of a self-styled paradise into a fetishistic, reptilian den.

Dom Jaime could be seen as a prodigal’s uncle, lording over the remnant of his estate with the wayward niece returning from her explorations of a pious, alternative culture, as opposed to one of debauchery. The returning pariah is not treated to a celebration with fatted calf, prepared by the loyal servant maid. Rather, the servant aids and abets her master in drugging Viridiana in a pathetic effort to transform the virgin into a centerfold for “Necrophilia Illustrated.”

Disgusted with her uncle’s incestuous advances, Viridiana flees the homestead yet again, only to be stopped by the news that Dom Jaime has hung himself and left her half of his estate, which she will share with her cousin.

Viridiana’s interpretation of St. Paul’s dictum: “the greatest of these is charity” proves delightfully absurd when taking in the uneducated derelicts of the world. Buñuel shows the underclass as having sensibilities of cruelty and avarice equal to, if not surpassing, the affluent elite. “Sin” is not the sole property of a single social status. Both rich uncle and penniless leper like the feel of a garter on their thighs while squeezing into heels.  Uncle and son seek to soil  the unspoiled flesh. Viridiana’s self-humbling only squeaks with charitable intent. She is a counterpart to Buñuel‘s earlier, hopelessly naive Padre Nazario from Nazarin (1959).

Still from Viridiana (1961)The film contains two infamous scenes. The first is a cruelly symbolic one, involving two dogs and their carts. Bunuel choreographs the vignette like a rabid string duet, doused in venomous futility.  It is a canine stations of the cross with Simon of Cyrene alleviating the dolorous passion of one mutt, only  to be oblivious to the sight and sound of a second dog’s death march.

The second vignette is less restrained; a setting of da Vinci’s pedestaled “Last Supper,” brutally mocked and violated in a   photo session.

Of course, it all ends with a cinematic assimilation of  theological trinity, filtered through Bunuel’s compulsively subdued filter. Viridiana herself is rendered something akin to the Ever-Virgin’s ripped holy card, scattered and stained with the lay wasted epithet: “I don’t want to be touched.”

What is so holy about that?

137. THE TIN DRUM [DIE BLECHTROMMEL] (1979)

“[Günter Grass] called our [first draft] script ‘Protestant and Cartesian.’ It was lacking the irrational dimension of time, the nodal points where everything becomes confused and collapses in an illogical and tragicomic way. He wants more hard realism on the one hand, and on the other, more courage in the unreal. Imagination as a part of unreality –Oskar’s reality… Another visit to Grass, almost a year after the first, this time with the finished script. It is now more ‘Catholic,’ and less rational…”–Volker Schlöndorff, in his Tin Drum production diary

Recommended

DIRECTED BY: Volker Schlöndorff

FEATURING: David Bennent, Mario Adorf, Angela Winkler, Daniel Olbrychski, Katharina Thalbach

PLOT: At the age of three, Oskar, a boy who always carries his beloved tin drum and whose scream can shatter glass, decides that he does not want to grow up, and throws himself down the cellar stairs to stunt his growth. As Hitler rises to power, his mother becomes depressed and kills herself by eating raw fish; his uncle, who may be his real father, is killed by the Nazis. Still looking like a child, Oskar lives through Fascism and World War II and has love affairs, eventually joining the Nazis and entertaining the soldiers with his drum.

Still from The Tin Drum (1979)

BACKGROUND:

  • Die Blechtrommel [The Tin Drum] is based on Nobel Prize winner Günter Grass’ schizophrenic 1959 novel of the same name. The film adaptation only covers approximately the first half of the book.
  • Prolific screenwriter  was a frequent collaborator with Luis Buñuel; scripts for the Certifed Weird films Belle de Jour and The Milky Way count among his 138 writing credits. Carrière appears in the film (in the director’s cut) as Rasputin.
  • Actor David Bennent had a “growth disorder” and was actually twelve years old when the movie was filmed.
  • The Tin Drum is set in Danzig, which at the time of Oskar’s birth was a Free City located between Germany and Poland, although the population was mostly German.
  • The Tin Drum shared the 1979 Palme D’Or with Apocalypse Now. It also won the Academy Award for Best Foreign Film.
  • In the United States, New World Pictures—s company—distributed the picture. Some of New World’s other releases that year were Humanoids from the Deep and Shogun Assassin.
  • The movie ran into censorship problems due to brief sex scenes between David Bennent and Katharina Thalbach (then 24 years old, but portraying a 16-year-old). The oddest case occurred in Oklahoma in 1997, almost twenty years after the film’s release, when a judge ruled that the film violated state child pornography laws which banned even non-explicit depictions of sex between minors. Police seized videotapes from the homes of people who had rented the movie. The documentary Banned in Oklahoma, included on some editions of The Tin Drum as an extra, details the controversy. The film was later vindicated, and today Oklahomans no longer need fear being labeled as pedophiles for watching 1979’s Best Foreign Film winner.
  • In 2010 Volker Schlöndorff created a director’s cut of the film, restoring about 20 minutes of footage which had been removed to shorten the running time.

INDELIBLE IMAGE: Wild-eyed Oskar pounding away on his drum in an insane, trance-like fury is undoubtedly the film’s emblematic image, although the horse’s head filled with eels is probably the most shocking one.

WHAT MAKES IT WEIRD: The Tin Drum is a comic nightmare about “little people’s” acquiescence to Fascism in the 1930s and 1940s; as Germany goes insane, children refuse to grow up, eels breed in horse’s heads, and Santa Claus turns into the Gas Man.


English language trailer for The Tin Drum

COMMENTS: Many people believe that Oskar’s decision in The Tin Drum not to grow up past the age of three is a refusal to succumb to adult Continue reading 137. THE TIN DRUM [DIE BLECHTROMMEL] (1979)

100. UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES [LOONG BOONMEE RALEUK CHAT] (2011)

AKA Uncle Boonmee

“Facing the jungle, the hills and vales, my past lives as an animal and other beings rise up before  me.”—Title card at the beginning of Uncle Boonmee Who Can Recall His Past Lives

Recommended

DIRECTED BY: Apichatpong Weerasethakul

FEATURING: Thanapat Saisaymar, , Sakda Kaewbuadee, Kanokporn Tongaram

PLOT: On his plantation in rural Thailand, the dying Boonmee is visited by living relatives and the ghosts of his past. As they ease him into death, the story is interrupted through vignettes that may represent his memories of past lives.

BACKGROUND:

  • Apichatpong Weerasethakul considerately refers to himself as “Joe” when speaking to Western audiences.
  • Uncle Boonmee is loosely based on a 1983 book by Phra Sripariyattiweti, a monk from Apichatpong’s hometown of Khon Kaen, Thailand.
  • The film is a feature-length component of Primitive, Apichatpong’s ongoing multimedia project, which also encompasses a number of video installations and the short films A Letter to Uncle Boonmee and Phantoms of Nabua.
  • Received the Palme d’Or at the 2010 Cannes Film Festival. Jury president Tim Burton described it as “a beautiful, strange dream.”
  • Sakda, who plays Boonmee’s nephew Tong, and Kanokporn, who plays his nurse Roong, played characters of the same names in Apichatpong’s earlier films Tropical Malady and Blissfully Yours, respectively. In both cases, it’s unclear if they’re meant to be the same characters.

INDELIBLE IMAGE: Though it’s chock-full of beguiling, whimsical imagery, the single most memorable sight in Uncle Boonmee is that of a princess in a lagoon, undulating with pleasure as she receives oral sex from a catfish. (Unsurprisingly, the words “catfish sex” became synonymous with Uncle Boonmee‘s brand of weirdness immediately following its Cannes premiere.)

WHAT MAKES IT WEIRD: Critics sometimes identify Apichatpong’s style as a mix of


Apichatpong Weerasethakul on Uncle Boonmee Who Can Recall His Past Lives

surrealism and neorealism, and this is a handy skeleton key for getting at Uncle Boonmee‘s weird nature. The film contains plenty of enigmatic images and seeming non sequiturs, but they’re framed as natural, even welcome steps in the cycle of life and death. The characters accept them nonchalantly, going along with the film’s dream logic and implicitly entreating viewers to do the same. No clear border separates the mystical from the mundane. And two hours in, when it feels like you should be totally inured to Uncle Boonmee‘s disorienting twists, along comes a denouement that renders everything else normal by comparison.

COMMENTS: An ox, having escaped its tether, strolls through the forest at twilight.  Eventually, Continue reading 100. UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES [LOONG BOONMEE RALEUK CHAT] (2011)