Tag Archives: Paz de la Huerta

CAPSULE: THE EDITOR (2014)

DIRECTED BY,

FEATURING: , Matthew Kennedy, Adam Brooks

PLOT: A revered but mentally unstable film editor, who once lost four of his fingers on the cutting room floor, gets caught up in a classic Italian murder plot; as he struggles to prove his innocence, the bodies pile up in increasingly inventive ways.

Still from The Editor (2014)

WHY IT WON’T MAKE THE LIST: The Editor is driven by and dedicated to its famously bizarre source material (the giallo film), but this brand of weirdness is a bit too self-conscious to make the List.

COMMENTS: The issue with the parody genre, especially in recent years, is the huge gaps in quality. For every Airplane there is a Leonard Part 6, for every Naked Gun there is a Meet the Spartans; movies that, instead of being an adoring send up of the source material, come across as facetious efforts to piggyback on the success of current trends. Basically, it is a good idea to tread carefully going into any parody, regardless of whether you are a fan of whatever is being roasted at the time or not.

With The Editor, however, Canadian film collective Astron-6 have thankfully fashioned a stylish, occasionally hilarious and inventive satire that doesn’t simply regurgitate worn out jokes but instead uses the tropes of the giallo genre to produce a unique experience. Astron-6 first burst onto the scene with the Eighties science fiction experiment Manborg, an entertaining but shoddy foray into science fiction. The Editor feels like a much more polished piece of work, while retaining the surreal comedy of its predecessors—a natural progression. Dedication to the visuals and violence separate this film form being just another lame attempt at parody; they have managed to perfectly replicate the colorful vibrancy, recognizable camera movements, and even the overtly unstable dubbing of classic giallo films. Along with a pulsating electronic score, the authenticity is quite the achievement. But is this only going to be recognized by knowledgeable fans of the genre?

Every actor throws himself or herself into their roles (especially the inspector who takes the meaning of “psychosexual” to a new level), and the direction draws some genuinely creepy moments from a script focused heavily on dialogue. There is an element of repetitiveness as the film reaches its conclusion, however, and the comedy begins to be used as a crutch to keep the story afloat, while being too self-aware to keep the viewer interested. Like many of its satirical predecessors, The Editor falls short of greatness because it just doesn’t have a story to tell.

WHAT THE CRITICS SAY:

“It’s not as much fun as it should be, and while you can certainly admire the skill of the filmmakers in adhering to giallo conventions, you need to be in a midnight-movie frame of mind to really appreciate this film.”–Sarah Boslaugh, Playback:stl (DVD)

81. ENTER THE VOID (2009)

“Q: How would you define the film’s genre?
A: Psychedelic Melodrama.”–Gaspar Noé, Enter the Void Cannes pressbook

Recommended

DIRECTED BY: Gaspar Noé

FEATURING: Nathaniel Brown, Paz de la Huerta

PLOT: Oscar is a drug-dealer living in Tokyo with his stripper sister.  One day he is shot and killed during a deal inside a bar called “The Void.”  He spends the rest of the movie as a silent ghost, floating around Tokyo and observing his sister and friends, while simultaneously hallucinating and remembering the details of his life.

Still from Enter the Void

BACKGROUND:

  • Noé wrote preliminary scripts for Enter the Void as early as 1994; the screenplay was consider to expensive to produce until the director’s 2002 success with Irréversible made it appear commercially viable.
  • Star Nathaniel Brown, a non-actor, was chosen because of his physical resemblance to lead Paz de la Huerta and because he was interested in directing.  As someone with no acting ambitions, Noé presumed Brown would not be upset by the fact that his face is only seen once in the film, briefly in a mirror.
  • Visual perfectionist Marc Caro supervised the set designs.
  • The 100 page script indicated the action and described the visual effects, but very little dialogue was scripted; the actors improvised most of their lines.
  • The paintings Alex is shown working on in the film were actually painted by Luis Felipe Noé, the director’s father.
  • The original run time of the film at its Cannes debut was 163 minutes.  Post production and editing continued after this debut, and, as completed in 2010, the final run time of the film (which premiered at the Sundance Film Festival in January, 2010) as screened in the U.S. is about 140 minutes.  There is a longer version of the film, however, including a 17 minute sequence where Oscar believes he has woken up in the morgue; this segment occupies reel 7 of 9 reels, and for American screenings the film was simply shown with reel 7 omitted.  The extended cut is available on French DVD releases.
  • Noe instructed theaters that the film should be run at 25 frames per second rather than the usual 24 frames (this fact accounts for some of the discrepancies in listed running times).
  • At the Cannes premier there were no opening or closing credits.  The film began on a closeup of the none sign reading “enter” and ended with the words “the void.”
  • Noé got the idea for the film form watching Robert Montgomery’s noir The Lady in the Lake while on a magic mushroom trip.  Like Enter the Void, Lady in the Lake is filmed entirely from a first-person point of view (actually, in Void the POV is usually from about a foot behind Oscar’s head, though at other times we see events through his eyes).
  • Tokyo was chosen as the location of the film partly because Japan’s strong ant-drug laws would make the actions of the police more believable, partly because Noé believed the city, with its abundance of neon, had a “druggy mood.”
  • Pioneering acid guru Timothy Leary used to read “The Tibetan Book of the Dead” to voyagers undergoing LSD trips in an attempt to steer the experience in a spiritual direction.

INDELIBLE IMAGE: The opening DMT trip, with it’s multicolored mandalas, floating planetoids, and neon tentacles seems hard to top, but it merely sets the mood.  It’s the pornographic “Love Hotel” scene, with its parade of rutting couples with mystically glowing genitalia, that really impresses itself on the mind’s eye.

WHAT MAKES IT WEIRD: As the most impressive and eye-splintering acid trip movie of the decade (by a wide margin), Enter the Void gets an automatic pass onto the List of the 366 Best Weird Movies of All Time. The fact that the protagonist is dead throughout most of the movie doesn’t hurt its chances one bit.  But the clincher, the sure sign that the movie is weird, is the walkouts.  Less than halfway through the screening I saw, the sexagenarian couple who had stumbled into the film by accident (probably thanks to ad copy suggesting the movie was a sentimental ghost story about brotherly love that transcends death) walked out of the theater, leaving me alone with two same-sex couples with facial piercings and hair that glowed in the dark.


Original trailer for Enter the Void

COMMENTSEnter the Void is an exploitation piece masquerading as an art installation, Continue reading 81. ENTER THE VOID (2009)

LIST CANDIDATE: ENTER THE VOID (2009)

Enter the Void has been promoted to the List of the 366 Best Weird Movies ever made. This page is left up for archival purposes. Please view the full review for comments and expanded coverage!

Recommended

DIRECTED BY: Gaspar Noé

FEATURING: Paz de la Huerta, Nathaniel Brown

PLOT: A small-time drug dealer in Tokyo is shot, and spends the rest of the movie as a

Still from Enter the Void (2009)

hallucinating ghost, floating about the city watching over his drug buddies and his grieving stripper sister.

WHY IT SHOULD MAKE THE LIST: As the most impressive and eye-splintering acid trip movie of the decade (by a wide margin), Enter the Void gets automatic consideration for the List of the 366 Best Weird Movies.  The fact that the protagonist is dead throughout most of the movie doesn’t hurt its chances one bit.  But the clincher, the sure sign that your movie might be weird, is the fact that less than halfway through the screening the sexagenarian couple walked out of the theater, leaving me alone with two same-sex couples with facial piercings and hair that glowed in the dark.  The Region 1 DVD drops January 25, 2011, at which time Enter the Void will become eligible for the List and get an immediate second look.

COMMENTS: Enter the Void is an exploitation piece masquerading as an art installation, eye-candy masquerading as mind-candy; it has all the reckless visionary enthusiasm and delightful pretension of a Ken Russell picture.  With the opening credits—a series of garish, frequently unreadable stills sprayed at the screen like pop bullets from a machine gun projector, set to a pounding techno score—Gaspar Noé warns us to prepare ourselves to see something different, though we have no idea what.  (The original festival screenings did not include any credits, beginning immediately with the closeup of the neon sign reading “Enter”).  After quickly introducing the main characters, drug-dealing Oscar (from whose POV the entire film is shot) and his stripper sister Linda, the movie segues into a wordless five minute DMT trip, an abstract rainbow odyssey of swirling, melting mandalas and gently waving tentacles.  Oscar emerges from his drug reverie, still fuzzy-eyed, and the film ever so briefly enters the realm of straightforward narrative as he strolls with a buddy through the neon streets of  Tokyo towards a fatal rendezvous.  Shot to death in a men’s room, the vast bulk of the movie involves Oscar’s passive postmortem adventures, as he floats around the city observing his former friends in the expatriate community, and especially spying on his beloved sister—including, creepily, watching her real time sexual encounters in the back Continue reading LIST CANDIDATE: ENTER THE VOID (2009)

BORDERLINE WEIRD: THE LIMITS OF CONTROL (2009)

DIRECTED BY:

FEATURING: Isaach De Bankolé, Paz de la Huerta, ,

PLOT: An enigmatic hitman is sent on an obscure mission to kill an unknown man for unexplained reasons; the movie follows him as he meets with a long string of contacts of unclear significance, each of whom gives him a matchbook with further instructions and offers him a piece of dime store philosophy.

WHY IT’S ON THE BORDERLINE: Set in an unreal moviescape of secret rendezvous and mystifying portents, The Limits of Control has definite shadings of weird. It’s a bold experiment in pure cinema, and like most bold experiments, it’s partly successful and partly frustrating. Stripping the plot down beneath its bare essentials, to the merest skeleton, Jarmusch proves that you can get pretty far on cinematic tone and technique alone. He also proves that you can’t quite get all the way to a good movie solely through cinematics.

Still from The Limits of Control (2009)

COMMENTS:  Dawn’s light breaks across the open eyes of a lone man lying in a hotel room bed. He gets up, puts on a natty suit, and does tai chi exercises, measuring each move slowly and precisely. He goes to a cafe, sits alone, and orders two espressos in two cups; he sends the order back when the waiter brings a double espresso in a single cup. Night falls. He returns to his hotel room, lies down on his hotel room bed, eyes wide open. Time presumably passes. Dawn’s light breaks across his unblinking face. A new day has begun.

It’s a typical twenty-four hours in the life of the character known only as the Lone Man, a secret agent who spends most of his days walking around, looking at the Spanish scenery or visiting the modern art gallery, sitting alone quietly in a cafe sipping espresso, and staring off into space blankly. He’s a quiet man, one who makes Clint Eastwood’s Man With No Name look like a chatterbox. He won’t say one word if zero words will get his point across. Occasionally, another spy will meet him at a cafe and they will exchange Continue reading BORDERLINE WEIRD: THE LIMITS OF CONTROL (2009)