A cyclops cleans up and dresses to catch the gaze of her date.
Content Warning: This short contains stylized nudity and sexuality.
A cyclops cleans up and dresses to catch the gaze of her date.
Content Warning: This short contains stylized nudity and sexuality.
FEATURING: Marta Mazurek, Michalina Olszanska, Kinga Preis, Jakub Gierszal
PLOT: Two mermaid sisters, Silver and Golden, wash up on the shores of Warsaw. They hook up with a family synth-pop band, joining their act in a seedy nightclub. Their voices bewitch everyone around them, but Golden’s carnivorous appetite and Silver’s infatuation with a young bass player lead to horror and heartbreak.
INDELIBLE IMAGE: Smoczyńsky addresses the reality of mer-people anatomy by showing a mermaid-human transplant. Shot from above, a mermaid lies on ice in a long metal gurney and sings sadly, while a surgeon saws through her torso and then stitches on a pair of human legs (taken from an anonymous woman lying on ice next to her). It is at once clinical, tragic, and sweet, made all the more memorable for being part of a low-key musical number.
THREE WEIRD THINGS: Merman punk rocker; breastfeeding mermaids; fish labia
WHAT MAKES IT WEIRD: Though working with some familiar source material, the film manages to feel fresh and strange. The visceral effects and gore matched against the upbeat synth tunes; the fantasy characters in a grimy, all-too-real world; the loss of chronology in the narrative; the sense that nothing is quite what it seems, that there is something under the surface of it all: no single element makes it weird, but rather a host of assorted factors.
COMMENTS: A simple description of The Lure seems impossible. It’s Continue reading 305. THE LURE (2015)
Sanatorium pod Klepsydra; AKA The Sandglass
PLOT: As the film opens, Józef is on a train headed to a sanatorium where his dead father is being kept. When he arrives, the grounds are deserted and decrepit, but eventually he finds a doctor who leads him to his now-sleeping father’s room and explains the patient’s comatose-but-alive status: “the trick is that we moved back time… we reactivate past time with all its possibilities.” Józef then wanders through the sanatorium’s grounds, meeting his mother, a collector of automatons, a parade of men dressed in bird costumes, the Three Wise Men, and other strange characters.
INDELIBLE IMAGE: Oddly enough, especially given how visually sumptuous The Hourglass Sanatorium is, the image which best evokes the movie isn’t even in it. I speak of the famous theatrical release poster by Polish artist Franciszek Starowieyski, which depicts a giant orange eyeball perched on a jawbone, with a grill of teeth through which a worm crawls (a limbless woman’s torso is also stuck between its molars), while numbers and arrows illustrate features of bone anatomy like occult footnotes. The poster seizes upon the film’s major theme of death; Starowieyski was also picking up on the repeated motif of eyeballs which occurs throughout the Sanatorium, from the train conductor’s blind stare to the cobweb-covered eyeball collection Józef finds under the bed. To illustrate the film, we ultimately chose the image of a toppled wax automaton with his eye-socket popped open to reveal the gears inside—but when I think of The Hourglass Sanatorium, I always think of that poster first.
THREE WEIRD THINGS: Crow frozen in flight; Józef spying on Józef; eyeballs under the bed
WHAT MAKES IT WEIRD: The Hourglass Sanatorium is a rare work of genuine Surrealism. Seldom has any film ever captured the free-falling feeling of being lost in a dream so well: the portentous but inexplicable visions; the tenuous, tantalizing connections between ideas; the smooth and continuous shifting of realities. Let a blind conductor be your guide inside a crumbling hospital whose rooms hold wonder after wonder.
COMMENTS: Sanatorium pod Klepsydra opens on the silhouette of a Continue reading 271. THE HOURGLASS SANATORIUM (1973)
Rekopis Znaleziony w Saragossie
“Simultaneously erotic, horrific and funny… This is one mother of a film.”–
FEATURING: Zbigniew Cybulski
PLOT: During a battle in Saragossa during the Napoleonic Wars, a soldier wanders into a house and discovers a large book which enthralls him (and his captor). In it, he reads the story of the Walloon captain Alfons Van Worden, who meets, and is seduced by, two princesses while sleeping at a haunted inn, only to wake up under a gallows between two hanged men. Van Worden’s further adventures include meeting a hermit, a cabalist, a gypsy leader, and other colorful characters, each of whom have tales to tell—often leading to stories inside of stories.
INDELIBLE IMAGE: Near the film’s climax, Van Worden stares out through an gap in a castle wall and sees a vision of himself receding into the distance with the two princesses, headed towards a poster bed standing alone in the middle of a desert. The only other features in the landscape are a cow’s skull and a dead crow half buried in the sand. There’s a wonderful trick to the shot, indicative of the film’s obsession with misdirection and game playing.
THREE WEIRD THINGS: Between hanged men; incestuous Islamic princesses; five levels of flashbacks
WHAT MAKES IT WEIRD: The Saragossa Manuscript winds through a Gothic journey replete with gallows, ghostly seductresses, duels, occult symbols, Inquisitors in bondage gear, and more, an epic tale told in the ever-receding stories-inside-of-stories style that Guy Maddin would later adopt (in a more fetishistic fashion) for The Forbidden Room. Wojciech Has’ 3-hour adaptation of Jan Potocki’s grandiose novel is storytelling in its purest form; it’s a world cinema classic that has been unfairly neglected, out-of-print in the USA for far too long. The film’s design unfolds slowly, wandering through a disorienting labyrinth of stories that eventually resolve, only to dissolve again in a mystical finale in the Spanish desert.
COMMENTS: “All that has made me confused,” complains Captain Continue reading 265. THE SARAGOSSA MANUSCRIPT (1965)
Na Srebrnym Globie
FEATURING: Jerzy Trela, Andrzej Seweryn, Iwona Bielska, Grazyna Dylaq, Jerzy Gralek, Krystyna Janda, Elizabeth Karkoszka, Maciej Goraj, Leszek Dlugosz, Jan Frycz
PLOT: An expedition crash lands on a planet, and the surviving astronauts establish a tribe and a religion explaining their origins. After a recording of the crash is found, another astronaut, Marek, is sent to investigate and is received as a messiah whose arrival has been prophesied. He becomes involved in a struggle against the planet’s original inhabitants, a birdlike race called the Sherms.
WHY IT MIGHT MAKE THE LIST: One of the few science-fiction adaptations that can earn the adjective of “epic,” and not only in terms of not dumbing down its ideas in favor of effects. The Polish government attempted to kill it, and end its director’s career. Despite it being only 80% of a finished film, there are images that will remain in the mind long after.
COMMENTS: In the best of all possible worlds, On the Silver Globe would be more widely known for the epic saga it is intended to be rather than as an unfinished curiosity, and it would’ve been the blueprint for science-fiction cinema to follow, rather than George Lucas’ Star Wars. Or possibly not. After all, its source material, “The Lunar Trilogy” written by Jerzy Zulawski (Andrzej’s great-uncle), which Stanislaw Lem acknowledged as an influence on his own writing, STILL has never gotten an English translation, making it unknown in the U.S. and other English speaking countries. This is one of the few films where its backstory is as fascinating as the actual film.
To wit: after the success of The Most Important Thing Is to Love, the exiled Zulawski was allowed to return to Poland to work. It was at this time that his marriage collapsed and his wife left (we’ll get to that later on…), and he chose to adapt his great uncle’s trilogy. Two years of work went into the enterprise, with most of the shooting done in 1976 and 1977, until the Deputy Minister of Culture and Art, Janusz Wilhelmi, saw some of the footage and in June 1977, ordered the production to shut down. Props, scenery and costumes were warehoused and/or destroyed; Zulawski was once again persona non grata in Poland, couldn’t get any work, and was again forced to leave home. (Out of this experience came the cult favorite Possession). Wilhelmi died in a plane crash the following year (1978), but despite several attempts to resurrect the project, authorities refused to release the existing material; some of the crew members managed to save what they could, but to no avail. By 1986, the regime in Poland had collapsed, but it was too late—too much material had been lost, several actors had died, and cinematic sci-fi was by then firmly caught in the throes of Star Wars‘s aftermath. However, what was left of the film could indeed be presented in some Continue reading LIST CANDIDATE: ON THE SILVER GLOBE (1977/1988)
FEATURING: Jan Siodlaczek, Pawel Steinert, Daniel Skowronek, Tadeusz Plawecki
PLOT: Just before dying, the Rosicrucian master of a cult of painters in the Polish mining town of Katowice predicts WWII, Stalinism, the atom bomb, and the end of the world via a death ray shot from Saturn.
WHY IT MIGHT MAKE THE LIST: Lech Majewski seems like the kind of aggressively surreal filmmaker who should be represented with a spot somewhere on the List, and with its mix of Eastern European mysticism and historical absurdism, Angelus is likely the top candidate in his oeuvre—so far, at least.
COMMENTS: Composed of a series of snapshots rather than a typical flowing narrative, Angelus features an extensive gallery of nearly-static tableaux, accompanied by voiceover narration. Many of the compositions, especially those shot outdoors, recall the meticulous constructions of
Angelus starts off very strong, introducing us to a series of quirky cultists in a highly peculiar situation, but by the time Stalin arrives, it loses much of its narrative momentum, sinking into relatively mundane subplots about life under the Communist regime. One of the cultists has an insatiable sexual appetite, another is an aspiring alchemist sworn to celibacy and who calls his girlfriend “man,” there are dances, the young narrator falls in love with the only pretty maiden in the village, and there is a half-hearted plan to build a modern version of Noah’s Ark. Much of the middle section of the film gets lost in these digressions, which sometimes seem like they would be at home in a more naturalistic-minded film, until we finally circle back to the death-ray-from-Saturn plot. It all ends in an unusually abrupt fashion.
Billed as a “komedia metafizyczna,” the film’s main purpose is to demonstrate the resilience of man’s spiritual nature under even the most repressive social orders. The cult’s beliefs may be ludicrous, but they are soulful, and despite their oddities their dogmas are far preferable to the equally absurd ideologies designed by cynical dictators as tools of subjugation.
Angelus is available in a region-free DVD with English subtitles, although the menus are exclusively in Polish. The seller I bought it from included a handy “cheat sheet” with Polish-to-English translations to help with navigation. This article from a Polish culture website describes the historical Silesian cult that inspired Majewski’s story.
WHAT THE CRITICS SAY:
(This movie was nominated for review by NGBoo, who called it a “mix of unorthodox comedy, absurd drama & fantastic mystery,” and who got tired of waiting for our review and wrote it up himself [in Serbo-Croatian, unfortunately]. Suggest a weird movie of your own here.)
FEATURING: Leszak Teleszynski, Wojciech Pszoniak, Malgorzata Braunek, Monika Niemczyk, Wiktor Sadecki, Iga Mayr, Anna Parzonka, Maciej Englert, Bozena Miefiodow
PLOT: In 1793, during the Prussian Army’s invasion of Poland, an imprisoned anti-royalist nobleman, Jakub, is freed by a Stranger-in-Black, for reasons unknown. Returning to his home and family, he finds only chaos and madness: his father dead, sister insane, his mother a prostitute, and his former fiance pregnant and now married to his best friend. Encouraged by the Stranger who comes and goes at will, Jakub starts dealing out some hardcore revenge with a straight razor and slipping further into madness; but, who is this Stranger and what exactly is his game?
WHY IT MIGHT MAKE THE LIST: This is perhaps the first Zulawski film that has most of the elements that he became known for in place. From the opening frame onward, it is completely balls-to-the-wall in intensity, making ‘s The Devils look like a model of restraint.
COMMENTS: “Tell me, does the world seem horrible to me because of my illness or because it is really like that?”
Zulawski’s second feature film was banned in Poland for 18 years (!) and essentially got him exiled to France. In an interview with Stephen Thrower and Daniel Bird for “Eyeball Magazine,” Zulawski explains the how and why of it.
At that time (1971), a tragedy happened in Poland in this very repressive and bloody regime. A part of the Communist establishment wanted to seize power. In order to do this they devised a very clever trick. They provoked youth – innocent, naive university youth especially – to start a series of protests on the streets against censorship, lack of freedom. They did it on purpose. Then the Communists turned to the Russians, the landlords, saying ‘this government of Poland cannot control the population, so you have to fire them and take us because we know how to deal with them.’ They organized a savage repression of the Polish young people in March 1968… they destroyed the university education system and this generation of young people who were trapped into this protest went into oblivion. They are nothing today; they were never educated, they went to jail, etc. So I wanted to tell this story but obviously I couldn’t say it with the Polish government’s money. So I put it under the masks and costumes of the 18th Century, when several tragedies annihilated Poland and the situation was about the same. It’s the story of a police provocateur who infiltrates a group of young people preparing something patriotic and beautiful and who just destroys the whole thing.
Obviously, the authorities twigged quickly that The Devil was not the Continue reading LIST CANDIDATE: THE DEVIL (1972)