APOCRYPHA CANDIDATE: I LOST MY BODY (2019)

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AKA J’ai perdu mon corps

DIRECTED BY: Jérémy Clapin

FEATURING: Voices of Hakim Faris, Victoire Du Bois

PLOT: A right hand, severed from its host body, goes on a harrowing journey in hopes of a reunion.

Still from I Lost My Body (2019)

WHY IT MIGHT MAKE THE LIST: If the logline, “It’s like The Incredible Journey, but it’s a hand” doesn’t immediately raise an eyebrow, then you are impervious to surprise. But while an adventure tale of a persistent hand would be intriguing enough, the determination to tell the tale with such bittersweet affection and lyricism is a bold and ultimately rewarding choice.

COMMENTS: The five-fingered human hand is probably among the most difficult things to draw. There are many reasons that most cartoon movies opt for a four-fingered variety, including time, expense, and appearance. So an animated feature in which the leading character is a disembodied, fully humanoid five-fingered hand would seem to reach peak hubris. Yet here we are with the earnestly told, irony-free tale of a hand that is violently amputated, and struggles mightily to be reunited with its body. It’s an idea so crazy, and an undertaking so destined to end disastrously, that it just has to work.

Director Clapin does himself no favors by balancing multiple narratives in time. We have to keep up with the present-day Naoufel, an orphaned immigrant who happens to be missing a hand; his backstory as a boy aspiring to be both a concert pianist and an astronaut (complete with lingering closeups of an extremity that is destined to go AWOL); the story our protagonist as an aimless young man hoping to win the affection of a pretty young woman through techniques straight out of a wacky Hollywood rom-com; and, of course, the adventures of a hand loose in the city.

The hand is a riveting character: navigating the Parisian streets like a wily insect, triumphing in battles with the city’s wildlife, and generally overcoming very long odds. It’s worth noting that the title clearly identifies the hand as the star of the show, so when we see flashbacks to Naoufel’s youth, it’s tempting to see the loving closeups as ironic, dryly foreshadowing, manufacturing suspense for the violent event that is sure to come. And it does work that way, sure. But the real point is that this is the hand’s story. Of course, we’re constantly focused on the hand; it’s the hero of its own tale.

It is sometimes said that it is harder for animated movies to seem weird because they are already a step removed from reality. But Clapin utilizes a surprising array of techniques to keep us off balance, and only some of them have anything to do with animation. Some of them are actually anti-animation, like the long, static, dialogue-focused meet-cute that takes place in an apartment building lobby as Naoufel chats with the future object of his affection entirely over an intercom. This is animated! And yet, the details are so lovingly captured—the boy’s hangdog embarrassment, his resigned eating of a piece of mushed-up pizza—that the format becomes completely irrelevant.

I Lost My Body challenges our willingness to take it seriously, as more than some cartoon Thing loose on the streets of Paris. Perhaps that’s what makes a fairly straightforward quest feel so odd. Indeed, sometimes weird is spectacular, with viewers wondering in awe about the kind of mind that could have dreamed up something so fantastical/disturbing. But sometimes weird is a subtle turn of the prism that casts a familiar tale in an entirely new light. I Lost My Body is just such a movie. Instead of asking “What happened to that boy who lost his hand?’ it has the courage to ask, “What happened to that hand?” The answer turns out to be even more affecting.

WHAT THE CRITICS SAY:

“In its finished form, director Jérémy Clapin’s peculiar undertaking (adapted from the novel “Happy Hand,” by Guillaume Laurant) is even stranger than it sounded to me half a decade earlier, and yet, there’s no question he’s pulled it off. In fact, I’d hazard to say it’s one of the most original and creative animated features I’ve ever seen: macabre, of course — how could it be otherwise, given the premise? — but remarkably captivating and unexpectedly poetic in the process.” – Peter DeBruge, Variety

(Suggest a weird movie of your own here.)

CAPSULE: THE SHASTA TRIANGLE (2019)

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DIRECTED BY: Barry W. Levy

FEATURING: Dani Lennon, Ayanna Berkshire, Helenna Santos, Deborah Lee Smith, Madeline Merritt

PLOT: Paula returns to her hometown of Shasta, CA where unexplained phenomena regularly occur, to look further into one such instance—the disappearance of her father. With the help of four childhood friends, they go into the surrounding woods looking for answers—which they do find, and quite a bit more.

Still from The Shasta Triangle (2019)

COMMENTS: The Shasta Triangle is an above-average low-budget genre film of the type that you’d expect to see on the SyFy Channel on a Saturday night, and if you temper your expectations to that level, you’ll enjoy the film. There’s nothing that’s particularly new here in terms of playing with the tropes, but it is refreshing to have the “group going into the woods” be all-female in this variation. You might recognize some of the cast from other genre work, particularly Lennon, Berkshire and Santos (also a producer and the co-story writer). These three also give the film’s better performances.

The premise is solid for what’s essentially  a friends-go-into-the-scary-woods movie. It all plays out fairly well, although the ending is somewhat muffed and may leave some dissatisfied; there’s a resolution, but it also feels like the filmmakers left themselves room to continue the story. Some may not feel a compelling need for them to do so. Still from The Shasta Triangle (2019)

WHAT THE CRITICS SAY:

“…plays out much like a Luc Besson film. That is, it’s filled with audacious, original ideas worth exploring and experiencing, even if they don’t always hit the mark like you’d hope…  Subtle camera movements and transition-heavy editing create a disorienting effect that underscores the dream-like elements of the film.”–Justin Andress, The Model American (contemporaneous)

CAPSULE: COLOR OUT OF SPACE (2019)

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DIRECTED BY:

FEATURING: Madeleine Arthur, Elliot Knight, , Joely Richardson,  Brendan Meyer, Julian Hilliar

PLOT: A meteorite lands at a remote New England farm and spreads alien madness to a family.

Still from Color out of Space (2019)

COMMENTS:  The color out of space is actually lavender, or maybe it’s more of a fuchsia. At any rate, it’s in the pink/purple spectrum.  It’s possible that this choice is a nod to From Beyond, which is also inspired by H.P. Lovecraft, and which I once wrote was “the pinkest horror movie ever made.” (Besides Beyond, Color reminded me of a number of 80s horrors, with shadings from The Shining, Poltergeist, and even Society.) Director Richard Stanley is committed to this color palette, which is prefigured in the streak of purple dye in Lavinia Gardner’s otherwise golden hair. In Lovecraft’s original story, a color never before seen by man was a metaphor for the ineffable quality of the alien visitor. In the movie, that color necessarily must be represented literally, and Stanley takes the literalism so excessively—slathering the film with liquid lilacs and violets—that the effect becomes almost as strange as an indescribable extraterrestrial hue. In fact, you only know when the alien presence has departed because the scene becomes drained of all color.

Bookended by quotations from Lovecraft‘s text, Color follows a standard horror movie arc: character setup, arrival of an evil presence, and steadily escalating eerie incidents that come to a climax. There are a lot of unusual sights along the way, however, starting with the purple mutant grasshopper/dragonfly hybrid with tie-dye spider-eye vision and progressing to general madness among the entire cast and a ian mother/child re-assimilation. The utter inscrutability of the aliens’ nature and purpose is true to Lovecraft, though it may not be to some modern horror fans’ taste. Questions of whether the color arrives on the pink glowing meteor by accident or purposefully, and why it seems to suddenly depart—or perhaps just to go dormant—are left unanswered. “What touched this place cannot be understood or quantified by human science,” is the best those hoping for an explanation will get.

Despite being featured in the film’s promotion, Cage, as the family patriarch, doesn’t dominate the story. He doesn’t even start Cage-ing until halfway through, going all Jack Torrance after his kids forget to feed the alpaca, gesticulating wildly and switching accents mid-monologue. It’s the young stars Madeleine Arthur (as Lavinia) and Elliot Knight (as the surveyor) who are the main protagonists. I came into the experience looking forward to Cage bringing the crazy, but ended up happy that his peculiar lunacy merely seasoned the film a bit, rather than dominating it.

Due to its provenance— a weird fiction classic that’s been adapted many times, but never properly; a cult director come out of retirement to helm the project; Nic Freaking Cage— Color Out of Space is the hot ticket among cult film fans in early 2020. The movie doesn’t actually do anything truly unexpected, but nor does it disappoint. With Cage, a retro-80s horror pace and feel, and plenty of pretty swirling colors, it’s going to hit the sweet spot for a lot of viewers.

WHAT THE CRITICS SAY:

“Oh, Richard Stanley, how we have missed your intoxicating weirdness… there is no preparing you for this space oddity.”–Preston Barta, Fresh Fiction (festival screening)

WEIRD HORIZON FOR THE WEEK OF 1/17/2020

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Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs and Blu-rays (and hot off the server VODs), and on more distant horizons…

Trailers of new release movies are generally available at the official site links.

IN THEATERS (LIMITED RELEASE):

My Hindu Friend (2015): A filmmaker, dying of cancer, is visited by death. Despite being made in 2015 and garnering festival awards for Willem Dafoe, the film was never properly released when director Hector Babenco died soon after making it (he survived cancer, then succumbed to a heart attack). Rock Salt Releasing is giving it a second life in specialty venues. My Hindu Friend official Facebook page.

The Wave (2019): Read our review. A corporate lawyer impulsively takes a mysterious drug that, among other disorienting effects, causes him to skip forward randomly in time. In select cinemas and contemporaneously out on video-on-demand; a physical media release should follow later in the year. The Wave official site.

FILM FESTIVALS – Sundance Film Festival (Park City, UT, Jan 23-Feb 2):

The 2020 movie season will officially kick off with Sundance, where a hundred hopeful independent movies, including a few off-the-wall ones, come to vie for a handful of distribution contracts. In recent years, Sundance added the “Next” and “Midnight” screening sections to add some weirdness to the otherwise tame lineup of dramas about privileged white people and their problems. There is usually at least one memorably strange film that sneaks by the screeners: 2019 brought us the Groundhogian grief nightmare Koko-di, Koko-da. Here are a few titles we’ll be keeping our eyes on this year:

  • The Nowhere Inn – Singer St. Vincent creates a fictional documentary described as “distorted and bizarre” and slated for the Midnight category. Screens 1/25-26, 1/30-2/1.
  • Omniboat: A Fast Boat Fantasia – Portmanteau feature centered around a Miami speedboat; it counts Swiss Army Man directing team among the contributors. On 1/26, 28-29, 31, or 2/1.
  • Wendy ‘s second feature film comes 8 years after Beasts of the Southern Wild; it’s a retelling of Peter Pan set in Neverland and told from Wendy’s perspective. 1/26-28, 2/1-2.

Sundance Film Festival official site.

NEW ON HOME VIDEO:

Iron Sky: The Coming Race (2019): Read Giles Edwards’ review. The Nazis-on-the-moon sequel is now on Blu-ray after being strictly VOD. Buy Iron Sky: The Coming Race.

CERTIFIED WEIRD (AND OTHER) REPERTORY SCREENINGS:

The Rocky Horror Picture Show (1975). We’ll only list irregularly scheduled one-time screenings of this audience-participation classic below. You can use this page to find a regular weekly screening near you.

WHAT’S IN THE PIPELINE: Before announcing next week’s lineup, we’ll remind you to vote in our 2019 Weirdcademy Awards poll (and also in the Weirdest Short Film of 2019 poll). These polls usually show some separation early, and this year it’s The Lighthouse that’s pulled far ahead in the Weirdest Actor and Weirdest Scene races, and also leading (though not necessarily dominating) the Weirdest Movie category. Weirdest Actress is still a contest, however, and Weirdest Short is anyone’s game. Polls close February 9.

Moving on, we’ll have a busy week of reviews next week as we give you the scoop on the highly anticipated collaboration The Color out of Space. We’ll also have reviews of a couple of not-quite-as-fresh-but-still-newish offerings as El Rob Hubbard enters The Shasta Triangle and Shane Wilson finds I Lost My Hand. We’ll even throw in one from the reader-suggestion queue, as Giles Edwards celebrates the post-apocalyptic punk madness of ‘s Jubilee. That’s a pretty busy week for us. Onward and weirdward!

What are you looking forward to? If you have any weird movie leads that we have overlooked, feel free to leave them in the COMMENTS section.

APOCRYPHA CANDIDATE: SPEED RACER (2008)

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DIRECTED BY: Lana Wachowski, Lilly Wachowski (as The Wachowski Brothers)

FEATURING: Emile Hirsch, John Goodman, Susan Sarandon, Christina Ricci, Roger Allam

PLOT: He’s Speed Racer, and he drives real fast; the corporate goons at Royalton Enterprises fail to hire him, and so try to sabotage his family and career.

WHY IT MIGHT MAKE THE LIST: Made up of equal parts technical prowess, tremendous passion, and mind-boggling stupidity, the Wachowski siblings poured all their knowledge, soul, and their massive bag of Matrix-era goodwill into this videogame-cum-technicolor-comedy-melodrama that, while obviously the movie they had in mind, raises the question of whether or not it actually should have been assembled at all.

COMMENTS: Our weekly to-do list of new and re-released opportunities was sparse, so I instead pondered the Venn diagram of “reader suggested movies” and “movies I have access to.” Three titles presented themselves, and it was Speed Racer that managed to zip to the top of that last. (This may have been, in part, because its alphabetical position meant it was the closest to my Blu-ray player.) I hadn’t seen this movie since before I began working with 366, and it was just a hazy memory of bright colors, flying sparks, and a strange pathos provided by John Goodman and Susan Sarandon. My memory did not disappoint me.

As a facsimile of a racing computer game, Speed Racer has just enough plot to justify the on-screen zip-bang-light-up race shots. Speed Racer (née “Speed Racer”, played by Emile Hirsch at his charmingly blandest) lives up to his name and follows in the Racer Family tradition of racing race-cars. (His older brother, Rex Racer, disgraced the family and died in a horrible explosion during a sketchy rally race.) Purple-clad corporate bad guy E.P. Arnold Royalton, Esq. (played with effete glee by Roger Allam) tries to woo Speed to work for Royalton, Inc.—but Speed has none of it. Not used to being snubbed, Royalton uses his considerable resources to destroy the Racer family, not knowing that in the end, “the truth will out.”

I’m admittedly a sucker for a well-told story, no matter how stupid the underlying material. This movie brings stupid into overdrive with countless “just because” elements. There are Cockney gangsters who act as fixers and enforcers; there is, among other themed teams, a Viking racing crew obsessed with animal fur; and then there’s the thread that boldly attempts to hold this movie together, the “Inspector Detector” character investigating corruption in the racing leagues. (The less said about the recurring deus-ex-Spritle/Chimp-machina, the better.) The Wachowskis then painted all this with halogen colors that would have sent more cynical members of our staff into a tailspin of bitter, whiskey-fueled reproaches.

I am not that sort. I can appreciate the fact this extravaganza had an estimated $120,000,000 poured into it. I can also believe that it did not recoup the outlay. But that’s why it falls so firmly into our orbit. To see two of the best technical film-makers of their day so wholeheartedly stake their years-built reputation with something as confounding as Speed Racer gives me, at least, hope. (What gem might, say, Michael Bay concoct if told he could really do anything?) The Wachowskis did the world a disservice with the whole Matrix nonsense. They made up for it with Speed Racer: a movie that had me rooting for the good guy even as my eyes melted and my brain tried to shout down the cacophony of electro-Singh-visuals, “Lifetime Channel” monologues, and top-tier talent somehow grounding this eye-candy-fluorescence. The stars are likely to never be so aligned again.

WHAT THE CRITICS SAY:

“This toxic admixture of computer-generated frenzy and live-action torpor succeeds in being, almost simultaneously, genuinely painful — the esthetic equivalent of needles in eyeballs — and weirdly benumbing, like eye candy laced with lidocaine.”–Joe Morgenstren, The Wall Street Journal (contemporaneous)

CAPSULE: THE WAVE (2019)

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DIRECTED BY: Gille Klabin

FEATURING: , , Donald Faison, Tommy Flanagan, Ronnie Gene Blevins

PLOT: A corporate lawyer decides to cut loose one night, but regrets it when a strange drug dealer convinces him to try an exotic hallucinogen whose effects last several days and make him randomly skip forward in time.

Still from The Wave (2019)

COMMENTS: I was confused as to what genre to place The Wave. It’s not reality-based enough to be science fiction, and nor is it divorced enough from reality to be fantasy. It’s not magical realism, either. The issues it explores are more philosophical than dramatic.  Psychological thriller kind of works, but the film is not nearly as dark as that term usually implies. The pacing (and the occasional light mugging from the leads) suggests that the movie wants to be taken as a comedy. Indeed, the setup, with straight-laced corporate lawyer Frank sneaking out for a night on the town with his more adventurous (and nigh-irresponisible) buddy suggest suits-cut-loose shenanigans a la Something Wild are coming. But the movie also takes itself kind of seriously, and lacks moments that play for big laughs.

The mongrel term “dramedy” is a possibility, but in the end I think The Wave really belongs to that rare and disreputable subgenre, the “trip movie.” It’s not an exploitation piece—although there are drug porn moments, like when we see a heaping mound of hundreds of thousands of dollars of uppers, downers, pills and powders spread across a grinning dealer’s table. The Wave‘s money shots are its wavery lysergic visions—especially when one of the mystery drug’s waves kicks in at a corporate board meeting, turning the executives into a bunch of Mammon-channeling demons. (The visuals here are simple but effective—it looks like they digitally painted over every frame of film, an effect that looks like rotoscoping done in MS Paint). At its core, the script posits that psychedelic drugs have legitimate spiritual healing qualities—that all that most self-centered lawyer needs is a high enough dose to turn himself on, grok karma, and become a self-sacrificing hippie.

The script may be naive at heart, but it hides it well. After Frank takes the mystery drug, the plot barrels along, lurching forward in time. Frank might suddenly find himself in a deserted house, or in the middle of a car chase, without explanation. Blackouts may be a side effect of the drug, but there’s something mystical about the process, too. By the end, the plot points snap into place nicely. The leads are all pro. Donald Faison provides good buddy support, playing the bad angel or good angel as needed; Sheila Vand, the mystic pixie dream girl, is luminous in her dream sequences; and Ronnie Gene Blevins overacts quite appropriately as the hellbent drug dealer antagonist. Justin Long makes a great Frank. He has a pleasant John Krasinski-meets-Fred Armisen quality here; you can’t stay mad at him, even when blind ambition is leading him to screw the beneficiaries of a dead firefighter out of their rightful proceeds. The screenplay hates the game, not the player, and redemption is just a trip away. Everything doesn’t quite work as it should: some characters, like the shrewish wife and the ruthless CEO, are cardboard caricatures; the score adds little; and, since the mystery drug comes at you in waves, the movie probably should have been titled in the plural. But if a mysterious Scotsman in a fur coat offers you The Wave, consider taking it. Rough patches aside, the crisp acting, inventive visuals, and speedy pace make it a trip you probably won’t regret taking.

The Wave shows up in selected cinemas, and more widely on video-on-demand, this Friday, January 17.

WHAT THE CRITICS SAY:

“…a fairly clever, trippy saga with its heart in the right place.”–Chris Evangelista, Slashfilm (festival screening)

 

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