Capsules

CAPSULE: THE LIVING DEAD GIRL (1982)

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La morte vivante

DIRECTED BY:

FEATURING: , Françoise Blanchard

PLOT: Summoned home by the familiar strains of a music box, Hélène finds her deceased best friend transformed into a blood-thirsty revenant.

Still from The Living Dead Girl (1982)

COMMENTS: Abandoning the laissez-faire surrealism of his 1970s films, Rollin entered the ’80s with a more traditional, blood-soaked horror effort. Living Dead Girl boasts a more straightforward and coherent plot than many Rollin movies, with one gory set-piece after another. The script minimizes his usual wordy exposition on the existential quandaries of the vampiric condition, allowing the drama between the two leads to unfold amidst plentiful killings. There’s nothing especially weird about this one, but it may appeal to fans of low budget ’80s horror.

Catherine Valmont (Blanchard), the scion of an aristocratic family, comes back to life when a minor earthquake spills the toxic waste that some unscrupulous corporation has been hiding in her family crypt. When the men disposing of the chemical barrels decide to rob her tomb, they get more than they bargained for as she rises from her coffin. At first, Catherine seems almost zombie-like, murdering indiscriminately without knowing why she’s compelled to do so. As she returns to her family’s ancestral chateau, she gradually recovers memories, including of her childhood friend, Hélène (Pierro).

Unlike most Rollin films, this pair of female protagonists have a backstory, which adds a surprising degree of emotional depth as the narrative builds towards an agonizing climax. Catherine and Hélène swore an oath to be blood sisters as children, including a promise to follow each other even in death. A music box symbolizes this promise. Catherine’s ability to play it for Hélène, even in her undead condition, reinforces the bond between them.

Quickly realizing that Catherine needs human blood to remain in a living state, Hélène progresses from unwilling accomplice to determined murderer in her desperation to keep Catherine “alive.” As their relationship pivots, a side plot emerges involving an obnoxious American tourist who’s convinced something strange is going on in the old chateau. A typical nosy photographer stock character, as seen in many American horror films from the 1930s-40s, but at least in this case she gets what’s coming to her.

Philipe D’Aram, the composer for Rollin’s Fascination, returns with an uninspired synth-inflected score that does nothing but accentuate the sparseness of the story. Though the kills keep coming, with plenty of gratuitous blood and nudity, the overall pacing is slow, dragged out by unnecessary scenes of local color. Living Dead Girl lacks Rollin’s typical dreaminess but still has moments of startling beauty. Its strength lies in the performances of Pierro and Blanchard. Thanks to their intensity, this is one of Rollin’s most strangely moving films, with a searingly unforgettable final scene.

WHAT THE CRITICS SAY:

“…one of [Rollin’s] most lyrical and haunting achievements… the film never releases its grasp on the viewer’s imagination and conjures up a strange fairy tale ambiance…”–Nathaniel Thompson, Mondo Digital (UHD release)

 

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Interviews, Pod 366: A Weird Movies Podcast

POD 366, EP. 172: MATADOR BOLERO’S JONATHAN ROSADO (AND A LITTLE SMOKING)

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Discussed in this episode:

Matador Bolero (2026): An underground movie done in the style of a 1960s Super-8 experimental film, about the murder of an actress and possible links to a cult worshiping a super-intelligent computer. Now in theaters.

The Cell (2000): Read Giles Edwards’ review. The 4K UHD (+ Blu-ray) standard edition release from Arrow (so lots of extras) of the psychological thriller where enters the mind of a serial killer. Buy The Cell.

Dead Mountaineer’s Hotel (1979): Read Shane Wilson’s review. Deaf Crocodile releases the standard Blu-ray + UHD for the Soviet sci-fi mystery, previously available only in a limited edition. Buy Dead Mountaineer’s Hotel.

The Holy Mountain rescore: Alternate scores of existing movies are a cool thing, and have moved on from silents to alternate versions of existing talkie scores. For The Holy Mountain, the Cue Northwest Music Residency held a contest to rescore the film, which was won by the avant-rock group Zen Mother. The band will play the score live at a screening at Northwest Film Forum in Seattle sometime in 2027, and hopefully their version will also be available elsewhere. Read the announcement at The Stranger.

The Trouble with Terkel (2010): A bullied 6th grader turns to booze to deal with the guilt caused by his being responsible for the suicide of a classmate. Pixar passed on remaking this transgressive Danish animated comedy. Buy The Trouble with Terkel.

Wetiko (2026): Billed as a “psychedelic jungle thriller,” this feature addresses the phenomenon of “shamanic tourism.” Now on VOD after a brief run in theaters. Wetiko on VOD.

WHAT’S IN THE PIPELINE:

No guest on next week’s Pod 366. Gregory J. Smalley will be on vacation, but Giles Edwards and Pete Trbovich will talk about two canonically weird classics (Audition and Perfect Blue, if you want to do your homework), among other topics. In written content, Enar Clarke fills out our coverage with The Living Dead Girl (1982), Michael Diamades takes on the AI-generated feature film Brainstare (2025), and Shane Wilson surveys the entire run of the Muppet-style existential horror show for kids “Don’t Hug Me, I’m Scared”. Onward and weirdward!

Capsules

CAPSULE: IRON LUNG (2026)

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DIRECTED BY: Mark Fischbach

FEATURING: Mark Fischbach

PLOT: In the far future, when humanity is dying off, a convict is sent to the bottom of an ocean of blood on a distant moon in search of… something or other.

Still from iron lung (2026)

COMMENTS: If you’ve heard the rags-to-riches DIY success story of the fan video game adaptation Iron Lung, which played in 4,160 theaters worldwide in early 2026 based purely on a grassroots campaign where fans of YouTuber-turned-feature-film-director markiplier (Mark Fischback) begged cinemas to show it on the big screen, and are wondering whether the non-initiate will enjoy this, my answer is a firm “no.” While the film is a phenomenal success story on its own terms, it was made for a narrow niche audience, and unless you’ve played the video game or count yourself among markiplier’s 38 million YouTube channel subscribers, you ain’t it.

At least 90% of Iron Lung takes place inside a cramped submarine the size of a living room, crowded with metal apparatus and sensors. Convict pilot Simon (Fischback) is alone for almost the entire film, with occasional conversations over intercoms with bad connections to break his solitude. The craft is rickety, has no portals to see the outside world (which would just be a wall of opaque red anyway), has frequent blood leaks, and lunches a lot. You get to know every sharp corner and blinking light in the sub in the film’s 2-hour runtime; you almost feel like you could pilot this tub yourself. The detailed set conveys the feeling of a metal prison, and the sound design is superlative: drips, scrapes, static, echoes, thumps, all sorts of dreadful alarming noises to remind you that you are in a tin can surrounded by certain death. Based on the editing in the climax, I think that Fischback could direct a thrilling action scene—assuming you knew who, what, and where the antagonist was and what the hell was going on.

But as impressive as the film’s technicals may be, the script is simultaneously boring and confusing. I mentioned that the film was 2 hours long, and it makes sure you feel every minute. Reports suggest the game itself can be finished in under and hour—an hour and a half if you dwaddle—so there is a lot of padding added here to convey the combination of tedium and dread the protagonist would experience. Watching the movie, you get the sense that the game is nothing but a long test of your ability to press buttons, flip switches, and turn knobs, because this mostly what Fischback does on screen. There is a part where he accidentally irradiates some of his handlers, which has no payoff. There is a tormented personal backstory delivered in monologue, meant to humanize the an anonymous explorer. But mainly, it’s Fischback flipping switches, turning knobs, and bemoaning his fate.

The mystery of this abandoned moon is where the film’s claim to weirdness comes from. The premise itself is absurd: supposedly all the stars and planets have suddenly disappeared except for a single moon with an ocean of blood. Although the technology here comes from hard science fiction, the scenario is entirely mystical. The ocean floor contains mysterious artifacts (which I won’t spoil) and something that might be an entity—or, it could all be an oxygen-deprivation hallucination. There is some body horror, some monstrous visions, a blood-soaked cosmic climax, and no clear resolution. The lack of explanations would not be a problem if we cared about the protagonist in more than a theoretical sense, but it’s hard to become engaged with the convict’s plight. We root for humanity to survive more out of a sense of general obligation to the species than because the movie has caused us to care about this particular band of plucky survivors. So, in short: play the game first. If you want more, see the movie. Don’t reverse the process.

Iron Lung is currently available for rental or purchase solely on YouTube.

WHAT THE CRITICS SAY:

“It’s slow, weird, and draining in a way that feels oddly beautiful.”–Roberto Tyler Ortiz, Geek Vibes Nation (contemporaneous)

(This movie was nominated for review by “Anonymous,” who suggested it “[h]as enough questions about what f***ed up stuff we’re seeing is real or not, and ends with one of the goriest climaxes in all of film with a battle with a sentient ocean of radioactive human blood..” Suggest a weird movie of your own here.)

Apocryphally Weird

69*. FLAMING EARS (1992)

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Rote Ohren fetzen durch Asche

Weirdest!

“In the year 2700, the year of the toads, ‘Asche’ was a burnt-out city.
Too big for its souls who banded together in dark basements.
It was an unrestrained wild animal,
ready to pee in Death’s face at any time.
And its residents were equal to it in every way.
Highly unlikely for a pure heart to survive.”–Flaming Ears introductory narration

DIRECTED BY: Ursula Pürrer, A. Hans Scheirl, Dietmar Schipek

FEATURING: Susanna Heilmayr, Ursula Pürrer, A. Hans Scheirl

PLOT: The lives of a comic book artist, a serial arsonist, and an extraterrestrial converge when Volley burns down the comix press. The artist, Spy, goes in search of vengeance, only to be beaten up by the bouncers at the club where Volley performs; Nun, Volley’s alien girlfriend, then finds Spy lying unconscious in the gutter and falls in love with her. Meanwhile, Volley develops the hots for her chauffeur, and a young girl graffitis the city with the image of a flower vase.

Still from Flaming Ears (1992)

BACKGROUND:

  • Scheirl and Pürrer became lovers in the 1980s and started making “lesbian punk home movies” in Pürrer’s Vienna apartment with a Super 8 camera and homemade props. They would later form the band Sta-Prestto make their own film soundtracks.
  • The Catholic symbolism in the film reflects the predominant conservatism of Viennese society at the time, in contrast to its very small punk scene of musicians and artists.
  • The soundtrack features the music of local punk bands, sometimes even capturing live performances. None of the music was formally licensed.
  • When Scheirl and Pürrer’s films toured women’s and feminist film festivals in the 1990s, the S&M content often proved controversial and sometimes led to walkouts.
  • The then-contemporary popularity of Fluxus theater led some viewers to assume Flaming Ears‘ outrageous style was a deliberate mockery of their performance art. This was not the intention of the filmmakers, who were simply expressing their punk aesthetic.
  • A. Hans Shceirl (Nun), also credited as Angela Hans Scheirl, is a transgender man who transitioned with testosterone in 1996. He later directed the infamous Dandy Dust (1998) and became a painter and professor at the Vienna Academy of Fine Arts.

INDELIBLE IMAGE: There’s a lot of eye-catching and provocative imagery throughout Flaming Ears, with a plethora of unusual proclivities on display. But one of its most mysterious moments occurs when the otherwise unknown Blood suddenly shows up out of the blue to grant Spy’s rotting corpse the kiss of life. It’s confusing, oddly touching yet revolting, and emblematic of Flaming Ears‘ fairy tale combination of enchantment and grotesquerie. It’s also a major pivot point in the splintered narrative.

TWO WEIRD THINGS: Erotic arson; the healing power of alien saliva

WHAT MAKES IT WEIRD: What isn’t weird about this movie? The two items listed above are only the very weirdest elements. There’s also furniture humping (with lighter fluid used as lube), an immortal alien whose severed limbs come back to life, and an oddly suggestive conversation about gardening cacti. With a rough and ready DIY aesthetic, Flaming Ears is art-house done No Wave-style. At any moment the live action can be interrupted by a stop-motion animated sequence, a prop, or a painting. In one memorable scene a cardboard cutout, with a cartoonish line-drawn face, replaces one of the actors. The dialogue is obscurely poetic and the futuristic setting thinly sketched, leaving the viewer on their own to figure out what exactly is going on, like an alien crash-landed on an unknown planet.

Flaming Ears re-release trailer

COMMENTS: Usually, films that take place in a future dystopia explain the reasons behind societal collapse, but Flaming Ears ignores Continue reading 69*. FLAMING EARS (1992) →

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