List Candidates

APOCRYPHA CANDIDATE: ANTIPORNO (2016)

Leave a comment

366 Weird Movies may earn commissions from purchases made through product links.

The fifth installment of the Pete’s Perverted Pix series.

DIRECTED BY:

FEATURING: , Mariko Tsutsui,

PLOT: A pair of actresses enact a sadomasochistic relationship within a film but switch roles when the cameras are off.

Still from Antiporno (2016)

WHY IT MIGHT MAKE THE APOCRYPHA: The manic, scene-devouring energy of the motor-mouthed lead actress is at least enough to place this deconstruction of pink films and media celebrity culture out of the ordinary, but then we slide down a hyper-surreal rabbit hole between the actresses in character and the actresses out of character, and their dreams, hallucinations, flashbacks, re-shoots of scenes, and existential reality riddles.

COMMENTS: Animal lovers beware: when our main character, Kyoko (Tomite) first opens her eyes in the morning, it’s to the sight of a large lizard kept in a glass bottle, clearly now imprisoned in there after having grown too big to crawl out, entirely dependent on outside forces to keep it alive. If you’re thinking this “bird in a gilded cage” metaphor might apply to our protagonist: ding, you are correct. Kyoko is a celebrity porn star and “artist” in Japan, kept in a brightly-colored but sparsely furnished apartment, where her existence as a performative sex object under the stress of Japanese idol culture has driven her well past barking mad. Not only does she dance and caper while hallucinating her dead sister playing the piano, she screams, throws tantrums, barfs, skips like a schoolgirl, and prances like a ballerina—mostly while stark naked. Kyoko is soon visited by her personal servant, Noriko (Tsutsui), and Kyoto shifts into alpha-bitch mode. She is cruel and humiliating to Noriko, and her abuse takes on an increasingly fetishistic nature. Kyoko humiliates Noriko, forces her to crawl and bark like a dog, forces oral sex on her, and sticks in a good belt whipping. When fashion model photographer One Hundred (Fujiko) and her posse show up, they only join in Noriko’s torment.

Just when Noriko is getting gang-raped, a director yells “Cut!” Ha, gotcha! This was just a scene these actresses were filming, and though they keep the same names, their personalities switch. Noriko is now an insufferably egotistic and unhinged diva, and Kyoko is a nervous understudy who trembles and grovels submissively. Yes, it’s one of those kinda movies. As subsequent scenes are filmed, the two lead actresses’  personalities each ramp up the sadism when it’s their turn on top, in a vicious game of humiliation tag. In between, we get treated to a snarling satire of the porn/film industry, as even the director treats Kyoko like a slave and the whole film crew pressures Kyoto to submit. I should add, all this is taking place in a few stylized sets given to bold primary colors and pop-art props, making for candy-sweet viewing.

If you think this movie is out of rug-pulls now that we have that movie-within-a-movie bit revealed, you’re mistaken. We slide back

Continue reading APOCRYPHA CANDIDATE: ANTIPORNO (2016) →
It Came from the Reader-Suggested Queue

IT CAME FROM THE READER-SUGGESTED QUEUE: THREE… EXTREMES (2004)

1 Comment

366 Weird Movies may earn commissions from purchases made through product links.

Recommended

DIRECTED BY: ,,

FEATURING: , , , Im Won-hee, Kyôko Hasegawa,

PLOT: A woman resorts to extreme measures to regain her youth, an intruder torments a film director and his wife, a young girl is haunted by a traumatic past.

Still from Three... Extremes (2004)

COMMENTS:  Three… Extremes started as a franchise of pan-Asian horror anthologies with 2002’s Three. A collection of short films from Peter Ho-Sun Chan, Kim Jee-woon, and , Three offered a panorama of horror from China, South Korea and Thailand. It never reached the popularity of its sequel, however, remaining obscure while the second and final installment, widely known as Three… Extremes, attained a cult status, largely thanks to a selection of contributors that included a couple of major names in  contemporary  cinema.

Hong Kong’s Fruit Chan offers the first dish, Dumplings. It is perhaps the most infamous of the trilogy, and Chan quickly adapted it into a feature film. The plot revolves around a rich middle-aged woman attempting to regain her youth ( and her husband’s love)  by eating special dumplings that promise to rejuvenate her skin, provided by an unconventional chef. Ethical issues come to the forefront as the stuffing’s origin is revealed. Our heroine’s disgust and second thoughts give easily their way to self-destructive obsession, however. “Dumplings” is a Faustian morality play about the price of narcissism. Like Elizabeth Báthory, the countess who bathed in the blood of virgin women to remain young, our protagonist engages in grotesque acts for selfish reasons. An industrial soundscape enhances the sense of something ominous and disturbing lurking in the background.

After the appetizer, South Korean visionary Park-Chan Wook  presents “Cut.” His story focuses on a successful film director and his wife on the night that an intruder captures them and proceeds with a series of mental and physical tortures. There is no moral justification here; this is no Saw. Instead, the explanation given is brutally honest, making the events following even more shocking. This is a revenge tale, albeit one with elements of social commentary. If you love contemporary socially-conscious genre cinema from South Korea, like Bong Joon Ho‘s Oscar-nominated Parasite (2019), this will be right up your alley (as long as you have a strong stomach for gore). At the same time, the narrative plays masterfully with the nature of reality, blurring the lines between the authentic and the staged, culminating in a series of over-the-top twists and reveals.

The third piece, by far the most haunting, comes from Japan. Takashi Miike’s “Box” is a surreal psychosexual narrative following a young woman ridden by guilt and repressed lust. It alternates between present and past; Miike depicts the former in a cold color palette expressing grief, while warmer tones in the present hint at catastrophic passions. The flashbacks have a carnivalesque aesthetic that, along with the taboo subject matter, recalls ‘s Strange Circus (2005). The hints of supernatural horror and the morbid symbolic imagery are guaranteed to make you shudder.

More often than not, compilation films are uneven. That’s not the case here. A strong thematic link creates coherence, as each tale is a deeply meditative take on human envy. This is thoughtful horror with a psychological aspect, essential viewing for fans of the genre.

WHAT THE CRITICS SAY:

“…Miike’s ‘Box’ is the best of the bunch – a disturbing, dreamlike tale of a woman novelist haunted by dreams of her twin sister who died long ago…  The film may well live up to its title: it is perhaps too extreme for some viewers, perhaps even in bad taste at times, but you have to give all the episodes credit for being bizarre and effective.”–Steve Biodrowski, Cinefantastique

Three / Three... Extremes [Limited Edition] [Blu-ray]

Three / Three… Extremes [Limited Edition] [Blu-ray]

  • Two anthology films, six ghostly tales of terror, acclaimed directors from Hong Kong, Korea, Thailand and Japan. The ultimate omnibus of horror.

New starting from: 23.99 $

Go to Amazon
List Candidates

FANTASIA 2026: APOCRYPHA CANDIDATE: BUDDY (2026)

Leave a comment

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY: Casper Kelly

FEATURING: Delaney Quinn, Cristin Milioti, Tristan Borders, Madison Skyy Polan, and the voice of Keegan-Michael Key

PLOT: A group of children’s-show friends attempt to escape from the increasingly homicidal titular unicorn.

Still from Buddy (2026)

WHY IT MIGHT JOIN THE APOCRYPHA: Buddy’s lair is carved directly into the sheer walls of the uncanny valley, sure, but the denouement’s dreamy poignancy secures Kelly’s caper a place in our weird hearts.

COMMENTS: You may not know it, but Buddy wants to be your friend. And even though he’s just met you, he loves you very much. But unless you want to spend the remainder of your existence (or perhaps longer) cycling through an endless series of singing, dancing, frolicking bromides, do not extend your hand to this beastly television host. Watch out for your family, too, because once they’ve gone Buddy, there’s no going back.

Buddy will appeal to a number of audiences: horror fans seeking something candy-coated and full of carnage; adventurous viewers yearning for the sinister side of wacky; drug aficionados who have themselves tasted of the butterscotch psychotropic flower petal; and especially anthropologists studying television culture of the late second millennium. This film is a simulacrum of excesses that, in hindsight, feel almost barbaric.

I am not referring to the creepy gore found in Buddy, no. I speak of the bombardment of treacly songs and horrific performance foisted on the youth of yesteryear—and, regrettably, today as well. Strip away Buddy’s murderous rampages, and there’s still an ever-pulsating technicolor blob of repulsiveness. When we root for Freddy and her liberated buddies, we’re not just invested in their physical safety: we want them to escape to live a well-adjusted life, with all its surprises and misfortunes.

Casper Kelly leaps out of the fire and into the impossibly vibrant world of 1990s children’s programs with his latest film, and the product of his imagination both sears the eyes and slashes the mind, all while also capturing the heart. During Kelly’s introduction to his movie, he commented on his own children’s viewing of the various late-20th-century “children’s classics.” I can only hope and pray that those days are gone, that the memories fade, and that in years to come we can look upon Buddy as a totem of daytime horrors past.

WHAT THE CRITICS SAY:

“…get’s [sic] more and more fun the weirder and weirder it gets… A deranged, go for broke experiment that makes the most of all of its bizarre ideas…”–Derrick Murray, Nerdbot (festival screening)

List Candidates

FANTASIA 2026: APOCRYPHA CANDIDATE: SOUR MINNOWS (2026)

Leave a comment

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY: Harrison Atkins

FEATURING: David Brown, Suzanna Son,

PLOT: Ricky workings on writing projects until memory lapses begin plaguing him after a grocery run.

Still from Sour Minnows (2026)

WHY IT MIGHT JOIN THE APOCRYPHA: When men lick the road with abandon, and small fish appear in your pocket, and boom mics come alive, things ain’t quite right.

COMMENTS: “Really? You don’t find that disturbing?” Tepper has just been scrolling through his phone, landing on a picture of an ornamental plant growing from a raised stone urn. Roommate Ricky  doesn’t share Tepper’s discomfort about this image and the benign object within. But by this point in Sour Minnows, it is already difficult to tell what may and may not be ominous, as the narrative has already proven as slippery as a fish.

The point of view slides around between the three main characters, screenwriter Ricky, his somewhat-girlfriend Aura, and the distracted Tepper. Each character becomes progressively compromised as they find themselves in situations they can’t control and awaken with only a hazy recollection of the events. Aura slathers a department-store evening gown with a rotted bird corpse, in order to astrally-project her hand into Ricky’s car to smear his headrest with the goo; Tepper’s mind wanders into a nearby window, either removing his television from the room or removing his own self; and Ricky attends a fancy media event where he receives a cryptic note before traveling through a tunnel connecting the men’s room to his home, frightening his sleeping doppelganger as he looms at his bedroom door.

If you’re comfortable with a lack of clarity and semi-detached performances (“Are you doing a ‘bit’?”), Sour Minnows is quite a treat. I saw it once, at its second screening, when the festival programmer introduced the movie with his remark that this would be the fourth time he’s watched it. Subsequent viewings probably unlock coherency, but even my one-time visit to the odd world Harrison Atkins has crafted and confettied proved satisfying. Not unlike the Tepper’s reaction to the urn, Sour Minnows is a bit disturbing, and more than a little absurd.

WHAT THE CRITICS SAY:

“…you’ll probably know within minutes whether this movie is your kind of weird… a very weird film, but the surreal story is always rooted in friendship… If that’s your kind of cinema, you’ll feel like you’ve found your people.”–Louisa Moore, Screen Zealots (festival screening)

Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!