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Capsules

CAPSULE: BUTTONERS (1997)

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DIRECTED BY: Petr Zelenka

FEATURING: Pavel Zajicek, Jan Haubert, Seisuke Tsukahara

PLOT: A variety of tales unfold simultaneously during a single night as a radio show attempts a review of the twentieth century.

Still from "Buttoners" (1997)

COMMENTS: Czechoslovakian, and later Czech, cinema has a lot to offer, especially for those interested in the weird. Many are familiar with the legacy of the (Valerie and Her Week of Wonders, Daisies) or its tradition of stop-motion animation (The Cybernetic Grandma, The Pied Piper). There are a plethora of lesser-known auteurs and visionaries lurking in the shadows, however, awaiting rediscovery. One of them is Petr Zelenka, whose comedies tackle the human condition through an absurdist lens (the distributor’s statement says he “formally combines an American independent movie poetic with Bunuelesque absurdity.”). Buttoners is a perfect example of his style.

Buttoners takes place mostly in the course of one long night and is divided into a series of chapters, each of focusing on different characters and their quirks. It gradually adds layers of meaning by revealing new points of view and multiple intersections between the characters, hidden in the details. In “The Rituals of Civilization,” a neurotic psychiatrist tries to find comfort in the small routines of personal care and hygiene. “The Last Decent Generation” shows how two elderly couples discover each other’s strange yet harmless fetishes.  And this is just a sample of the stories included here, building into a complex narrative of humanity at its weirdest and most original.

This is not superficial comedy where the characters eccentricities make them the butt of the joke. “The Rituals of Civilization” is, in fact, a meditation on our relationship with death and chaos. “The Last Decent Generation” tackles human quirks with sympathy, recalling Jan Svankmajer‘s far more bizarre Conspirators of Pleasure (1996). The bombing of Hiroshima is referenced throughout the movie, with a metaphysical twist towards the end, forming a common ground for all these disparate stories. This major event, with all its consequences, couldn’t be absent from a movie that attempts, among other things, to review the twentieth century.

All in all, Buttoners maintains a playful tone while reveling in clever twists. We can trace some formal similarities with the more recent Hungarian title Treasure City (2020), like the constant darkness and slightly surrealistic final segment. This Czech movie is way more light-hearted and comedic in style, however, which makes it the perfect recommendation for anyone looking for a sophisticated comedy unafraid to tackle serious subject matter.

WHAT THE CRITICS SAY:

“A strong return to the eccentric soul of [Czech cinema’s]1960s heyday… quirky, hugely enjoyable…”–Eddie Cokrell, Nitrate Online (festival screening) 

Knoflikari [Buttoners]

Knoflikari [Buttoners]

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    Capsules

    CAPSULE: WINDS OF CHANGE (1979)

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    AKA Metamorphoses

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    DIRECTED BY: Takashi Masunaga

    FEATURING:

    PLOT: Five tales loosely based on Ovid’s “Metamorphoses.”

    Still from Winds of Change (1977)

    COMMENTS: Masunaga’s debut is a decent, if somewhat clumsy, attempt at a collaboration with Hollywood’s studios. Even if it plays it by the book—this is a children’s film, after all—it remains a hidden gem, making it of some interest for those loving obscure and long-forgotten cartoons.

    This anthology, loosely based on Ovid’s “Metamorphoses,” starts with Peter Ustinov’s pompous voice-over. Ustinov is the only voice in the film—none of the characters speak for themselves. This admittedly cheapens the experience a bit, but in the end it doesn’t prove too distracting. The stories take place in the heaven of Greco-Roman mythology, with a young boy playing a different role in each tale. It may seem unnecessary to have the same character as a different protagonist each time, but works for younger viewers by creating a point of familiarity.

    The stories are familiar to older viewers. We have the doomed love affair between Orpheus and Euridice, the campaign of Perseus against Medusa, and the tragedy of Phaethon. Light psychedelia accompanies everything—we are in the seventies, after all —with some segments even recalling “Alice in Wonderland.” With its lush environments full of cute animals as well as eerie secrets, the art style will appeal to fans of Disney’s animated classics. Fantasia (1940) is a point of reference, even if Winds of Change remains mild in comparison. We can’t really talk about dream logic or surreal imagery here; instead, we have a magical realist visual feast with a rich soundtrack on top. Anachronistic pop ballads, classical tunes, and a hint of Africa complement the visuals, creating a sense of phantasmagoria.

    Let it be noted that the alternate edit titled Metamorphoses from 1977, with songs by Joan Baez and Mick Jagger, is unavailable.

    WHAT THE CRITICS SAY:

    “In Winds of Change, every little detail is explained to death, and Ustinov provides silly character voices for moments with implied synchronized dialogue. To get a sense of the weird tone this creates, consider the moment when a young adventurer stumbles upon the goddess Diana, then ogles her shapely naked backside while she bathes in a waterfall with help from flittering faeries. Upon discovering her unwanted visitor, Diana turns toward the camera and scowls while Ustinov says, ‘Hell hath no fury like a goddess being peeked at!’ And that’s one of the more coherent moments.”–Peter Hanson, Every 70s Movie

    Winds of Change - Five Ancient Greek

    Winds of Change – Five Ancient Greek Myths (Animated)

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      CAPSULE: CAR CEMETERY (1983)

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      DIRECTED BY: Fernando Arrabal

      FEATURING: Alain Bashung, , Micha Bayard

      PLOT: A modern-day Messiah emerges as a prophet and musician amongst a crew of outcasts and weirdos in the post-apocalyptic car cemetery of Babylon.

      Still from car cemetery (1983)

      COMMENTS: Everything feels a bit familiar in the beginning. Voice-over verses from John’s Revelation and shots of a desolate hellscape hint at a typical post-apocalyptic genre affair.  Don’t be fooled, however. The director is legendary post-surrealist , who, along with Alejandro Jodorowsky and , established theater and cinema’s infamous “Panic Movement.” This work, a loose adaptation of a former play of the same name, is admittedly not one of Arrabal’s wildest visions; but it is an accessible introductory point to his personal panic aesthetic in cinema, expressed through the incorporation of violent and often blasphemous imagery, deviant sexuality, and elements of social critique.

      The plot takes place in an automobile graveyard where a variety of outcasts take refuge after a major disaster. Milos, a former pimp, is the boss here, using the facilities as a sort of love hotel. Dila, a prostitute with a pure heart, is in his stable. And then there is Emanou, a prophet and subversive musician with a strong following—as well as many enemies. His miracles and his downfall closely follow the passion of Christ, offering a subversive take on biblical motifs and archetypes.

      Every character here is nothing more than a reinterpretation of the the Divine Drama. Emanou, of course, is Christ: that’s clear from the beginning. Milos the opportunist is Pontius Pilate, and Dila recalls Mary Magdalene. The characters Topé and Fodère represent Judas and Peter. Judas’ portrayal is noteworthy; he is a poet and idealist ready to play a despicable, albeit necessary role, even if than means he will dwell in the latrines of history for all eternity. In other words, he is portrayed as the true savior—food for thought for everyone open to revisionist takes on religion.

      Each of Emanou’s miracles have a New Testament counterpart, but extra symbolic elements are also thrown into the mix. Everyone  longs for a bit of rain and for Emanou’s upcoming punk rock concert, seen a path to salvation. Dramatic staging, lighting, and makeup give the production a theatrical feel, while the decor combines elements of classical painting, still lifes, and even pop-art. Jazz, and the aforementioned punk, plus a hint of Latin music, make up the rich soundtrack. And two narrators that appear at key points in voice-over—one male, one female—remind us of the artificiality and the parablistic nature of everything portrayed here.

      All in all, however, this is not one of Arrabal’s boldest works. There isn’t graphic content like in I Will Walk Like a Crazy Horse (1973). There is a deviant sexuality, but nothing too extreme. Only the most narrow-minded people could consider this movie sacrilegious. But Car Cemetery will appeal to those interested in alternative takes on biblical narratives—Andrej Wajda’s Pilate and Others (1972) comes to mind for a similarly nonconformist take on the Divine Drama.

      WHAT THE CRITICS SAY: 

      “…a showcase for Arrabal’s penchant for the bizarre… it feels like a strange piece of art for art’s sake, but for some that’ll be reason enough.”–Ian Jane, Rock! Shock! Pop! (“The Fernando Arrabal Collection 2 DVD box set)

      Car Cemetery

      Car Cemetery

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      CAPSULE: EGG (2005)

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      DIRECTED BY: Yukihiko Tsutsumi

      FEATURING: Inuko Inuyama, Hye- yeong Jo, Megumi Ujiie

      PLOT: A girl finds herself tormented by the image of a hatching egg whenever she closes her eyes.

      Still from Egg (2005)

      COMMENTS: A violent confrontation while introducing a narrative is a tried and tested way to grab the audience’s attention. This method is applied in Egg, and along with erratic editing, rough cuts, many close-ups and zoom-ins, it creates a certain tension. This will be a wild ride, as the story follows a young girl attempting to come to terms with a highly disturbing situation.

      The plot revolves around the daily routine of a seemingly ordinary young woman. She has friends, works a nonsensical futuristic job (as in out of the popular TV show ” Severance”), and tries to live a normal life. However, whenever she closes her eyes, her inner world appears, and inside this world is an egg ready to hatch. Tsutsumi’s experience as a visual artist and music video director comes in handy here as he creates an oppressive, eerie, otherworldly inner landscape, with some truly grotesque monsters later on.

      Our protagonist’s situation develops into a double confrontation: on the one hand, with the creature lurking inside the egg, and on the other, with a familial legacy of similar cases. The danger represented by the creature transforms into something concrete and physical, as it becomes apparent it doesn’t exist only in her mind, but inside her lower abdomen, as well. And like any baby, it attempts to get out, albeit in a messier than usual way. Light body horror is part of the deal here, but nothing too gruesome. Instead, the film works mostly as a suspense survival thriller, with rich allegorical undertones.

      Underneath the lore and imagery is a commentary on female physiology, the nature of pregnancy, and the acceptance (or not) of this seemingly unavoidable reality. In this context, Egg also works as a coming-of-age tale. Early on, a doctor our heroine consults suggests she is still a child, at least mentally, hinting at an upcoming transformation. The use of body horror to comment on themes of pregnancy and female physiology brings to mind the work of , especially Evolution (2015).

      Some light comedic elements are expressed here, mostly through exaggerated acting, but they remain underdeveloped. Ultimately Egg is not a black comedy as much as a deeply and earnestly symbolic J-horror with feminist implications, essential for fans of the art-house and the bizarre.

      WHAT THE CRITICS SAY:  

      “…a bizarre tale and quite unlike anything else out there, but nevertheless a rather enjoyable one – Niina Doherty, HorrorNews.Net 

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      CAPSULE: DUST BUNNY (2025)

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      DIRECTED BY: Bryan Fuller

      FEATURING: , Sophie Sloan, Sheila Atim, Sigourney Weaver

      PLOT: An orphan girl hires a middle-aged killer-for-hire to kill the monster living under her bed.

      Still from Dust Bunny (2025)

      COMMENTS: Bryan Fuller has established himself as a unique voice and a major name in the entertainment industry , producing and writing a variety of TV shows both based on well-known franchises (“Star Trek: Discovery”) and more personal in tone (“Pushing Daisies,” “Wonderfalls”). The latter category is the perfect showcase for his idiosyncratic vision combining the playful and macabre.

      In Fuller’s debut as a feature film director, this combination is apparent in the relationship between the two protagonists. Mikkelsen plays a hardened and cynical hit man, an anti-hero bringing to mind his leading role in Fuller’s iconic show “Hannibal.” Sophie Sloan, in contrast, plays Aurora, a young girl tormented by the monster lurking under her bed. These two couldn’t seem more different, but those differences are what makes them perfect complements.

      Fuller establishes the connection between the girl and the killer early on in a purely visual way, without dialogue or unnecessary exposition, just with a firefly leading the viewers’ gaze. The characters’ eyes intersect; they are neighbors in the same apartment building. And when a “dust bunny”—our tale’s monster—devours the girl’s parents, she doesn’t hesitate to ask her intriguing neighbor for help. Gradually, a connection blossoms between them, notably similar to the central dynamic in ‘s Léon: The Professional.

      Not everything is as it looks. A  game of unreliable narrators and deceptive POVs takes place, blurring what is real and what is pure imagination—at least for a while. Dim lighting and foggy environments create a sense of ambiguity, enhancing an already hypnotic atmosphere.

      Dust Bunny is uninterested in maintaining this uncertainty for long, however, especially in regards to the nature of the monster. The special effects used for the creature haunting the girl lose their subtlety in the second half of the narrative, dramatically degrading the horror aspect. Instead, it remains a character-driven drama with action elements and hints of the supernatural. There is an attempt at commentary about the monsters in ourselves, but it seems like an afterthought. Some twists will make for an entertaining ride, for sure, but not enough for a truly memorable experience. In the end, Dust Bunny is too much style and not enough substance.

      WHAT THE CRITICS SAY:

      “Strange, bizarre, and terrifically weird, writer/director Bryan Fuller’s ambitious ‘Dust Bunny’ should whet the appetite of fantasy fans hungry for a mature fairy tale… [the] script is like a Lewis Carroll fever dream. The peculiar setting teases a sweet children’s story akin to ‘Alice’s Adventures in Wonderland,’ but Fuller embraces the darkness.”–Jonathan Hickman, The Newnan Times-Herald (contemporaneous)

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