Category Archives: Apocryphally Weird

Apocryphally Weird

24*. KEEP AN EYE OUT (2018)

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Au Poste!

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DIRECTED BY: Quentin Dupieux

FEATURING: , , Marc Fraize,

PLOT: Having discovered a dead body under not-very suspicious circumstances, Louis is brought in by the police for questioning. His account of the event arouses the suspicions of police commissioner Buron, but Louis is even more suspicious of the police because of their circular arguments, penchant for distraction, and curious behavior. Louis becomes concerned that he will bear the responsibility for an increasing number of unlucky events, and must recount his actions in fine detail in an effort to affirm his innocence.

Still from Keep an Eye Out [Au Poste!] (2018)

BACKGROUND:

  • This was native Frenchman Dupieux’s first feature actually produced in his home country.
  • The film’s original French title translates as “To the police station!” It can also be translated to mean “at the office.” It can also be interpreted to mean someone who is at their assigned spot (“at one’s post”), in much the way a call of “Places!” summons the actors to their marks at the start of a play.
  • Scenes at the police station were filmed in the headquarters of the French Communist Party, designed by acclaimed architect Oscar Niemeyer.
  • Alain Chabat is credited with providing “screams of pain.” Chabat appeared in Reality as a film director attempting to win an Oscar for the best wail of pain.
  • The film’s poster parodies that of the significantly more action-oriented Jean-Paul Belmondo crime thriller Peur sur la Ville (Fear over the City).

INDELIBLE IMAGE: Philippe, a hapless cop-wannabe, suffers from an unfortunate condition, and its reveal is a genuine shock. It’s not merely that he has only one eye. It’s that the whole upper quadrant of his face is smoothed over, as though the mere idea of an eye socket never existed. And once he begins espousing his hyper-preparedness for even the most surreal of accidents, it is absolutely inevitable that Chekhov’s Plastic Angle Square will fulfill its destiny.

TWO WEIRD THINGS: Near nude conductor; crunchy oyster

WHAT MAKES IT WEIRD: by way of with a healthy layer of Douglas Adams and a final punch of Sartre, Keep an Eye Out is a fantasia of absurdism. Dupieux and his actors seem to be engaged in a contest to see who can be the most deadpan, and the tone never wavers, neither in the face of escalating ridiculousness nor an unexpected and tragic conclusion.

Original trailer for Au Poste!

COMMENTS: We begin with an orchestra in a meadow, accompanying the opening credits under the baton of a mustachioed man clad Continue reading 24*. KEEP AN EYE OUT (2018) →

Apocryphally Weird

23*. JULIET OF THE SPIRITS (1965)

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Giulietta degli spiriti

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“I remember I had some exaltation about color. I see colors not like they are normally – we see colors in the object. In this case, I saw colors, just as they are, detached from the object. I had for the first time the feeling of the presence of the color in a detached way.”–Federico Fellini

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DIRECTED BY:

FEATURING: , , Mario Pisu

PLOT: Juliet, a wealthy housewife, has reason to suspect her husband is cheating on her. She has always been attuned to the spirit world, and after a seance she begins seeing visions and hearing voices; one of the whispering entities tells her that her neighbor, the strange, sexually liberated Suzy, will be her teacher. As her marriage disintegrates, her visions become harder to distinguish from reality, until Juliet snaps and banishes the spirits.

Still from Juliet of the Spirits (1965)

BACKGROUND:

  • Fellini’s first feature-length color film (although his short segment for the 1962 anthology film Boccaccio ’70 was in color.)
  • Fellini took LSD (in a clinical setting) for inspiration in making this film. He found it “a little disappointing.”
  • Some of the biographical details of onscreen Juliet’s stories come from Giulietta Massina’s own experiences in her marriage to Fellini. The house seen in the film is the couple’s real house.

INDELIBLE IMAGE: Juliet of the Spirits parades a host of bizarrely costumed Felliniesque grotesques across the screen in its 130 minutes, but aside from the perpetually smiling eye-of-the-storm Masina, the one who makes the biggest impression is buxom, bodacious Suzy (Sandra Milo). In one of the movie’s unforgettable scenes, she disrobes (offscreen) in the blink of an eye to demonstrate one of the hedonistic accoutrements in her bordello-like haven: a slide winding directly from her bedroom to her personal post-coital swimming pool.

TWO WEIRD THINGS: Hermaphrodite swami reception; faceless purple nuns

WHAT MAKES IT WEIRD: Like his previous 8 1/2, Juliet of the Spirits is a Fellini trip where dreams and fantasies—the more baroque and colorful, the better—intrude into reality as a way to explore the psychology of the film’s protagonist.


Original trailer for Juliet of the Spirits (1965)

COMMENTS: Juliet of the Spirits is transitional Fellini—most obviously, in updating the director’s palette to the full color spectrum, Continue reading 23*. JULIET OF THE SPIRITS (1965) →

Apocryphally Weird

22*. A SNAKE OF JUNE (2002)

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 Rokugatsu no hebi

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DIRECTED BY:

FEATURING: , Yûji Kôtari, Shinya Tsukamoto

PLOT: Rinko is a shy and inhibited woman working as a counselor at a suicide hotline. One day, a photographer she previously helped sends her compromising photos of herself. The stalking turns into blackmail when he forces her to live out her erotic fantasies, which take on an increasingly hallucinatory character.

Still from A Snake of June (2002)

BACKGROUND:

  • Shinya Tsukamoto’s seventh film, after Gemini (1999).
  • A Snake of June debuted at the 59th Venice International Film Festival (2002), where it won a special award (the Kinematrix Film Award, which does not appear to have been awarded before or since).
  • Tsukamoto and main actress Asuka Kurosawa were respectively awarded the Special Jury Award and Best Actress Award at 2003’s edition of Fantasporto (Porto International Film Festival).

INDELIBLE IMAGE: The unusual garb of the erotic cabaret’s patrons, who sport funnel masks as they watch an equally offbeat performance.

TWO WEIRD THINGS: Erotic drowning performance; corrugated pipe assault

WHAT MAKES IT WEIRD: Although modest by the director’s standards, A Snake of June stands out by all other measures of weirdness through its gradual abandonment of conventional narrative logic to indulge in surreal displays of interlacing horror, desire and sadism.


Restoration trailer for A Snake of June (2002)

COMMENTS: A Snake of June starts off surprisingly restrained for a Continue reading 22*. A SNAKE OF JUNE (2002) →

Apocryphally Weird

21*. APRIL AND THE EXTRAORDINARY WORLD (2015)

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Avril et le monde truqué

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DIRECTED BY: Christian Desmares,

FEATURING THE VOICES OF: Marion Cotillard,  Philippe Katerine, Marc-André Grondin, Jean Rochefort, Bouli Lanners (French); Angela Galuppo, Tony Hale, Tod Fennell, Tony Robinow, Paul Giamatti (English dub)

PLOT: In 1941, during the reign of French emperor Napoleon V, the world’s scientists have vanished, technology has not progressed for the past six decades, and the environment has been devastated by war, coal consumption, and rampant deforestation. The French Empire hunts the remaining scientists, hoping to enlist them to work on the government’s behalf. After April’s parents are kidnapped by a mysterious electric cloud, the precocious girl teams up with her grandfather, a petty thief with divided loyalties, and her talking cat Darwin to track them down, and possibly find a solution to all that ails the planet.

Still from April and the Extraordinary World (2015)

BACKGROUND:

  • Nominated for the César for Best Animated Feature; it lost to The Little Prince.
  • The most literal translation of “truqué” in the film’s French title is “rigged” or “fake.” The film’s English subtitles translate the title as April and the Twisted World.
  • An alternate history, the film’s point of divergence is the death of Napoleon III, who in our timeline lived to instigate the disastrous Franco-Prussian War. His prosecution of the war was such a failure that he was captured by the enemy, and his subsequent  rule inspired fierce opposition, ending his hopes of founding a dynasty.
  • Among the scientists whose disappearance has arrested the technological progress of this alternate world are Édouard Branly, Albert Einstein, Heinrich Hertz, Guglielmo Marconi, Alfred Nobel, Louis Pasteur, Enrico Fermi, and Sergei Korolev. Also, that may be penicillin discoverer Alexander Fleming giving a large sentient Komodo dragon a massage.
  • The film’s drawing style is modeled after cartoonist Jacques Tardi, who is credited as the creator of the “graphic universe” and gets a shout-out in the credits under an image of a pterodactyl.

INDELIBLE IMAGE: Nothing can quite compare with the first sight of a pair of Eiffel Towers looming over the Paris skyline, eventually revealing themselves as the central station for a fire-powered continental tramway that looms over the coal-stained cityscape. The image is so iconic that it figures prominently in the story, captured in April’s beloved snowglobe and playing a role in the film’s climax.

TWO WEIRD THINGS: Ambulatory meta-mansion, spore rocket

WHAT MAKES IT WEIRD: The film’s individual elements—setting, story, design—are each slightly off-kilter on their own. But combined, they add up to a unified vision of strangeness. With each plot development, the film manages to elevate the already bizarre circumstances to even greater heights.

English-language trailer for April and the Extraordinary World

COMMENTS: Say the word “steampunk” and your first thoughts Continue reading 21*. APRIL AND THE EXTRAORDINARY WORLD (2015) →

Apocryphally Weird

20*. BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (2009)

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“No, it’s not a remake.” –Werner Herzog

DIRECTED BY: Werner Herzog

FEATURING: Nicolas Cage, , Alvin “Xzibit” Joiner,

PLOT: Terence McDonagh, a New Orleans cop, suffers a permanent spinal injury when rescuing a convict neck-deep in floodwater from Hurricane Katrina. Shortly thereafter he is promoted to the rank of police lieutenant and develops an opiate addiction, accrues massive gambling debts, and finds himself investigating the murder of five Senegalese immigrants. Over the course of the case, he teams up with local crime kingpin, “Big Fate,” in the hopes of keeping his head above water.

BACKGROUND:

  • made the cult film Bad Lieutenant, starring as a drug, sex and gambling addicted cop investigating the rape of a nun, in 1992. Port of Call: New Orleans is neither a sequel nor a true remake.
  • The original New York City setting was changed at Nicolas Cage’s request in order to help New Orleans after Hurricane Katrina. (How the gesture would accomplish this is unclear.)
  • Director Werner Herzog claimed to never have seen Abel Ferrara‘s original, only signing on to the project because Cage requested him so to do.
  • It took nearly a decade for Werner Herzog and Abel Ferrara to bury the hatchet after Ferrara expressed his dismay at the project going forward without any input from him.
  • Adding to his list of “unlikely ingestibles”, Nicolas Cage inhaled baby powder every time his character snorted cocaine (or heroin).

INDELIBLE IMAGE: With the entire feature viewed from Lieutenant McDonagh’s perspective, its unreliability is a given—this is a man who loves his uppers, downers, and sleep deprivation. On the off chance the viewer considers taking his story at face value, this notion is disabused by a pair of phantom iguanas eyed suspiciously by McDonagh to the dulcet tones of “Please Release Me.”

TWO WEIRD THINGS: “There ain’t no iguana”; break-dancing soul

WHAT MAKES IT WEIRD: Cram a police procedural through the esoteric whims of Werner Herzog’s brain, then project this mishmash of corruption, drugs, nostalgia, and iguanas onto the frantic gesticulation of Nicolas Cage as a chronic back-pain sufferer going through some really heavy shit right now, and you have Bad Lieutenant.

Trailer for Bad Lieutenant: Port of Call New Orleans

COMMENTS: Werner Herzog, by an almost objective reckoning, is Continue reading 20*. BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (2009) →