This week’s short is, as Thomas Grootoonk explains it, “A stop-motion animation about a boy who longs for a more vivid and brighter world.” Everything in this short, including music and animation, was done solely by Groontoonk.
Today’s short was written and directed by Julio Pereira. Pereira has released a handful of shorts the past two years that deserve much more attention than they have received. His style is quite dark, and often has a sort of drained feel to it. “Life and the Mirror” will leave you lost in thought.
DIRECTED BY: Koen Mortier
FEATURING: Dries Van Hegen, Norman Baert, Gunter Lamoot,
PLOT: A writer agrees to become the drummer for a band formed by trio of handicapped lowlifes to win a Belgian battle of the bands; he ends up manipulating them into destruction.
WHY IT WON’T MAKE THE LIST: With it’s inverted skinhead and brief tour of a ravaged vagina, Ex Drummer is definitely weird; the problem is, it’s so unpleasant, pretentious, tedious and nihilistic that the oppressive atmosphere makes the viewer desperate to escape the movie.
COMMENTS: There are many possible interpretations of Ex Drummer—for one, the script at times implies it is a vague meditation on “personal sadness”—but the most honest explanation of what the film is comes from writer Dries’ confession when he agrees to join “The Feminists” as their celebrity drummer: “I want to step outside my happy world. Descend into the depths of stupidity, ugliness, obtuseness, unfaithfulness… Latch onto the life of losers, but without belonging to that world and in the knowledge that I can always return to my own world.” In other words, it’s moral tourism among the disadvantaged: the underclasses do the craziest things, like constantly rape each other and neglect their children until the tykes chomp down on excrement from hunger. Who wouldn’t want to enter such a world for ninety minutes, aside from most film-goers? Besides the drummer, the blackguard band’s principals are an abusive deaf guitarist, a gay rhythm guitarist with a stiff arm from an accident incurred when he was caught masturbating as a teen, and a misogynist skinhead singer with a lisp. Upper-class, educated Dries’ turns out to be the worst scoundrel of all, callously manipulating and scripting these mooncalves into cruel ends for his own amusement. True, the film can be very weird (gravity works backwards in the skinhead’s flat, where toothpaste and blood flow towards the roof), but the weirdness sits uneasily: the director seems to view unreality as just another form of ugliness to be savored. As a black comedy, more comedy and less black would have been greatly appreciated. First time feature director Mortier has a few interesting ideas and shots, such as an extended early sequence where the film unspools in reverse as the band bicycles backwards from Dries’ flat into their own backstories. But the pity is that the main memories we take home from Ex Drummer aren’t these few moments of inspiration; rather, there’s an impression that most of the movie was full of endlessly padded scenes of the band squabbling among itself or fighting other bands or organizers, hurling epithets and fists whenever anyone perceives the slightest slight to their egos. Since there are no characters anywhere in the film to root for, we have no reason to care who wins the battle of the bands. After that contest’s decided, there’s really nothing left for the movie to accomplish, but it presses on for another distasteful fifteen minutes, because having nothing to say or do has never stopped it before. Ex Drummer‘s attempts to forge nihilistic poetry from the lives of pariahs has gained it critical comparisons to Trainspotting; these are off, because Danny Boyle’s movie was about real people, and never indulged in such undisguised contempt for its characters. A more apt comparison is that Ex Drummer is a Belgian Gummo, with Eurotrash substituting for poor white trash, and even more shameless and self-aware gawking at the freaky antics of the disadvantaged.
On the plus side, the aggressive punk/metal soundtrack (with a few mellower indie rock numbers strategically inserted for a much needed change of pace) is actually pretty good, and likely the real reason for the film’s cult following. If you’re a fan of this type of music you’ll probably be much more forgiving of this movie, which could at times be described as an extended, uncensored, and rather pretentious music video.
WHAT THE CRITICS SAY:
“…bizarre, horribly violent and frequently brilliant black comedy from Belgium: a melange of Irrevérsible, Clockwork Orange, Man Bites Dog and This Is Spinal Tap.”–Peter Bradshaw, The Guardian (contemporaneous)
(This movie was nominated for review by reader “Denny.” Suggest a weird movie of your own here.)
OOIOO is an all-female avant-garde music group from Japan. Their style is very hard to describe, because it varies so much. Many of their songs have a soothing, majestic feel to them, while this song is strongly tribal based. One thing is for certain, they can move a crowd. Their strong rhythm section compels their listeners to dance.
Directed by Shoji Goto, this psychedelic video focuses on the concept of communication with nature. If drum circles in the forest are your thing, you should most definitely watch this video. If they’re not… well, it doesn’t hurt to give it a try.