A gourmet cannibal is infatuated with his vegetarian neighbor, Miss Carrot, but the idea of eating a single vegetable may be too much for him to stomach.
Despite not having hands to write with, Fernando Music finds his calling as a sex and space writer at a young age.
Every painting tells a story, and Joan’s is a story best left off of the canvas. (Portions of this short were later incorporated into the anthology feature VHYes (2019).)
Content Warning: This short contains brief strong language and crude humor.
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DIRECTED BY: Nick Grant
FEATURING: David Homyk, MaryBeth Schroeder, voices of Will Cooper, Nick Reed, Misty Foster, Megan Rosen, Anthony Herrera
PLOT: Goot is tricked into selling his skin to Besto, and seeks revenge with the help of a similarly skinless “mermaid.”
COMMENTS: Gutboy is a strange little creature, and the star of a strange little movie that occupies an odd niche on this site’s recommendation spectrum. The movie is slight and casual and doesn’t feel weighty or significant enough to challenge for a spot on our list of the weirdest films ever; and yet, it’s so darn weird that nearly every serious reader of this site will find something to enjoy in it. The “ ” tag affixed here is, therefore, an attempt to bring attention to this worthy amateur effort, while acknowledging that it doesn’t fit alongside some of the more serious or professional titles honored here.
Not that the movie doesn’t actually earn that “weirdest!” designation. (In fact, some argue that it works too hard for it.) Framed as a story told by an emcee to a sick boy who’s wheeled out before an audience of insects, the plot involves a fisherman tricked into selling his skin, who then immediately hooks a “mermaid” (a similarly skinless woman given to lines like “you learn a lot of things on the ocean floor… like how to please a man”) who tires to seduce him, and also grants him a wish. Gutboy doesn’t think to ask for his skin back, but instead asks to marry the policeman’s daughter. And the story just keeps getting odder when skin-merchant Besto breaks out his giants (portrayed by a well-toned couple of real live humans spray-painted gold) to wrestle for his amusement. Oh yes, and there are also musical numbers, ranging from show tunes to rockabilly and lo-fi punk and pop.
So yeah, it’s pretty strange. The marionettes are appropriately crude and grotesque: Gutboy and his paramour (who, after a brain-swapping mishap, becomes known as “Sophieguts Prettybutts”) look genuinely bloody, and for some reason have exposed brains. The other puppets are all quite ugly, too, bulbous and vaguely resembling antique Eastern European dolls, with sunken wooden eyes covered in black mold. The puppeteering is not particularly accomplished, but it doesn’t matter, given the project’s insouciant attitude. Any movie in which a wooden hooker on strings sings the line “porking me ain’t easy, and diddling me ain’t fun” isn’t aiming for much beyond cheap amusement.
The kitchen sink approach often turns a would-be weird movie into a unwatchable mess, but here it works to Gutboy‘s advantage, with each new quirk catching your attention, but not completely derailing the loose worldbuilding efforts. The movie is also helped immensely by its economical runtime: take out the four-minute introduction and the ten-minute post-credits “Titus Andronicus”-themed bonus short, and it runs just under an hour. Any longer, and it might have started to try your patience.
It might not surprise you to learn that Gutboy was a crowdfunded project. It played well enough in limited screenings thatpicked it up for distribution. It can now be seen free on Amazon Prime for subscribers.
WHAT THE CRITICS SAY:
Inspired by a tour of Tippett Studio, Nathan Moody made his first and only stop-motion animation in a single month. It’s on the shorter side, but doesn’t lack in attention to detail or creepiness.
WEBWURLD is an accompanying online video for WHOL WHY WURLD, a five-screen video installation from Jess Johnson and Simon Ward. Through symbolism, it depicts the digital world behind the screen that simultaneously is and is not our own. Jess has commented elsewhere that for an alternative reality, such as this, it is better not to work with language as we know it.
A girl’s repressed emotions are played out by animals, including an actual elephant in her room.