Weirdest Movie of All Time, plays a storytelling wolf-man in Flying Lotus’ new music video. The special effects may seem familiar; this short was co-directed by ., director of the recently crowned
Paris est à nous
DIRECTED BY: Elisabeth Vogler
FEATURING: Noémie Schmidt, Grégoire Isvarine, Marie Mottet, Lou Castel
PLOT: Anna does not go on her boyfriend’s flight that crashes; back in Paris, she becomes increasingly detached from herself and society.
WHY IT WON’T MAKE THE LIST: Alhough there are many Canonical titles that, it could be argued, are a bit incomprehensible, they also necessarily have some verve, panache, charming idiosyncrasy, or other stylistic or narrative merit. Paris Is Us is wanting for a purpose to complement its opacity. If you seek aimless ennui worth watching, check out Godard‘s early works instead.
COMMENTS: Two interesting things happened within minutes of each other when I began Paris Is Us. The first was a demonstration of the differences between dubbed dialogue and subtitled dialogue. (For reasons unknown, Netflix defaults to the English-language dub when available for its foreign fare.) The second was my cat hunting my pen as I waited patiently to find something worth writing down. That excitement out of the way (by correcting the audio to play the French-language track and by my cat nestling down to go to sleep next to me), I found myself trapped for the long-haul of a not-particularly-organized (and even less happy) spewing of montage.
Regular readers of my reviews know that this is the “plot” paragraph. There isn’t much more to say beyond the bare-bones description above. (And I’m probably repeating this ruse, now that I think of it.) The few minutes of dialogue in English perhaps skewered the whole viewing experience, as I couldn’t get the whole Frat-bro dialogue out of my mind while the (now) French-speaking twenty-somethings went on ad nauseum about: What if we’re all in a video-game? Isn’t there more to life than money? And can we even do anything about the state of this world that so drives us to European angst? Clattering around these musings were some specific lines that stood out, working at least as spoken in French (I shudder to think of the Frat Bro voice dub), like “I wanted it to create something so I could feel… alive” (in regards to hoping two planes might crash into each other overhead), and “We have something unique. We can’t throw it away” (said in the midst of one of the incessant fights between Anna and Greg).
I admit this is a really lazy review, but I only give the film-makers a qualified apology. Paris Is Us could have been tossed together by any freshman-level film students given cameras and a Parisian backdrop. The first act was long enough to make me dislike the protagonists; the second act stretched one obliquely conveyed tragedy across twenty-odd minutes; and the third act’s only saving grace was the random appearance of the only older character (Lou Castel), an ex-con on his way to visit his daughter’s grave. He has moved on with his life in the face of his double-tragedy, and the young ‘uns in the rest of the movie could do well to learn from his example. The administrator described this as “your oddest gamble” for Oscar week. It was a gamble. I have lost, but you needn’t do so.
Paris Is Us streams exclusively on Netflix (at least for the time being).
WHAT THE CRITICS SAY:
“Ce qui frappe immédiatement dans PARIS EST À NOUS, c’est son incroyable ambition esthétique. L’équipe du film prouve que la configuration de tournage imposée par son économie de moyen n’est absolument pas un frein à la qualité visuelle du métrage, bien au contraire.” –Aurélien, leblogducinema.com[efn_note]I’m keeping this quote in French because, like the movie, it sounds much more complex this way than it actually is.[/efn_note]
David Firth’s most infamous series returns with its first new episode in five years. The long wait is justified, not solely by the improvement in animation, but by following the progression of being more uncomfortable to watch than the last.
Content Warning: This short contains gross and violent imagery.
We didn’t get to fly out to Park City this year for the Sundance festivities (our budget has never allowed for trips to Park City), the rival Slamdance Festival was kind enough to offer us a handful of digital screeners to create a virtual fest in the 366 Weird Movies home offices. So, while I didn’t get the full audience experience watching these underground films—chuckling with fellow patrons at the antics of these onscreen loonies while the scent of popcorn wafts through the darkened room—at least you won’t have to hear me complain about trekking through Park City’s sub-zero temperatures to see them (I watched them via Chromecast in front of a roaring gas fireplace clutching a glass of beer, thank you very much).
Obviously, we focused only on movies we thought sounded somewhat weird, ignoring the vanilla dramas and documentaries that make up the bulk of the programming. All of these films will have debuted by the time you’re reading this, but if you’re in Park City and you still want to catch them, Dollhouse and The Vast of Night play again on the 28th, while “Slip Road” can be seen on the same night in the “Anarchy Shorts” section. A Great Lamp and “Finding the Asshole” play again on the 29th (and “Asshole” is also now available to everyone online), while “Butt Fantasia” encores on the 31st.
So, while “major” critics are salivating over Sundance’s latest dramas about attractive young white people grappling with their mommy and daddy issues, we’ll show you what’s going on in the underbelly of Park City, where the weirdos congregate to screen their latest experimental offenses about unattractive young white people grappling with much weirder mommy and daddy issues.
Speaking of weird mommy issues, first up in our queue is Dollhouse: The Eradication of Female Subjectivity in American Popular Culture (don’t worry, the scary pseudoacademic title is part of the joke). Using an aesthetic borrowed from “Superstar: The Karen Carpenter Story” and a sense of humor derived from “South Park,” Nicole Brending tells of the rise and fall of Junie Spoons, a child superstar a la Britney Spears or Miley Cyrus, entirely with children’s dolls. This project was a labor of love by Brending, who launched a Kickstarter campaign in 2013 that failed to reach its goal, but kept hope alive and managed to complete the film (for a reported budget of “no money”) five years later.
Even if it’s unpolished and uneven, that kind of personal passion usually results in something worth watching, and that’s the case here. Dollhouse provides steady chuckles and is frequently in very bad taste—especially considering that its mockumentary subject becomes a washed-up, drug addicted divorcee felon in her early teens. Among the Continue reading SLAMDANCE 2019 REMOTE COVERAGE-approved provocations are a pre-teen sex tape (with pixellated doll penis), dolls stuck with syringes, black men voiced by white women, Mapplethrope photos, and a vagina transplant/repossession. The
A lonely skeleton looks to liven up his evening with some substance abuse, but the monkey in his head still appears to pour water out of his eye sockets.