Tag Archives: Absurdist

Capsules

CAPSULE: GELATERIA (2019)

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DIRECTED BY: Arthur Patching, Christian Serritiello

FEATURING: Arthur Patching, Christian Serritiello, Carrie Getman, Tomas Spencer, Daniel Brunet, Simone Spinazze, Joulia Strauss

PLOT: A picaresque tour of a town on a remote island where a man leaves his girlfriend on a train and is scorned by an old childhood companion; an Italian speaker leaves his job addressing party guests in the unfamiliar language to attend an art show where a singer sings of anarchy; a getaway driver meets a UFO watcher at a remote hotel; and an artist travels to a remote island to find out what happened to the paintings she submitted to an art show.

Still from Gelateria (2019)

COMMENTS: We begin with a man standing on a rocky shore as he stares resolutely into the wild, swirling forces of nature. Finally, he screams, unleashing all his inner turmoil into the void. But we can’t hear anything at all. Whether he is unable to give it voice or it cannot be heard above the din, we cannot be sure. But the scream is silent, doomed.

Gelateria says as much in that first minute as it does in the 60 that follow. Playing out like an extended Monty Python episode that isn’t especially interested in being funny, the film bounces from one set piece to another, with one character or another delivering us to the next sketch like an off-kilter La Ronde. Like that opening vignette, much will be said but very little will be heard.

In some respects, a movie like this is review-proof. If the premise is interesting enough, it can hold your interest for several minutes until it has to bounce to the next one. Consider a scene on a yacht where a wealthy man has paid top dollar for someone to come and speak words that no one can understand. It’s a quirky situation, and the confusion of the speaker is an entertaining contrast with the blissful ignorance of the party guests. When that starts to lag, we can spend a few moments observing how no one even seems to be able to party properly, and we even get one final burst of absurdity when the host sneaks off to scarf down a hot dog. Once the speaker makes his exit, we’ve just about wrung all we can out of this scenario; it’s the perfect time to move on.

And Gelateria, like its namesake, has a variety of flavors for us to sample. Haunted: an early scene where a man contemplates his failing relationship, represented by the camera’s inability to keep his girlfriend in focus. Shocking: a singer exhorts her audience to revolt against the system, then begins shooting members of the uncooperative crowd. Giddily silly: a policeman offers to help a desperate visitor, but only in exchange for her attendance at a play he’s in. The subsequent play is wonderfully unhinged, as it appears to be falling apart right before our very eyes. (“Of course you will eat it,” an actress says of the pasta that is accumulating on the table. “It’s a play. They expect reality.”)

There’s not much reality here, of course, so what are we actually getting from it? It doesn’t have to be about anything, of course, but there’s a preponderance of evidence to suggest that the whole movie is a meditation on artists and their relationships with their patrons and audiences. Nearly everyone is either performing in some way or putting their heart on display for all to see, and the responses – from feigned appreciation to apathy to outright hostility – are not soul-enriching. If the metaphor-for-art explanation appeals to you, I encourage you to peruse David Finkelstein’s more detailed exegesis of the theme, but if that is the right interpretation, then it’s hard not to view the whole enterprise as an exercise in navel-gazing.

You see, possibly the most delightful interlude is a fun little cartoon (animated by Tiago Araújo) which introduces the character we will follow for the remainder of the film: an aspiring painter whose work has vanished as the result of what seems to be a scam. She seems a pitiable sort, but when we meet her in the flesh, she is played alternately by both writers/directors/editors/producers/cinematographers Patching and Seritiello in an inoffensive drag turn that seems to have more to do with giving credence to the closing title card “This film was inspired by true events” than anything. They are the artist, you see. But that means this whole amusing, well-shot motion picture is just a way of telling us how put upon they are as artists. And that kind of ouroboros is clever, but it’s not very fulfilling to watch. It ends up being a hollow pursuit.

All of which is to say: Gelateria is an enjoyable little piece of alt-comedy. It has a strong farcical tone, the premises hit their marks and get out promptly, and everyone really commits to the bit. But the underlying thread of self-pity subtly undercuts the modest successes, making a sweet taste turn sour. Tell it to the wind.

Gelateria is available on Vimeo for the reasonable price of $2 to rent or $5 to own.

WHAT THE CRITICS SAY:

“Gelateria is a beautifully shot, weird, and truly hell-ride of a film… With personal camerawork seeming to slide in and between the realms of reality and a dreamlike world, you’ll quickly find yourself trapped.” Jordaine Givens, Film Threat

 

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) →

List Candidates

APOCRYPHA CANDIDATE: THE NINE LIVES OF TOMAS KATZ (2000)

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DIRECTED BY: Ben Hopkins

FEATURING: Tom Fisher, Ian McNiece, Will Keen, Tony Maudsley

PLOT: On the day of a rare solar eclipse, a stranger with the ability to switch places with others arrives in London. His identity-swapping and subsequent trouble-making have an immediate impact on the natural order of things. A police inspector suspects that the disappearance of the Astral Child That Represents Existence may be responsible for the strange happenings and interrogates the spirits in an attempt to stave off disaster.

Still from The Nine Lives of Thomas Katz (2001)

WHY IT MIGHT JOIN THE APOCRYPHA: Combining stark surrealism, a heightened and aching sense of dread, and a heaping dollop of British absurdism, The Nine Lives of Tomas Katz has a profoundly distinctive point of view—there’s a perverse thrill in the way the film not only accepts its incongruities but relies upon a relentless commitment to them.

COMMENTS: Tomas Katz – whose name might in fact be “No” – has a ready answer to a casual question about what he does for a living: “I cut people open to find out where their dreams lurk.” What he doesn’t say is that he knows the ugly truth about most of those dreams: they are fractured or forever out of reach or consigned to the dustbin of memory. And this is the day when Tomas Katz will resolve all of those dreams by ending the world.

If The Nine Lives of Tomas Katz could be said to have a theme, it is that the world is simultaneously ridiculous and tragic. For a movie ostensibly about the end of everything, there’s not much concern about the actual end. It all seems pretty messed up, and usually in a pretty amusing way. We’ve got war, but it’s declared by the Minister for Fisheries against a country with a silly name. We’ve got financial calamity, but it’s brought about by an angelic choir. We even have the mass of humanity marching to Gehenna, but that just turns out to be the last stop on the London Underground. It’s nihilism with a smile, a sweet-smelling hangover.

The world into which No enters, which is primarily London as encompassed by the M25 motorway, is one where Britain’s famous stiff upper lip has metastasized into a blend of habit and ennui. Londoners are trained to silently endure the wait for their train, so when an announcement informs them that their trip will be delayed to accommodate the souls of the dead, there’s barely a perceptible change in tone. Similarly, the deployment of a tuning fork that kills all children on national television might seem destined to arouse anger and protest, but broadcasters know just how to smooth over the ruffled feathers: “The BBC would like to apologize for the widespread destruction and loss of infant life.” It’s not that the world will end with a whimper, but just that nobody wants to make a fuss.

There may be no better synthesis of the mood of Tomas Katz than a sequence where No encounters a boy bemoaning his fate: he has no friends, and his Tamagotchi died just that morning. The scene turns into a silent film, complete with wailing strings and ornate title cards. “The tamagotchis will be freed from their cages,” No assures the boy, “and all will be released.” Then he swaps places with the boy and experiences all the highs and lows of childhood, the joy and the cruelty, the pleasure and pain. It’s not too hard to understand why No feels tremendous pity for the doomed human race, and why he’s simultaneously content to burn it all down.

Tomas Katz is a genuinely funny movie, but it’s an especially English kind of funny, Britbox with bite. Consider the rabbi whom the BBC has called in to offer his wisdom to the nation despite the inconvenience of having been dead for two years. Or perhaps the police report of a window conspiracy, which is an amusing combination until we actually get to see it play out. In fact, the tone shifts so widely that the film could easily be called The Nine Films of Tomas Katz, yet it never loses its focus or its bleak humor.

For a small-scale, microbudget endeavor, Tomas Katz plays big. Huge credit goes to lead Tom Fisher, who embraces the chance to play multiple characters with a unique blend of sympathy and savagery. Kudos also to Ian McNiece, whose fearful police inspector manages to find drama and pathos in connections that make no logical sense. And a special shout-out to Dominik Scherrer’s diverse and adaptable score, which encompasses opera, techno, klezmer, Klaus Nomi, patriotic marches, and more.

Fittingly, it isn’t No who brings about the end of the world. He hands that honor to a security guard named Dave, whom he identifies as “the most vacuous being in the universe.” (Dave doesn’t seem too put out by this.) We will ultimately be the agent of our own demise, it turns out. The Nine Lives of Tomas Katz shows what that grand finale will look like if we all just keep calm and carry on.

WHAT THE CRITICS SAY:

“This has to be one of the strangest films of the year, a weird apocalyptic vision shot in the most mundane of London surroundings, with all too obvious budgetary constraints pushed asunder by the sheer energy of the director’s imagination.” – George Perry, BBC (contemporaneous)

(This movie was nominated for review by “Phantar.” Suggest a weird movie of your own here.)

Capsules

CAPSULE: ABOUT ENDLESSNESS (2019)

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Om det oändliga

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DIRECTED BY:

FEATURING: Martin Serner, Bengt Bergius

PLOT: Wan, deadpan vignettes, including stories of a priest who has lost his faith and a couple who are inexplicably flying over a burnt-out city.

Still from About Endlessness (2019)

COMMENTS: If you’ve seen a Roy Andersson film before, you know exactly what to expect from About Endlessness. If you haven’t seen one before, it’s as easy to describe the style as it is difficult to capture the poetic impact. Andersson movies are a series of short vignettes (some under a minute), mostly grim and bleak in tone, staged on immaculately detailed sets composed of earth tones and enacted by pale actors with mostly deadpan deliveries. Endlessness is not the work I would advise Andersson neophytes to start with (begin at Songs from the Second Floor and work your way forward). This project feels less like a climax to the now-78-year-old Andersson’s brilliant career, and more like an unexpected encore, a gift to hardcore fans who are not quite ready to go home just yet.

Taken together, the patchy events of an Andersson movie suggest a tapestry of human life. Here, most of the segments are introduced by a detached female voice, whose descriptions set the stage for each bit: “I saw a young man who had not yet found love,” “I saw a couple, two lovers, floating over a city,” “I saw a woman who loved champagne.” Endlessness differs from previous entries in Andersson’s canon in that there is less obvious surrealism and absurdity, and also less obvious humor. On the other hand, while he remains a Swede who makes look jovial by comparison, there is more hope here than in the past. A scene at the railway station does not end in the disaster we predict; a fight seems to be resolved, if not happily, at least with closure; and a moment where three young women break into spontaneous dancing is the most life-affirming moment the aueteur has ever chronicled. Even so, the ratio of joy to quiet despair here is unfavorable to humanity; but at least, on occasion, he admits rays of sunlight to break from the overcast skies.

The miniatures are spare, cut to the bone, with no extraneous detail to detract from each parable. Dialogue is rare, action rarer, so we have plenty of opportunity to indulge ourselves with Andersson’s specialty—set design. While the director staged a few outdoor scenes in Endlessness, it’s next to impossible to distinguish those shot in the wild from ones filmed entirely inside his warehouse using trompe l’oeil backdrops. Often the only way to know is by checking whether the clouds move, or whether birds in the sky recede or stay nailed in place.

Recurrent check-ins with a depressed priest who has lost his faith best—and possibly too obviously—express the major theme that runs through Andersson’s work: the disappearance of God from Western culture, and the persistent longing for Him. Meanwhile, the title comes from another vignette, where a young physics student attempts to wring  a spiritual lesson out of the Laws of Thermodynamics, only to be undercut when his girlfriend fails to appreciate the metaphor. At any rate, About Endlessness is an ironic title for a film that runs a brief 75 minutes, and is haunted by premonitions of death. The ending, which will likely serve as the final shot of Andersson’s cinematic career, is a whimper. It suggests that he has run out of gas. I don’t mean that in a pejorative way. I mean that his final statement seems to be that his movie ends as everything will end: broken-down and alone.

WHAT THE CRITICS SAY:

“‘About Endlessness’ is one of the least fanciful of Roy Andersson’s films. There’s less of the deadpan surrealism that tinged his prior, singular movies… The ‘endlessness’ of the film encompasses a lot of absurdity and disappointment, but its notes of grace sound the loudest.”–Glen Kenny, RogerEbert.com (contemporaneous)

Apocryphally Weird, Canonically Weird (The List)

12*. JESUS SHOWS YOU THE WAY TO THE HIGHWAY (2019)

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“I think we’re living in a world that in fifty years we’re not going to recognize, because now we produce real objects. But with augmented reality… we’re going to transform the world.” -Miguel Llansó

RecommendedWeirdest!

DIRECTED BY: Miguel Llansó

FEATURING: Daniel Tadesse, Guillermo Llansó, Gerda-Annette Allikas, Solomon Tashe,  Lauri Lagle

PLOT: Agents D.T. Gagano and Palmer Eldritch must enter the CIA-created alternate reality, “PsychoBook”, in order to investigate a sentient computer virus, Soviet Union. Abandoned within the virtual reality, Gagano finds himself in _Beta Ethiopia, where strongman/president/superhero-villain BatFro conspires with Soviet Union to distribute a VR byproduct known as “the substance.” Gagano’s reality-side fiancée, who hopes to open a kick-boxing academy, must now live with the prospect of him being trapped in a portable television display.

BACKGROUND:

  • An Estonian computer museum provided inspiration for the hardware aethestic in Jesus Shows You the Way to the Highway, but the machines on screen were mostly Apple products from the early 1990s.
  • Solomon Tashe,  who plays the African strongman dictator “Batfro,” , is a much-loved Ethiopian media personality.
  • The unusual name “Mister Sophistication” was lifted from John Cassavetes’ The Killing of a Chinese Bookie. However, like other characters in Llansó’s films, he was based on a regular at the Club Juventus, a gathering spot in Addis Ababa for Italian ex-pats and other larger-than-life clientèle.

INDELIBLE IMAGE: Take your pick. Perhaps it’s stop-motion Richard Pryor and Robert Redford investigating a house infiltrated by a computer virus assassin. Perhaps it’s the “Jiminy Cricket” CIA AI spouting knee-high advice to Agents Gagano and Eldritch. And perhaps it’s the melodramatic conversation between a super-sweetie BBW kick-boxer and her television-bound lover. For the record, however, the official “Indelible Image” is cross-dressing super-spy, Captain Lagucci, sprinting off a roof to save a portable television. Much like Miguel Llansó, Lagucci just… runs with it.

TWO WEIRD THINGS: Coked-up Batfro to the rescue!; CIA Man trapped in a TV

WHAT MAKES IT WEIRD: Llansó manages to make an “anything and everything” approach to imagery, symbolism, dialogue, and scenario gel into a unified whole. Obviously the plot for JSYtWttH is bonkers, and that’d be enough, but its mountain of antiquated tech, dizzying opening credits, vibrant colors, bug aliens, MIT conspiracizing, Cold War derring-do, and… You get the picture; just about everything in this movie makes it weird.

Trailer for Jesus Shows You the Way to the Highway

COMMENTS: “Loading. Please wait.” Not a typical beginning for a Continue reading 12*. JESUS SHOWS YOU THE WAY TO THE HIGHWAY (2019) →