Tag Archives: Alicia Vikander

APOCRYPHA CANDIDATE: RUMOURS (2024)

366 Weird Movies may earn commissions from purchases made through product links.

Recommended

DIRECTED BY: , , Galen Johnson

FEATURING: , , Denis Ménochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira,

PLOT: G7 leaders gather at a conference to write a statement on an unspecified crisis; everyone else suddenly disappears, leaving the leaders stranded in the woods with masturbating zombie bog-men and a giant brain.

Still from Rumours (2024)

WHY IT MIGHT JOIN THE APOCRYPHA: Ever since seeing the pre-release still of the giant brain in the forest with ivy growing on it, we knew Rumours was going to be weird. While the cast and budget may be bigger than usual, Guy Maddin proves he is no sellout, and the rumo(u)rs are all true: the movie does not disappoint in the oddness department.

COMMENTS: Seeing a Guy Maddin (well, a Maddin and the Johnsons) movie with known actors in an actual AMC theater is, in itself, a surreal experience. The fact that I was not the only one there was even stranger. Although it would be nice for other local Maddin fans to get a chance to come out and catch Rumours on a big screen—there must be at least one or two others in a metro area of one million souls—I was halfway hoping that the five other patrons had wandered in unsuspecting, lured by Cate Blanchett’s name on the marquee, and, like hapless G7 leaders, were about to be blindsided by a strangeness they could never have foreseen.

To be fair, it takes a while for it to sink in that this is a Maddin movie. There’s no homage to a particular cinematic era—the movie instead is a stylistic melange of soft focus, lavender lighting, and melodramatic musical cues, shot in academy ratio—and the broad political satire is far away from Maddin’s typical Freudian introspection. Perhaps this shows the influence of screenwriter and co-director Evan Johnson and third co-director Galen Johnson steering Maddin away from his usual fallbacks. But soon enough the absurd sense of humor reminds us that we are, indeed, watching a Maddin film. (My favorite joke may be when the French Prime Minister explains that the giant brain in the forest must be a woman’s, because it is “slightly smaller than a man’s giant brain.”)

Satirically, the movie is obvious rather than incisive, earning its laughs from its absurdities, not its relevancies. The G7 leaders have assembled to address a crisis they never get around to defining, instead meeting in small groups to draft statements that are made up of half boilerplate, half non-sequitur (items like the display of non-sexual physical affection within marriage make it into the statement, along with nonsense the American president mutters while talking in his sleep). The characterizations of the ineffectual statesmen and women are, to say the least, unflattering: the Italian Prime Minister does little but offer his companions lunch meat. In a ironic nation-deprecating joke, the most dynamic of the seven is the Canadian: he’s a horndog in a man-bun with a weakness for strong women, who has, or will, sleep with the entire female cast. But don’t do as the French Prime Minister explicitly suggests and look for symbolism in the leaders’ characters. Instead, embrace the UK’s atypical astute response when P.M. Broulez asks, “what does it mean that Canada is faster than Germany?” “Nothing!” It’s not specific shots at the political order, but the dreamlike elements of the masturbating bog-men, the giant forest cerebrum, and the treacherous A.I. chatbot that hit hardest in Rumours. We don’t know what has caused the apocalypse, or even if it is an apocalypse; all we know is that the world’s leaders are spectacularly unequipped to save us all from whatever weirdness is slouching towards the summit.

The relatively big exposure of Rumours made me slightly afraid that Maddin might have gone (slightly) mainstream.  My fears were assuaged when the credits rolled and the five other people in the theater all started loudly complaining to each other: “That made no sense at all!” “That was terrible!” “I wanted to leave but I just thought it had to get better!” “Who did Cate Blanchett owe money to?” They may have hated it, but odds are they would think about what they had seen later, and would never entirely forget the bizarre experience. It’s a response that I like to think would have had Maddin and the Johnsons chuckling. It certainly had me chuckling.

WHAT THE CRITICS SAY:

“Sporadically ingenious, occasionally chilling and entirely bonkers… Maddin… responds to the call of the weird with a refreshing lack of pomposity.”–Jeannette Catsoulis, The New York Times (contemporaneous)

APOCRYPHA CANDIDATE: THE GREEN KNIGHT (2021)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY:

FEATURING: ,

PLOT: King Arthur’s nephew Gawain accepts a challenge from the mysterious Green Knight to deliver a blow that will be returned to him in exactly one year.

Still from The Green Knight

WHY IT MIGHT JOIN THE APOCRYPHA: The Green Knight reconnects us with the deep weirdness of ancient legends, where even Arthur’s shiny new Christian order cannot banish the strange chthonic magics growing from the world below.

COMMENTS: We find him hungover in a brothel on Christmas morning. Gawain, Arthur’s nephew, is dissolute, only seated at the Round Table thanks to nepotism. He tells his uncle that he has no stories to tell, but when the half-tree, half-man Green Knight strides into Camelot (summoned, it seems, by witchcraft), he himself will become the tale. Since none of Arthur’s other knights will accept the oaken interloper’s proposed “game” to trade blows—delivered a year apart—with his axe, Gawain, suddenly ambitious to make a name for himself, steps forward and unwisely cleaves the Knight’s head from his trunk. This fails to deter the tree-man, who merely picks up the severed appendage and reminds Gawain of his date one year hence.

Thus begins Gawain’s quest to become a man. The knight’s code of honor Gawain aspires to demands that he keep his word and, although his resolve trembles a bit, he never seriously doubts that he will face his fate. Lowery fills out the sketchy 14th-century poem with some new incidents (which feel authentically Arthurian, like a version of the story of St. Winifred), but his main twist on the ancient legend is to make Gawain human, relatable, a man with feet of clay who nonetheless perseveres in his duty—or one who is pulled forward inexorably by his fate. As with most of The Green Knight, it’s unclear whether Gawain’s willingness to sacrifice himself is noble, or merely predestined. Contradictions abound: the pagan and the Christian exist side by side, an ancient story is told through a modern lens, and green, as Alicia Vikander reminds us in a long poetic speech, is simultaneously the color of life and of death.

There are strange things in the world which defy all logic, and Gawain experiences many of them on his journey. Heads persist separately from their bodies, women pass out magical totems and sashes, corpses hang at crossroads, giants plod along in an inexplicable parade, and a fox joins his quest (and dispenses advice). In every hut and castle along the way, Gawain encounters strange residents who may actually be ghosts, fairies, or magicians. Dreaminess overtakes our hero as he advances towards the Green Chapel, but in the end, only the clear inevitability of the axe-blow awaits. The formalist minimalism of Lowery’s A Ghost Story yields to a fiery maximalism of fantasy, but the dire existential edge remains.

WHAT THE CRITICS SAY:

“A mystical and enthralling medieval coming-of-age story in which King Arthur’s overeager adult nephew learns that the world is weirder and more complicated than he ever thought possible, ‘The Green Knight’ is an intimate epic told with the self-conviction that its hero struggles to find at every turn. Stoned out of its mind and shot with a genre-tweaking mastery that should make John Boorman proud, it’s also the rare movie that knows exactly what it is, which is an even rarer movie that’s perfectly comfortable not knowing exactly what it is.”–David Ehrlich, Indiewire (contemporaneous)