Tag Archives: Artsploitation

CAPSULE: DAWN BREAKS BEHIND THE EYES (2021)

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Dawn Breaks Behind the Eyes is currently available for VOD rental or purchase.

DIRECTED BY: Kevin Kopacka

FEATURING: Anna Platen, Jeff Wilbusch, Luisa Taraz, Frederik von Lüttichau

PLOT: A couple visit an old gothic castle the wife has inherited; it’s haunted, and simmering resentments from their past erupt into anger—but then there’s a twist.

Still from Dawn Breaks Behind the Eyes (2021)

COMMENTS: Dawn Breaks Behind the Eyes is a difficult movie to talk about, plotwise, because it contains a major twist coming at the end of the first act. It’s much easier to discuss in terms of its stylistic inspirations: it’s a shameless tribute to minimalist Gothic Eurohorror of the late 60s and early 70s, as exemplified by , , and (especially) . Set in a “castle” (I’d call it more of a manor), you can expect to see lots of lingering scenes of women wandering the darkened corridors bearing candelabras or walking through the grounds at night in a trance clad in white nightgowns, that sort of thing. The music—jazzy prog rock à la Goblin, alongside a variety of other rock-pop styles and more traditional orchestra-and-synth scare cues—is excellent, if ladled on a bit thick at times. Period details are perfect, even down to the pale pink, drop-shadowed opening title font, festooned with curlicues.

Again, there is not much that can be said about the plot without spoiling things. We’ll mention this nugget: while wandering around in the dusty wine cellar, Dieter (whose face and bearing perfectly express a Germanic arrogance that begs for a bloody comeuppance) finds a chest. Inside are a pair of glasses, an old newspaper article describing a tragedy, and a whip. All three items are clues, of an obscure sort. True to its inspirations, Dawn Breaks is more concerned with eerie ambiance than with narrative momentum, and the first thirty minutes are slow going. Things pick up, however, in the second act, eventually landing in a massive psychedelic-fueled orgy that shades into a finale that’s even weirder and more abstract than what came before.

Fans of vintage arty European horror movies are likely to be sucked in, although it is not the simple homage it appears to be at first. If the viewer can make it through the slow-paced introductory act, the movie starts to open up, introducing more levels that provide a psychological depth to the characters, casting them as archetypes of man and woman engaged in an eternal battle of the sexes. You are invited to infer your own backstory for the major characters based on hints dropped in casual conversation. The movie does well overcoming its budgetary limitations, utilizing every dusty, paint-stripped corner of its setting and relying on nifty editing and basic camera tricks (blurring, pink gel filters, superimposition) when it strides into lysergic territory. Multilayered and elegantly decadent, Dawn Breaks Behind the Eyes remains mysterious to the end, a fact which will frustrate many horror fans hoping for a clear denouement, but which shouldn’t be a barrier for most of our readers.

Dawn Breaks Behind the Eyes debuts on video-on-demand starting June 24; we’ll update this post with the link when the time arrives.

WHAT THE CRITICS SAY:

“About once a year, I see a movie that is so weird it takes me about 48 hours to figure out if I like it… Dawn Breaks Behind the Eyes is that movie this year.”–Sharai Bohannon, Dread Central (festival screening)

CAPSULE: ODISSEA DELLA MORTE (2018)

AKA Valley of the Rats; Odyssey of Death

Beware

DIRECTED BY: Vince D’Amato

FEATURING: Jesse Onocalla, Momona Komagata, ,  Tristan Risk

PLOT: A man has rented a limousine and travels around town talking with his associates as he tries to figure out who killed his girlfriend.

Still from Odissea Della Morte (2019)

WHY IT WON’T MAKE THE LIST: Amidst all the random shots of walking around, limo-bound conversations, and pseudo-BDSM, there is a quiet aura of nothingness going on. As there is virtually nothing doing in this movie, there is virtually nothing weird about it.

COMMENTS: With money, generally, comes a modicum of competence when it comes to filmmaking. The middle-to-big-budget movie you watch may not be particularly entertaining, but it’s at least technically well done. But low budget films are odd beasts. Some cost as much as a used economy car, and are unceasingly entertaining. Others, costing as much as a higher-end mid-budget sedan, are unceasingly tedious. To what end do I type all this garbled verbiage? My reason is twofold. First, I am somewhat frantically trying to think of what to write about Vince D’Amato’s Odissea Della Morte (translation probably not needed). Second, having begun the review in this stylistic manner, it occurs to me that it’s a fairly decent textual translation of Odissea‘s cinematic style.

Jesse (Jesse Onocalla) rides around in a limo, much to his friends’ bemusement, going on a bender while interviewing various people who saw his girlfriend (I don’t remember her name, it doesn’t matter) before she was murdered. While chewing over various evils of modern society in this mobile backdrop, various nonentities enter and exit the vehicle and make various unimportant observations. Intercutting these vignettes are shots of largely naked, occasionally gothed-out women doing ambiguously sexy things and photographing each other until the whole movie becomes this weird (!) and tedious dream thing that culminates in what is perhaps a twist.

I hope my record of reviews can attest to the fact that I am generally a very patient viewer who is eager to give every movie the fairest shake possible. The closest I’ve ever gotten to “cheating” for this website is with this movie. I did watch it, all of it, and even have some notes to prove I paid attention for portions of it. However, when your film’s two highlights are a brief conversation with an affable limo driver and some blandly cryptic remarks from an actress most famous for a small part in a movie known mostly for its theme song by David Bowie, your film is probably doomed, and no amount of T&A, canted angles, and color-to-black-and-white shifts can obscure that.

Forgive me, there was a third highlight: an aura of menace, a tied up woman threatened with a knife, and some beardo shouting, “I AM THE CITY!” in a way that made Jack Skellington‘s declaration of pumpkin-kingship seem altogether Shakespearean by comparison. That gave me a chuckle.

WHAT THE CRITICS SAY:

“…a love letter to the works of David Cronenberg and Jess Franco set to [D’Amato’s] unique take on the giallo film.”–Film Bizarro

362. THE DEVILS (1971)

“There was no better director to learn from. He would always take the adventurous path even at the expense of coherence.”–Derek Jarman on Ken Russell

Must See

DIRECTED BY:

FEATURING: , , Gemma Jones, Dudley Sutton, Michael Gothard, Murray Melvin

PLOT: Father Urbain Grandier is the charismatic spiritual and political leader of the independent city of Loudun; Cardinal Richelieu wants him replaced because he refuses to allow the city’s walls to be torn down. Sister Jeanne, Mother Superior of the town’s convent, is tormented by sexual dreams about Grandier. When Sister Jeanne confesses her fantasies to a priest, Richelieu’s men hatch a plot to frame Grandier as a warlock, and the entire convent is whipped into mass hysteria, becoming convinced they are possessed by devils.

Still from The Devils (1971)

BACKGROUND:

  • Father Grandier and Sister Jeanne, among many other characters in the film, were real people. Grandier was burnt at the stake in 1634 on accusations of practicing witchcraft.
  • The Devils was based on John Whiting’s play “The Devils of Loudun,” which itself was based on Aldous Huxley’s novel of the same title.
  • Ken Russell’s original theatrical cut ran 117 minutes, after the British censors removed an infamous 4-minute sequence known as “the rape of Christ.” The U.S. distributor cut an additional three to six minutes of sex and blasphemy out so that the film could be released with an “R” rating in the States, and that release became the standard version and the only one released on VHS. The longer director’s cut was not seen until 2004, thanks to a restoration effort led by . Russell’s director’s cut has never been issued on home video; the X-rated theatrical cut is the most complete version currently available. Portions of the “rape of Christ” scene are preserved in a BBC documentary called “Hell on Earth” (included on the BFI DVD).
  • A young designed the sets. This was his first feature credit.
  • The Devils is included in Steven Schneider’s “1001 Movies You Must See Before You Die.”
  • The contemporary arguments over the film became so heated that Russell himself attacked critic Alexander Walker on live television, hitting him on the head with a copy of his negative review.
  • Warner Brothers has steadfastly refused to release the movie on DVD, but they did eventually sublicense it to the British Film Institute for overseas release.

INDELIBLE IMAGE: Even with the “rape of Christ” scene excised, what sticks out in The Devils are the scenes of possessed nuns, some with shaved heads, whipping off their habits and cavorting in the nude, writhing, self-flagellating, jerking off votive candles, and waggling their tongues in an obscene performance. For a single, and singular, image that encapsulates the themes and shock level of The Devils, however, try the vision of Vanessa Redgrave seductively licking at the wound in Oliver Reed’s side when she imagines him as Christ descended from the cross to ravage her.

THREE WEIRD THINGS: Crocodile parry; Christ licking; John Lennon, exorcist

WHAT MAKES IT WEIRD: Nobody, but nobody, shoots a nun orgy like Ken Russell. Aside from a dream sequence or two, The Devils is a historically accurate account of a real-life medieval witch hunt—but Russell emphasizes only the oddest and most perverse details, so that the movie itself becomes as hysterical and overwrought as the frenzy it condemns. Truth, in this case, is at least as strange as fiction.


Original U.S. release trailer for The Devils

COMMENTS: Viewed from a great distance, The Devils is a classical Continue reading 362. THE DEVILS (1971)

CAPSULE: CANIBA (2017)

DIRECTED BY: Lucien Castaing-Taylor, Verena Paravel

FEATURING: Issei Sagawa, Jun Sagawa

PLOT: Confessed cannibal Issei Sagawa monologues to the camera, his face often out of focus, and talks to his caretaker brother, who is revealed to be almost as deranged.

Still from Caniba (2017)

WHY IT WON’T MAKE THE LIST: Caniba would make a list of the most disturbing movies ever made—easily. Its subject is a weirdo par excellence—in fact, he may be the world’s strangest living monster—and the film takes an experimental, offbeat approach to depicting him. Yet everything shown here is tragically real, and the effect goes beyond “weird” into “despairing.”

COMMENTS: Issei Sagawa, an intelligent but shy Japanese man studying French in Paris, killed and ate a female classmate in 1981. He spent five years in a mental institution in France and then was deported to Japan where, due to quirks of the judicial system, he was freed. Since then he has lived a marginalized existence, making a meager living off his infamy. He is now weakened by a stroke and holed up in a dingy apartment, cared for by his brother.

Lucien Castaing-Taylor and Verena Paravel, Harvard-based anthropologist filmmakers, chose to follow up their arthouse hit Leviathan (an uncontroversial documentary about commercial fishermen in the North Atlantic) with this perverted provocation about Sagawa. Most of the movie is out-of-focus shots of the ailing cannibal, closeups of his twisted, trembling hands or his blank face as he delivers halting, unhinged monologues (“I know I’m crazy,” he confesses). When he talks at all, he speaks as if he’s in a trance, gathering the strength to push out each phrase, about five or six words per minute, with long pauses in between. We also meet his caretaker brother Jun, who eventually reveals some shocking fetishes of his own—leading one to wonder whether there is a genetic curse on the Sagawa clan, or whether Jun was driven mad by knowledge of his brother’s crimes. Old black-and-white home movies of the two show what look like happy, normal children.  Back in the present, we have a very odd pixilated porn sequence starring Sagawa, inserted without any context, followed by a tour through the manga he drew celebrating his crime. Jun is both fascinated and disturbed by the graphic drawings of the girl’s corpse and his brother’s erection when faced with it. “I can’t stomach this anymore,” he says, but continues turning the pages. Issei, distant as always, seems embarrassed, if anything, reluctant to answer the questions his brother poses. For the final scene, they bring in a prostitute (or groupie?) dressed as a sexy nurse to read the cannibal a bedtime story about zombies, then take the invalid demon out for a wheelchair stroll around the neighborhood. The end.

I am glad someone documented these two twisted specimens of humanity with minimal editorializing, but the result is no fun whatsoever, and offers no insight to their pathologies, making it a very difficult watch on multiple levels. It’s of interest to sick thrill seekers and serious students of abnormal psychology. You should know this movie exists. God help you if you watch it. There is no guarantee it will get a commercial release. The film seems destined to remain forever underground, where it probably belongs.

WHAT THE CRITICS SAY:

“A weirdo documentary…  strange and unpleasant…”–Dennis Schwartz, Ozus’ World Movie Reviews

CAPSULE: SCARLET DIVA (2000)

DIRECTED BY: Asia Argento

FEATURING: Asia Argento, Jean Shepherd, Joe Coleman

PLOT: A hot young Italian actress has dirty sex, encounters Hollywood scumbags, and does too much Special K while looking for true love.

Still from Scarlet Diva (2000)

WHY IT WON’T MAKE THE LIST: This semi-hallucinatory semi-autobiography, the directorial debut of ‘s actress daughter, is merely a curiosity, though frequently an outlandish and entertaining one. It’s made with all the taste and subtlety you would expect from a woman with an angel tattooed over her crotch.

COMMENTS: Scarlet Diva is an experimental art movie that wouldn’t have been out of place on Cinemax After Dark. Asia Argento, the writer-director, asks Asia Argento, the actress, to do full frontal nudity, multiple sex scenes, a lesbian scene, and a couple of attempted-rape scenes. To freak out in front of a mirror while tripping on ketamine. To smoke, drink, and get into a mosh pit while pregnant. To pathetically pine for a pretty boy rock singer who doesn’t have time for her. To imagine herself as the Virgin Mary. Asia Argento, trooper that she is, eagerly complies with all these requests.

Scarlet Diva is timely because, among its many unsavory anecdotes, it includes a fictionalized version of the actress’ sexual abuse at the hands of now disgraced producer Harvey Weinstein. (In this version, she gets away, and he chases her down a hotel corridor as the camera focuses on his hairy ass). Yet that episode is only one of the many chaotic tales in this rambling confessional that plays like a trashy tell-all bestseller brought to life by an ambitious film student who hadn’t quite decided whether she wants to direct for the arthouse or for the late night cable market. So you get a hog-tied nude roommate, childhood flashbacks, a puking scene, dream sequences, a drug trip complete with an out-of-body experience, a religious bestiality icon, aerobics in leopard-skin panties, screaming into the void, an encounter with a horny heroin-addicted genius, Asia nude shaving her underarms while Nina Simone sings “Wild is the Wind,” and so on. And exchanges like, “That’s the first time I’ve ever made love.” “Don’t tell me you’re a virgin?” “No, I’m a whore.”

It’s pretentious, sure, but in the most enjoyable way: honest, over-the-top, passionately personal, and never boring. Scarlet Diva is not, by most definitions, great filmmaking. And yet, there’s an excellent chance you’ll find yourself entertained by it, in a guilty pleasure way.  And you’ll also feel legitimate pity and affection for Argento, despite the occasional clumsiness with which she makes the case for her own debasement. It’s better than a so-bad-it’s-weird movie, but it’s in the same general region, in the sense that it’s as often interesting for things it does wrong as for things it does right.

Film Movement Classics treats Diva like a Criterion-worthy masterpiece. There are tons of supplements, including an 8-minute “making of” featurette; an archival Asia Argento interview;  multiple versions of the trailer, including an 8-minute promo; and an odd piece called “Eye of the Cyclops” where Joe Coleman talks about his role in the film while showing us his titular conceptual art piece. It’s capped off by a very personal, even uncomfortable commentary track where Argento almost breaks into tears at times, curses Harvey Weinstein, and refuses to discuss certain painful scenes in detail.

WHAT THE CRITICS SAY:

“It is, by conventional standards, a fairly terrible movie — crudely shot on digital video, indifferently acted (in three languages) and chaotically written (by Ms. Argento) — but it is also weirdly fascinating, a ready-made Eurotrash cult object.”–A.O. Scott, The New York Times (U.S. debut)

358. MANDY (2018)

“And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revelers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall … and Darkness and Decay and the Red Death held illimitable dominion over all.” –Edgar Allan Poe, “The Masque of the Red Death

Recommended

DIRECTED BY: Panos Cosmatos

FEATURING: Nicolas Cage, , Linus Roache, Ned Dennehy, Olwen Fouéré

PLOT: A cult is passing through the forested countryside in 1980s Pacific Northwest where Red Miller, a lumberjack, lives peaceably with his love, Mandy. When she catches the cult leader’s eye, dark beings descend upon her and Red, robbing Mandy of her life and Red of his sanity. Red mercilessly exacts vengeance upon all who wronged him.

Still from Mandy (2018)

BACKGROUND:

  • Mandy is Panos Cosmatos’ second feature film, and his second film to be Certified Weird. So far, all of his movies have been set in 1983.
  • Cosmatos originally wanted Nicolas Cage to play Jeremiah Sand, but Cage preferred the role of Red. Co-producer smoothed things out and got the two to work out their disagreements, resulting in Cage playing the protagonist.
  • The character of Jeremiah Sand was based on cult-leader Charles Manson, another failed musician and acid head. Linus Roache, shortly before being cast as Jeremiah Sand, had dropped out of a cult after its leader had a meltdown.

INDELIBLE IMAGE: Mandy provides a full menu for this indeed—even if you winnow your options down to just Nicolas Cage looking crazy-go-nuts. However, the choice becomes clear upon reflection of whom this movie is actually about: Mandy and Jeremiah Sand. Mid-acid-trip-speech, Jeremiah’s and Mandy’s faces fade in and out of each other, capturing both of their haunting visages in continuous oscillation between the poles of Mandy’s mystical innocence and Jeremiah’s mystical evil.

THREE WEIRD THINGS: Demonic apocalypse bikers; The Cheddar Goblin; Heavy Metal death axe

WHAT MAKES IT WEIRD: Described by the director himself as “melancholic and barbaric”, Mandy plays like a Romantic era poem that collides violently with one helluva nightmare. Mandy‘s signposts of color saturation guide the eye along the paths of love, wrong, and vengeance while the dirgy soundtrack cues the ear like a Greek Chorus. Mandy is almost a movie to be felt more than watched. And even putting aside all the artistry, a cursory look at its basic ingredients screams “weird” as forcefully as Red screams “You ripped my shirt!”

Original trailer for Mandy

COMMENTSMandy, in perhaps its only convergence with convention, follows the three-act structure to a “T”, going so far as to designate each act with a title card. The opening, “the Shadow Continue reading 358. MANDY (2018)

347. GOODBYE UNCLE TOM (1971)

Addio Zio Tom; AKA Farewell Uncle Tom

“If you want to be fully convinced of the abominations of slavery, go on a southern plantation, and call yourself a negro trader. Then there will be no concealment; and you will see and hear things that will seem to you impossible among human beings with immortal souls.”–Harriet Ann Jacobs, “Incidents in the Life of a Slave Girl

DIRECTED BY: ,

FEATURING: Uncredited actors, mostly Haitian

PLOT: A helicopter flies over a cotton field being worked by slaves in the antebellum south; two unseen men enter a plantation, and the matron of the family introduces them as “Italian journalists” performing an “inquest” into slavery. The time-traveling documentarians then take their camera into a slave ship, follow a slave trader, tour various plantations and slave auctions, and encounter Harriet Beecher Stowe and William Makepeace Thackeray, among other adventures. In a flash-forward, an African-American reads “The Confessions of Nat Turner” on the beach and imagines black militants breaking into white households and killing all the inhabitants with axes.

Still from Goodbye Uncle Tom (1972)
BACKGROUND:

  • In the 1960s and pioneered what came to be known as the “mondo” film (after the title of their first movie, 1962’s Mondo Cane [Dog’s World]). These “shockumentaries” documented bizarre behavior around the world, with a heavy emphasis on sex and violence: Cane contained scenes of Asians eating dogs and elderly people passing away in Singapore’s “death hotel.” Their final contribution to the genre was 1966’s Africa Addio, which chronicled turmoil in post-colonial Africa and included several scenes of political prisoners being summarily executed by paramilitary squads (along with footage of slaughtered hippos and elephants). Africa Addio was extremely controversial, and Jacopetti and Prosperi were even accused of racism for making it. Goodbye Uncle Tom, their first fictional film, was a response to those accusations: they wanted to make a movie that was clearly and unambiguously anti-racist, and chose American slavery as their subject.
  • The movie was mainly shot in Haiti, with some locations in the United States, after Brazil and several other countries refused to allow Jacopetti and Prosperi to shoot there due to their bad reputation. Production lasted for two years.
  • The film was recut several times for different markets; in its original American release, the Nat Turner-inspired coda was removed as too incendiary, fearing it might spark copycat murders or riots. (Grand Wizard of the Ku Klux Klan David Duke agreed, theorizing that the movie was a Jewish conspiracy to incite a race war.)
  • The film was a financial and critical flop.

INDELIBLE IMAGE: Your eye may be stunned by the acres upon acres of nude African flesh in the crowd scenes. We chose to focus on the final image, however; the modern black doctor squeezing the white boy’s beach ball until it pops, his fingers straining with a pent-up century’s worth of tension and rage, grinning maniacally.

THREE WEIRD THINGS: Plantation helicopter; virgin seductress; afro-massacre

WHAT MAKES IT WEIRD: This strange and audacious condemnation of American slavery, made by controversial Italian shockumentarians, is equal parts outrage and exploitation, with a side of absurdity. A time-traveling mockumentary full of rape, degradation, gore, and ambiguous moral outrage, Goodbye Uncle Tom is almost weirder in its conception and backstory than its execution.


An edited trailer for Goodbye Uncle Tom

COMMENTS: Beginning with a scene of documentarians flying their Continue reading 347. GOODBYE UNCLE TOM (1971)