Tag Archives: Folklore

249. BLANCANIEVES (2012)

Snow White

Blancanieves combines the characteristic language of documentary, a typical feature of Spanish realist cinema, with other devices from the opposite end of the aesthetic spectrum (fades, magical connections, etc.), typical of silent film – which in some cases call to mind Luis Buñuel’s surrealist aesthetic. These paradoxical styles help to create a visual atmosphere which is appropriate to the somewhat sinister tale by the Brothers Grimm which serves as the pretext of the film.”–Jorge Latorre

Must See

DIRECTED BY: Pablo Berger

FEATURING: Maribel Verdú, Macarena García, Sofía Oria, Daniel Giménez Cacho, Sergio Dorado

PLOT: Antonio Villalta is a famous bullfighter with a pregnant wife who is distracted in the ring and gored by a bull. The accident leaves him wheelchair-bound, his wife dies giving birth to his daughter, and he marries his nurse Encarna, a cruel and manipulative sociopath who only wants him for his fortune. Encarna at first keeps Carmen, Antonio’s daughter, as a servant girl and virtual slave on the estate, but orders her killed when she is found visiting her father against her stepmothers will; Carmen escapes and is rescued by a band of dwarfs who travel Spain performing a novelty bullfighting act.

Still from Blancanieves (2102)

BACKGROUND:

  • The folk tale “Snow White” was first set down in print by the Brothers Grimm in 1812.
  • Dwarf matadors (known as “charlotada”), who would warm up the crowd before the main event, were a real phenomenon in Spanish bullfighting.
  • Writer/director Pablo Berger cites ‘s Freaks (1932) as one of his main inspirations for the script.
  • Blancanieves was in development for eight years before filming began. This means that it was conceived before The Artist, the revivalist silent film that won the Academy Award in 2011.
  • The film won 10 Goyas (the Spanish equivalent of the Oscar), including Best Film and Best Actress for villainess Maribel Verdú. Spain submitted it to the Academy Awards but it was not one of the five foreign film finalists.

INDELIBLE IMAGE: Pablo Berger’s film utilizes simple tricks that would have been available to filmmakers in the 1920s, including frequent use of superimposed double images. The most effective of these is the shadowy skull that flashes over the skin of the apple as the wicked stepmother poisons it (using a syringe), while her intended victim basks in the crowd’s adulatory applause in the background, out of focus.

THREE WEIRD THINGS: Rooster cam; transvestite bullfighting dwarf; crying corpse

WHAT MAKES IT WEIRD: “I have this idea for a Snow White adaptation set among Spanish bullfighters in the 1920s, but how can I make it weird? I know! I’ll make it an expressionistic silent film, and make one of the dwarfs a transvestite and give the wicked stepmother a penchant for S&M!” Well done, Pablo Berger.


Original U.S. release trailer for Blancanieves

COMMENTS: As the early career of Guy Maddin reminds us, silent Continue reading 249. BLANCANIEVES (2012)

CAPSULE: JUG FACE (2013)

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Recommended

DIRECTED BY: Chad Crawford Kinkle

FEATURING:, Sean Bridgers, ,

PLOT: In an insular rural community, a malevolent pit periodically demands the sacrifice of whoever’s face appears on a jug.

Still from Jug Face (2013)

WHY IT WON’T MAKE THE LIST: The notion of a supernatural hole in the ground that demands human sacrifice is just strange enough to put Jug Face on our radar, but once you buy into the outlandish premise, the remainder of the film is a standard horror outing, not a weird film per se. This under-the-radar release is still recommended for fans of offbeat, atmospheric horror.

COMMENTS: Beginning with animated folk art titles illustrating a bloody primeval ritual, Jug Face sets out its mood, mythology and themes with extreme efficiency. In the opening scene, teenage Ada very nearly engages in illicit intercourse in the sight of the mysterious Pit from the title sequence, beginning a fearful association between that hole in the ground and female sexuality that will only get queasier as the movie progresses. (Later, Jug Face will subject us to the most disturbing of gynecological exams). The movie is set in a mythical Southern Gothic enclave where moonshine is both the sole export and a sacrament, where outsiders are shunned, and where the occasional human sacrifice is tolerated as a harsh necessity of the land. The metaphysics of the Pit are never explained (we learn nothing more about it than that it “wants what it wants”), but the devotions it demands are revealed in detail. Falling into a trance, a simple-minded potter shapes the clay into the face of the Pit’s next victim, who is dispatched according to traditions handed down from generation to generation. If the process is subverted and the Pit doesn’t get what it wants, things get hairy for the locals. The idea of a Pit-worshiping cult hiding out somewhere in a remote mountain holler may sound hard to buy, but Jug Face‘s quiet conviction puts the far-fetched material over. The detailed script has an answer for almost every question you might have—even questions you hadn’t thought to ask. The direction is confident and straightforward. Most of all, the cast is dedicated to bringing this odd community to life. A hick nerd with duct tape holding his glasses together, Dawai (Sean Bridgers) is effective as the cult’s mouth-breathing chosen potter. Indie-horror stalwart Sustin (Larry Fessenden) leads the redneck sect, but his wife Loriss holds the power in their household. Played by Sean Young (where’s she been lately?), Loriss is a small role with a big impact; this chain-smoking harridan may just be enforcing tribal norms, but she takes a sadistic pleasure in lording her petty power over her helpless children. Although Young has vicious fun with her role, Lauren Ashley Carter, as the young daughter Ada, haunted by sexual guilt, carries the film. Looking like a young Christina Ricci, permanently clad in her one dowdy grey frock, Ada’s normal teenage urges towards experimentation and rebellion put her at odds with her community. She conveys a sympathetic torment as she struggles between self-preservation and loyalty to the only moral code she’s ever known. She’s a sinner, but one we can identify with. Playing out with grim fatalism, like a cross between Winter’s Bone and Shirley Jackson’s “The Lottery,” Jug Face creates a unique folk mythology and is filled with an creepy sense of backwoods doom. It’s a promising debut for writer/director Chad Crawford Kinkle.

As of this writing, Jug Face is available for viewing via video-on-demand outlets. It receives a limited theatrical run in August and is scheduled to show up on DVD and Blu-ray in October.

WHAT THE CRITICS SAY:

“…an insanely bizarre and creepy slow-burn with a lot of good ideas, and precise execution.”–Brad Miska, Bloody Disgusting (contemporaneous)

Jug Face
  • Factory sealed DVD