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It Came from the Reader-Suggested Queue

IT CAME FROM THE READER-SUGGESTED QUEUE: THREE… EXTREMES (2004)

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DIRECTED BY: ,,

FEATURING: , , , Im Won-hee, Kyôko Hasegawa,

PLOT: A woman resorts to extreme measures to regain her youth, an intruder torments a film director and his wife, a young girl is haunted by a traumatic past.

Still from Three... Extremes (2004)

COMMENTS:  Three… Extremes started as a franchise of pan-Asian horror anthologies with 2002’s Three. A collection of short films from Peter Ho-Sun Chan, Kim Jee-woon, and , Three offered a panorama of horror from China, South Korea and Thailand. It never reached the popularity of its sequel, however, remaining obscure while the second and final installment, widely known as Three… Extremes, attained a cult status, largely thanks to a selection of contributors that included a couple of major names in  contemporary  cinema.

Hong Kong’s Fruit Chan offers the first dish, Dumplings. It is perhaps the most infamous of the trilogy, and Chan quickly adapted it into a feature film. The plot revolves around a rich middle-aged woman attempting to regain her youth ( and her husband’s love)  by eating special dumplings that promise to rejuvenate her skin, provided by an unconventional chef. Ethical issues come to the forefront as the stuffing’s origin is revealed. Our heroine’s disgust and second thoughts give easily their way to self-destructive obsession, however. “Dumplings” is a Faustian morality play about the price of narcissism. Like Elizabeth Báthory, the countess who bathed in the blood of virgin women to remain young, our protagonist engages in grotesque acts for selfish reasons. An industrial soundscape enhances the sense of something ominous and disturbing lurking in the background.

After the appetizer, South Korean visionary Park-Chan Wook  presents “Cut.” His story focuses on a successful film director and his wife on the night that an intruder captures them and proceeds with a series of mental and physical tortures. There is no moral justification here; this is no Saw. Instead, the explanation given is brutally honest, making the events following even more shocking. This is a revenge tale, albeit one with elements of social commentary. If you love contemporary socially-conscious genre cinema from South Korea, like Bong Joon Ho‘s Oscar-nominated Parasite (2019), this will be right up your alley (as long as you have a strong stomach for gore). At the same time, the narrative plays masterfully with the nature of reality, blurring the lines between the authentic and the staged, culminating in a series of over-the-top twists and reveals.

The third piece, by far the most haunting, comes from Japan. Takashi Miike’s “Box” is a surreal psychosexual narrative following a young woman ridden by guilt and repressed lust. It alternates between present and past; Miike depicts the former in a cold color palette expressing grief, while warmer tones in the present hint at catastrophic passions. The flashbacks have a carnivalesque aesthetic that, along with the taboo subject matter, recalls ‘s Strange Circus (2005). The hints of supernatural horror and the morbid symbolic imagery are guaranteed to make you shudder.

More often than not, compilation films are uneven. That’s not the case here. A strong thematic link creates coherence, as each tale is a deeply meditative take on human envy. This is thoughtful horror with a psychological aspect, essential viewing for fans of the genre.

WHAT THE CRITICS SAY:

“…Miike’s ‘Box’ is the best of the bunch – a disturbing, dreamlike tale of a woman novelist haunted by dreams of her twin sister who died long ago…  The film may well live up to its title: it is perhaps too extreme for some viewers, perhaps even in bad taste at times, but you have to give all the episodes credit for being bizarre and effective.”–Steve Biodrowski, Cinefantastique

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I think this movie is better than average
Three / Three... Extremes [Limited Edition] [Blu-ray]

Three / Three… Extremes [Limited Edition] [Blu-ray]

  • Two anthology films, six ghostly tales of terror, acclaimed directors from Hong Kong, Korea, Thailand and Japan. The ultimate omnibus of horror.

List Price : 39.95 $

Offer: 27.55 $

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FANTASIA 2026: APOCRYPHA CANDIDATE: BUDDY (2026)

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DIRECTED BY: Casper Kelly

FEATURING: Delaney Quinn, Cristin Milioti, Tristan Borders, Madison Skyy Polan, and the voice of Keegan-Michael Key

PLOT: A group of children’s-show friends attempt to escape from the increasingly homicidal titular unicorn.

Still from Buddy (2026)

WHY IT MIGHT JOIN THE APOCRYPHA: Buddy’s lair is carved directly into the sheer walls of the uncanny valley, sure, but the denouement’s dreamy poignancy secures Kelly’s caper a place in our weird hearts.

COMMENTS: You may not know it, but Buddy wants to be your friend. And even though he’s just met you, he loves you very much. But unless you want to spend the remainder of your existence (or perhaps longer) cycling through an endless series of singing, dancing, frolicking bromides, do not extend your hand to this beastly television host. Watch out for your family, too, because once they’ve gone Buddy, there’s no going back.

Buddy will appeal to a number of audiences: horror fans seeking something candy-coated and full of carnage; adventurous viewers yearning for the sinister side of wacky; drug aficionados who have themselves tasted of the butterscotch psychotropic flower petal; and especially anthropologists studying television culture of the late second millennium. This film is a simulacrum of excesses that, in hindsight, feel almost barbaric.

I am not referring to the creepy gore found in Buddy, no. I speak of the bombardment of treacly songs and horrific performance foisted on the youth of yesteryear—and, regrettably, today as well. Strip away Buddy’s murderous rampages, and there’s still an ever-pulsating technicolor blob of repulsiveness. When we root for Freddy and her liberated buddies, we’re not just invested in their physical safety: we want them to escape to live a well-adjusted life, with all its surprises and misfortunes.

Casper Kelly leaps out of the fire and into the impossibly vibrant world of 1990s children’s programs with his latest film, and the product of his imagination both sears the eyes and slashes the mind, all while also capturing the heart. During Kelly’s introduction to his movie, he commented on his own children’s viewing of the various late-20th-century “children’s classics.” I can only hope and pray that those days are gone, that the memories fade, and that in years to come we can look upon Buddy as a totem of daytime horrors past.

WHAT THE CRITICS SAY:

“…get’s [sic] more and more fun the weirder and weirder it gets… A deranged, go for broke experiment that makes the most of all of its bizarre ideas…”–Derrick Murray, Nerdbot (festival screening)

I think this movie is weirder than average
I think this movie is better than average

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APOCRYPHA CANDIDATE: THE GREEN ELEPHANT (1999)

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Beware

DIRECTED BY: Svetlana Baskova

FEATURING: Sergey Pakhomov, Vladimir Epifantsev, Aleksandr Maslaev

PLOT: Two ex-military officers are thrown into a prison cell.

Still from The Green Elephant (1999)

WHY IT MIGHT JOIN THE APOCRYPHA: Not only does it contain extreme grotesqueries, but it is in essence a comedy of the absurd, and a highly disturbing one.

COMMENTS: Let’s start with a bit of context. A “parallel cinema” emerged In the late Soviet Union of the 80s 1. Within this cinematic landscape an even smaller underground movement was formed, known as necrorealism. With a name parodying the dominant social realism of its country, this alternative cinema showcased decomposition as a metaphor for social decay. Yevgeny Yufit is considered its main representative. Necrorealism’s aesthetic legacy continued into succeeding years through the works of two deeply subversive auteurs: Svetlana Bascova and Oleg Mavromatti2.This work is pivotal for a comprehensive understanding of their style, as Bascova and Mavromati’s  worldviews and creative talent merge: Svetlana directs and Oleg produces. Let’s examine the monster they have created.

The plot revolves around two unnamed ex-military officers thrown into prison for indeterminate reasons. The first act observes them in their claustrophobic cell, as the more loquacious annoys the other with his constant blabber. The stories become increasingly disgusting, hinting at what it may come.

Their prison reveals itself as a hellscape where bodily fluids, excrement, and secretions subvert our characters’ dignity until their total mental and physical annihilation. The deteriorating walls of their cell, the broken pipes, and a dirty toilet bowl mirror their decline. the depravities begin, as in a comedy of the absurd, without a clear reason. The first forty minutes aren’t disturbing in terms of graphic content (yet), but scenes of coprophilia and coprophagia will trigger more than a few gag reflexes.

The second act leaves the dirty cell behind for a similarly dimly- lit room with a sewer-like open trapdoor in the middle. The supervisors bring in the trapdoor to humiliate the prisoners even further. But nobody is really in control here. The dynamic shifts unexpectedly, chaos ensues (violence, gore, rape, necrophilia) and everyone is exposed as equally doomed as this tragic fable comes to its conclusion. If the first half disgusts, the second half is dizzying. This is visceral cinema at its wildest.

This movie doesn’t just attack our senses; it also to deconstructs ideals regarding the military complex and the people that service it. it becomes clear later on that we are in the Soviet Union of the 80s, a few years before its collapse. However, even if the sociopoitical background is specific, the commentary extends to a wider critique against militarism.

From a technical standpoint, this work is amateurish, albeit expressive. The snuff film quality of the shots, along with realistic—for the most part—special effects are discomforting. The extensive use of enclosed spaces creates a certain theatricality.

Of course, despite its political undertones, this movie is not for everyone. If you are a fan of extreme cinema, though, able to stomach ‘s cinema of sepsis, then perhaps it is for you. This bizarre movie has become a cult phenomenon in Russia, inspiring a talk of a sequel, a video game adaptation, and memes. Perhaps it speaks to the Russian psyche.

  1. You can learn more about parallel cinema and necrorealism through the informative essay by Eugene Vasiliev on this site. ↩︎
  2. Mavromatti directs weird movies till today by the way, having  released a hilarious series of vlog-spoofs (in Russian, of course) throughout the last decade. ↩︎
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FANTASIA 2026: APOCRYPHA CANDIDATE: INSECTASY (2026)

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DIRECTED BY: Angus Silver

FEATURING: Tirion Healy, Emmett Roiko, Jan Roeth, Eugenie Frances, Lyndall Huber

PLOT: Sadie becomes increasingly distracted from work and social life as her sexual fixation with insects blooms.

Still from Insectasy (2026)

WHY IT MIGHT JOIN THE APOCRYPHA: Sadie’s acts of orgasmus ex insertione vaginali gryllorum stand out from most other movies, and the ongoing dream sequences lend an otherworldly oddness to her unlikely onanism.

COMMENTS: Around the age of eight, I developed my first phobia. Beetles and other large, shelled bugs fascinated me as a boy, and I even had a small collection of specimens. Down by the the pool one day, I discovered a robust beetle, its body drawn together in the shape of a large almond. I brought it upstairs and inside to our pantry, where there was a convenient window sill for drying. Late at night, I entered the pantry to assemble ingredients for a peanut-butter sandwich. Flicking on the light, I espied thin, shadowy motions out of the corner of my eye. The beetle, which I laid on its back to dry, was not dead, and its upthrust legs were bending about in a most lively manner. I went howling to my folks’ room with the shout, “MOM, PAPA! THERE’S A BIG BIG BUG!”

I share this anecdote not in the pursuit of praise for sitting through Angus Silver’s erotic dramedy, Insectasy, but to land on a point: I eventually outgrew my phobia as I grew more comfortable with the billions of creepy-crawlies which inhabit our world. Sadie, a young medical receptionist, also must undergo growth and change. [Insert chrysalis metaphor here…] Of course, she begins her journey of bug-love much further down the pipeline: Insectasy‘s opening scene has her antsy to get through her boring day at work, practically bursting by the time she returns home, opens her breadbox, removes one of its jars containing a trapped insect, and then uses the small creature to aid in a frantic bout of masturbation.

This taboo behavior recurs often, and inevitably notches-up: larger bugs, deeper utilization (if you take my meaning), and so on, whilst simultaneously Sadie becomes decreasingly able to put up with the beige-bland life she otherwise finds herself trapped in. Her friend group is a hipster-flavor of tedious, the pet shop woman is both coy and snarky, and unfortunately the hunk who works nearby turns out to be something of an idiot once she actually gathers the nerve to interact with him. At one point she laments that she feels as if, in her misguided ambition to avoid pain, she has wrapped herself in a thin curtain until reaching a point where she cannot move.

Eventually her cryptic medieval-flavored fantasies—ramparts, gowns, faeries, a dying knight, all suffused in sickly bright sepiaesque glow—aren’t enough. What is she after? Can she discover who, exactly, she is? And more importantly, can she embrace this part of her self? This could have been just another self-discovery drama. Director Angus Silver and actress Tyrion Healey (who somehow manifests her Sadie character as both smoldering and staggeringly awkward) decide otherwise. This is an erotic portrait of a young woman who finds her place in the world through finding a place for her objects of desire, both within and without.

WHAT THE CRITICS SAY:

“…Silver’s film is a portrait of errant eroticism all at once in cocoon-like repression, in ecstatic emergence and in free, if undercover, flight – and it is as fascinating and repellent as any glimpse into a person’s unchecked, innermost urges.” — Anton Bitel, Projected Figures (festival screening)

I think this movie is weirder than average
I think this movie is better than average

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FANTASIA 2026: APOCRYPHA CANDIDATE: TEENAGE SEX AND DEATH AT CAMP MIASMA (2026)

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DIRECTED BY:

FEATURING: Hannah Einbinder, Gillian Anderson

PLOT: An up-and-coming filmmaker tasked with rebooting a horror franchise arranges a meeting with the reclusive star of the original film.

Still from Teenage Sex and Death at Camp Miasma (2026)

WHY IT MIGHT JOIN THE APOCRYPHA: My weirdar blipped plenty during the screening, but it’s difficult to get a bead on specifics. There’s a great scene sexualizing the act of eating fried chicken with dipping sauce, so I’ll drop that here for now as a placeholder.

COMMENTS: From the beginning, Kris showcases her love of candy. For a planned overnight trip to middle of nowhere, she stocks up on a grocery bag full of the stuff. As much as she loves her candy, she loves Little Death more. No, not the French euphemism for an orgasm (we’ll get to that later), but the air-vent-headed, double-tipped harpoon-toting murderer from the Camp Miasma franchise that Kris grew up adoring and has been assigned to reboot. Re-watching a lesser entry in the series during a stopover before her inspirational awakening (in manner both creative, and orgasmic), we watch her watching whilst she gorges on an impressive amount of sweet cinema snacks.

Watching. That’s what Teenage Sex and Death at Camp Miasma is about, I reckon, while delivering the dozens of trope-nods (mainly, sex -> murder, or at least death, if only a little one) necessary for a slasher dissection. The hotel movie-‘n’-candy orgy launches the long weekend with the enigmatic and aged Billy (Gillian Anderson, in a lovely Southern Gothic turn), star of the franchise’s opening installation. Kris grew up watching (young) Billy’s strange look of detachment during the film’s sex scene. We now watch Billy as she playfully parries with this talented but staggeringly insecure filmmaker before her. Kris watches Billy sketch violently during a 35mm screening of the old movie in her home. And watching both of them, it seems, is the mysterious Little Death.

(Apologies for this parenthetical paragraph—though I’m sure Kris would understand, as she’s constantly apologizing for parentheticalizing—but this review has so far turned out to be more about candy than I was anticipating. Several other elements worth noting briefly: old film merging with this new film as per the designs of Little Death in their lair beneath the lake; an absurd Zoom call with the studio that collapses into performance art; and the bloodiest sex scene I have yet seen.)

With nearly two-hours to unpack, Teenage Sex… has a great deal to chew over. On the other hand, Schoenbrun somehow turns the corner from meta-movie back into movie-movie: their film is about what we see. Schoenbrun’s tremendous love of movies channels the past, with its slasher classics; the present, with its journey of self-discovery and acceptance; and a hint at the future, through the coda in the nearby convenience store. Kris and Billy, still dolled up in the scant attire and buckets of blood from their climactic encounter, meander the aisles, Kris explaining which gummies are the best. Kris would know: of her various quests in life, few have been more exhaustive or satisfying than this one. Anchored now by more than candy, she is better equipped to chase down her greatest love: making movies.

WHAT THE CRITICS SAY:

“…a wonderfully warped and weird queer spin on Friday the 13th that proves horror has, and always will be, for the shes, gays, and theys.”–Kat Hughes, The Hollywood News (festival screening)

I think this movie is weirder than average
I think this movie is better than average