Prie Dieu, or “Pray to God, features close ups of a praying mantis and various other insects. Although we share the same planet, it becomes quite apparent in this short just how alien their world is to ours.
Prie Dieu, or “Pray to God, features close ups of a praying mantis and various other insects. Although we share the same planet, it becomes quite apparent in this short just how alien their world is to ours.
DIRECTED BY: William Friedkin
FEATURING: Ashley Judd, Michael Shannon, Harry Connick Jr.
PLOT: A lonely and none-too-bright waitress with a tragic past and an abusive ex-con ex-husband takes up with a mysterious man who is convinced that their ramshackle motel room is infested by bugs.

WHY IT WON’T MAKE THE LIST: Bug is a well-acted, claustrophobic and dramatic exploration of paranoia that’s worth catching, but the mildly insane third act isn’t quite mad enough to get the movie involuntarily committed as one of the weirdest of all time.
COMMENTS: If you’re into paranoid delusion as entertainment, Bug is a must-see; if you’re not, it’s still worth a watch for its oft-clever script, excellent performances (especially Ashley Judd’s tragic white-trash turn), and uneven but whacked-out finale. Bug‘s origins as a stage play are always apparent—it plays out almost completely inside a dingy weekly-rate motel room that represents the protagonists sealed-off psyches—so don’t expect to get much fresh air or wide-open vistas. It’s slow-building, but always intense and claustrophobic, and the unrelieved tension may weary you after a while.
One things for sure: it’s an actor’s movie. Ashley Judd and Michael Shannon get the lion’s share of the lines, while the supporting characters—led by a buff, slick and abusive Harry Connick, Jr. as an abusive ex—present a layer of seediness in the external world that suggest fantastical escapism, however skewed, might be preferable to harsh reality. Shannon, who enters the scene as a mysterious stranger, conveys the fact that something is “off” about his character from the get-go merely through his disconcerting calmness and odd cadences (which lead to increasingly odd monologues). Shannon’s Peter is too alien for us to identify with, though, so all our empathy naturally flows to Judd’s Agnes, who may not be the brightest bulb in the marquee but who surely doesn’t deserve the misfortunes that fate has visited on her. Judd does a bang-up job, redeeming herself after a number of forgettable performances; she succeeds by projecting a hollow loneliness that sells her character’s improbable descent into madness as the only sane option open to her. Her line “I’d rather talk to you about bugs than nobody about nothin'” tells you all you most of what you need to know about her character; her often repeated “I don’t understand” tells you the rest.
Judd and Shannon begin an unlikely and desperate romance that’s hampered by an apparent infestation of tiny bugs in their mattress. Bug strips and microscopes start to multiply in the tiny hovel as Peter’s obsession grows, but things don’t get truly weird until the odd couple line the walls with tinfoil to garble the CIA’s incoming (or outgoing) radio transmissions. By the time an unnaturally smug psychiatrist suddenly arrives looking for Peter, pausing in his attempt to convince Agnes to turn over the escapee to take a bong hit, we’re can no longer be certain whether we’re seeing events through a camera’s objective lens, or whether we’re watching Agnes’ version of reality, which as is distorted as the light cast by the blue-bug zappers bouncing off the foil-crinkled walls of the motel room. The finale is intense, verging on overwrought, and inevitably a downer. Tonally out-of-place blood and scenes of gruesome home dentistry seem inserted to fulfill a contractual gore quota set by distributor Lionsgate so they could market Bug as a horror film. It’s not, unless you’re horrified by the mind’s ability to skew reality to salvage some kind of emotional sense out of an impossibly cruel world.
Tracy Letts adapted the screenplay from his own off-Broadway play. Shannon originated the role of Peter onstage.
WHAT THE CRITICS SAY:
“It’s impossible to make a movie out of ‘Naked Lunch.’ A literal translation just wouldn’t work. It would cost $400 million to make and would be banned in every country of the world.” –David Cronenberg


DIRECTED BY: David Cronenberg
FEATURING: Peter Weller, Judy Davis, Julian Sands
PLOT: Bill Lee is a writer/exterminator in New York City whose wife begins mainlining the bug powder he uses to kill roaches, and convinces him to try it as well. He becomes addicted to the powder, and one night shoots his wife dead while playing “William Tell.” Lee goes on the lam and lands in Interzone, an exotic free zone reminiscent of Tangier or Casablanca (but which may exist only in his mind), where he begins taking ever more powerful drugs and typing out “reports” partially dictated to him by his living, insectoid typewriter.

BACKGROUND:
INDELIBLE IMAGE: Clark Nova, Lee’s territorial, talking typewriter, who alternately guides and torments the writer. He’s a beetle who has somehow evolved a QWERTY keyboard as an organ. When he speaks, he lifts his wings to reveal a sphincter through which he dictates his directives.
WHAT MAKES IT WEIRD: It begins with an exterminator who does his rounds wearing a three piece suit and fedora. His philosophy is to “exterminate all rational thought.” His wife steals his insecticide and injects it into her breast to get high, and gets him hooked on the bug power, too. A pair of cops question him on suspicion of possessing dangerous narcotics, and leave him alone in the interrogation room with a huge talking “caseworker” bug who explains that his wife is an agent of Interzone, Incorporated, and is not even human. And this is just the setup, before the film turns really weird.
COMMENTS: Make no mistake: Naked Lunch is clearly David Cronenberg’s movie, not Continue reading 18. NAKED LUNCH (1991)
(episode & 1st season series)
DIRECTED BY: Isabella Rossellini & Jody Shapiro
FEATURING: Isabella Rossellini
PLOT: A fly bides its time explaining to us how it escapes being swatted by humans, lands upside down on the ceiling, and spits into its food to dissolve it, until it sees a female and rushes to mate.
WHAT MAKES IT WEIRD: The reproductive processes of insects are strange and sometimes gruesome, but Rossellini describes them in deadpan fashion with a sly and detached wit that accentuates their alien-ness even further.
COMMENTS: The first “Green Porno” series of eight short films ran as bumpers on the Sundance Channel in 2008. Each approximately two minute film describes the morphology and exotic mating habits of a different bug—spiders, flies, earthworms, snails, bees, praying mantises, dragonflies, and fireflies. Rossellini wrote, performed and co-directed the entire series. Fly is one of the better episodes, although they are all similar in quality. Although the films ostensibly have a documentary bent, the elegant, often childishly simple sets, costumes and art direction reveal that the series is inspired as much (if not more) by the theater as the classroom. Rossellini’s performances can be subtly hilarious: note the big smile she flashes while copulating, and the abruptly disconcerting way she ends this episode with the image of her severed head accompanied by her proud fatherly proclamation, “Our babies grow up in cadavers. They are called—maggots!” She also seems to recognize that seeing a former sex symbol turned grandmotherly matron of the arts gleefully humping a model fly is going to look a little weird, and takes to the task with relish. Although the films are meticulously clinical and entomological, depictions of insect beheadings, penetrations and S&M rituals among snails can be unnerving.
The entire series can be viewed on The Sundance Channel website. A second season, covering sea creatures like the barnacle, starfish and limpet is airing currently on the channel and can also be viewed at the website.
WHAT THE CRITICS SAY: