Jesus Shows You the Way to the Highway‘s Miguel Llansó returns to talk with Giles Edwards about his latest film, Infinite Summer, a more restrained (but still wild) film about a meditation app that takes you to a purple nebula.
Tag Archives: Miguel Llansó
FANTASIA 2024: APOCRYPHA CANDIDATE: INFINITE SUMMER (2024)
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DIRECTED BY: Miguel Llansó
FEATURING: Teele Kaljuvee-O’Brock, Johanna Rosin, Hannah Gross, Ciaron Davies
PLOT: Mia, an anthropology student partying with her friends for one last summer, finds her revels sabotaged by the mysterious and powerful mood app, “Eleusis.”
WHY IT MIGHT MAKE THE APOCRYPHA: Though not as dingbat nutso as Jesus Shows You the Way to the Highway, Llansó’s latest film examines the promise and dangers of technology with plenty of pizzazz, paranormality, and purple gasses.
COMMENTS: Had someone like Ray Bradbury written this, its title could well have been The New Zoo Will Be Free from Suffering. Miguel Llansó, however, has more of a playful—and optimistic—streak than many science fiction writers. His new film is grounded in a realistic here and now, and indeed its opening act plays like a simple coming of age story about three young woman who have just graduated. But as the filmmaker says, “I am no psychologist,” and his deeply rooted bent toward the techno-fantastic quickly rears its head, sending his protagonists and the viewer on a strange and sinister ride through a purple cloud of menace.
This menace (or promise?) is dubbed “Eleusis.” As explained by its chirpy, casual AI guide, it claims to be a guided meditation app. Doctor Mindfulness, who probably isn’t an actual doctor, brings this questionable product—the program’s delivery system is a vapor-cartridge loaded in breathing mask—to Mia and her buddies, who are rightly hesitant about trusting some sketchy beardo they meet on the “Extreme Dating” VR app. Doctor Mindfulness’ insistence overcomes Mia’s trepidation, and the next thing we know, Mia gives Eleusis a try, and begins exploring the possibilities of the purple dust vortex projected in the aether. Her friends overcome their hesitation, too, and under the guidance of the good “doctor,” push the tech to its meditative, orgasmic extremes. Then events take a turn for the worse.
Seeing as we’re watching a speculative science fiction film, it’s reasonable to guess that the changes and effects from a nebulous nebula aren’t going to be good; but seeing as we’re watching a Llansó film, it’s also reasonable to guess that things are going to get a bit wild. Having emphasized the color scheme, I won’t be giving too much away when I say this movie makes mention of the pineal gland, which is stimulated to both summon Eleusis from beyond, and suck in the app users when they reach a certain level of “transcendence.” Eleusis is disarming, with a bubbly feminine voice, often ending its sentences with a reassuring “yo!” to emphasize how hip and harmless it is. It’s a fascinating creature, with a mesmerizing interface—and also a deep cave of lightning and purple that may hold the answers Mia seeks after her friends begin changing.
A compelling character roster fleshes out Llansó’s probe into this theoretical. Mia’s father is an easy-going artist, with his authority tempered by his insecurities. Doctor Mindfulness hits all the notes for a techno-optimist, following the instructions of Eleusis without question. And a pair of Interpol agents add an eccentric buddy-cop element: one of them is both always late, and always eating the other’s food. Infinite Summer has much to offer, much of it in a purple haze. In Mia, Llansó captures our obsession with the past; in the hungry Interpol agent, he captures our enchainment to the present; and in Eleusis, he imagines a future gathering place, between reality and the void: a new zoo, which will be free from some suffering.
WHAT THE CRITICS SAY:
12*. JESUS SHOWS YOU THE WAY TO THE HIGHWAY (2019)
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“I think we’re living in a world that in fifty years we’re not going to recognize, because now we produce real objects. But with augmented reality… we’re going to transform the world.” -Miguel Llansó
DIRECTED BY: Miguel Llansó
FEATURING: Daniel Tadesse, Guillermo Llansó, Gerda-Annette Allikas, Solomon Tashe, Lauri Lagle
PLOT: Agents D.T. Gagano and Palmer Eldritch must enter the CIA-created alternate reality, “PsychoBook”, in order to investigate a sentient computer virus, Soviet Union. Abandoned within the virtual reality, Gagano finds himself in _Beta Ethiopia, where strongman/president/superhero-villain BatFro conspires with Soviet Union to distribute a VR byproduct known as “the substance.” Gagano’s reality-side fiancée, who hopes to open a kick-boxing academy, must now live with the prospect of him being trapped in a portable television display.
BACKGROUND:
- An Estonian computer museum provided inspiration for the hardware aethestic in Jesus Shows You the Way to the Highway, but the machines on screen were mostly Apple products from the early 1990s.
- Solomon Tashe, who plays the African strongman dictator “Batfro,” , is a much-loved Ethiopian media personality.
- The unusual name “Mister Sophistication” was lifted from John Cassavetes’ The Killing of a Chinese Bookie. However, like other characters in Llansó’s films, he was based on a regular at the Club Juventus, a gathering spot in Addis Ababa for Italian ex-pats and other larger-than-life clientèle.
INDELIBLE IMAGE: Take your pick. Perhaps it’s stop-motion Richard Pryor and Robert Redford investigating a house infiltrated by a computer virus assassin. Perhaps it’s the “Jiminy Cricket” CIA AI spouting knee-high advice to Agents Gagano and Eldritch. And perhaps it’s the melodramatic conversation between a super-sweetie BBW kick-boxer and her television-bound lover. For the record, however, the official “Indelible Image” is cross-dressing super-spy, Captain Lagucci, sprinting off a roof to save a portable television. Much like Miguel Llansó, Lagucci just… runs with it.
TWO WEIRD THINGS: Coked-up Batfro to the rescue!; CIA Man trapped in a TV
WHAT MAKES IT WEIRD: Llansó manages to make an “anything and everything” approach to imagery, symbolism, dialogue, and scenario gel into a unified whole. Obviously the plot for JSYtWttH is bonkers, and that’d be enough, but its mountain of antiquated tech, dizzying opening credits, vibrant colors, bug aliens, MIT conspiracizing, Cold War derring-do, and… You get the picture; just about everything in this movie makes it weird.
Trailer for Jesus Shows You the Way to the Highway
COMMENTS: “Loading. Please wait.” Not a typical beginning for a Continue reading 12*. JESUS SHOWS YOU THE WAY TO THE HIGHWAY (2019)
APOCRYPHA CANDIDATE: CRUMBS (2015)
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DIRECTED BY: Miguel Llansó
FEATURING: Daniel Tadesse, Selam Tesfayie, Mengistu Berhanu, Tsegaye Abegaz
PLOT: A long-dormant spaceship hovers over an apocalypse-blasted earth, so Candy goes on a quest to secure himself a seat on board.
WHY IT MIGHT MAKE THE APOCRYPHA LIST: Plenty of post-apocalyptic movies capture the dregs of civilization as well as Crumbs, but no others that I can think of have a “raised-hand” spaceship, Michael Jordan the god, or Santa Claus inside a bowling alley ball-return.
COMMENTS: Smirking absurdism and epic pathos are in constant tension in Miguel Llansó’s directorial debut. This friction is perfectly encapsulated during an encounter near the end of Crumbs, when we watch the protagonist, Candy, unbutton his shirt—in a display of machismo directed at a burnt-out Santa Claus—to reveal the iconic “Superman” garb. Only, Santa doesn’t recognize it, saying “it looks like a Nazi symbol.” This quip cuts right to the chase: the “superman” was a Nazi ideal, and it was such displays of toxic machismo that brought about the nuclear war.
“Crumbs” aptly describes of what civilization has been reduced to: scavenging and subsistence-level survival, all man’s machines crumbled to rust. Crumbs intersperses its quest narrative with history-laced interludes courtesy of a pawnbroker to whom various wanderers try to sell their findings. A cheap plastic “Max Steel” sword toy is not, as is commonly presumed, from the great artist “Carrefor“, but by “Mattelo“; a Samurai Turtle dated “third century” was “worn by Molegon warriors as a lucky amulet”; “Dangerous“, by Michael Jackson—a third-century farmer—is a gift worthy for a wedding. These items, and more, are crumbs left along Candy’s path as he travels to find Santa Claus in an abandoned pond in the old city.
The narrative is triggered by ominous signs at the bowling alley which Candy (Daniel Tadesse) and Birdy (Selam Tesfayie) have adopted as their home, untold numbers of years after a hinted-at world war. Birdy is convinced that the spaceship—which had hitherto been idling in the sky—has begun to start its engines, and the magnetic field being emitted has triggered the alley’s lights to flicker and the ball-return machine to reactivate. Candy goes off to find the one man who can secure their place on board, while Birdy stays home. She regularly prays at their shrine to Michael Jordan, but is haunted by the voice coming from the ball-return. Investigating it, she finds Santa Claus inside, pacing around a display of toys, asking what her Christmas wish is.
While Llansó’s sophomore feature tickled with its high energy and zany surrealism, Crumbs is a more contemplative work. Its tongue-in-cheek tone is couched within a soft, dreamy tone. The natural beauty of Ethiopia’s wildlands, alongside decayed industrial hulks of machinery, is on full display at the hands of an able and loving cinematographer. Candy is an unlikely hero, a deformed (though not un-handsome) fellow trying to do right by his lover. The weight of Crumbs‘ reality anchors the absurdity until the final moments of the credits. The spaceship sails peacefully toward the æther as two men inside talk about vintage music; then it explodes. Even if reduced to crumbs, Earth is all we’ll have.
Crumbs is available for separate purchase, but it was also released as a bonus feature on Arrow’s 2020 Limited Edition Blu-ray
WHAT THE CRITICS SAY:
APOCRYPHA CANDIDATE: JESUS SHOWS YOU THE WAY TO THE HIGHWAY (2019)
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Jesus Shows You the Way to the Highway has been promoted to the Apocrypha list of the Weirdest Movies of All Time. Please visit the official entry.
DIRECTED BY: Miguel Llansó
FEATURING: Daniel Tadesse, Agustín Mateo, Gerda-Annette Allikas, Guillermo Llansó
PLOT: Seriously? I’m going to pinch this straight from IMDb because, man, right now I’ve got nothing. “CIA Agents Palmer and Gagano are tasked with the mission of destroying a computer virus called ‘Soviet Union.’ They enter the system using VR but the mission turns into a trap.”
WHY IT SHOULD MAKE THE LIST: To cheat, once more: Merriam-Webster defines “gonzo” as, “outlandishly unconventional, outrageous, or extreme”; and so it is with JSYTWTTH. Stop-motion VR missions to thwart a computer virus called “Soviet Union,” a pizza restaurant of your dreams, a second (and third?) coming of the messiah, and a transvestite super agent are all here. What more could you want? (Don’t worry: there is much, much more.)
COMMENTS: Unfortunately I’ve been the “king of caveats” recently, but here it goes: you haven’t ever seen a movie like this one. Miguel Llansó, an affable Madrid-born professor, has assembled a casserole of ’80s-’90s nostalgia, ’80s-’90s satire, cyber-dystopia, messianic lampoons, kung-fu fighting, Stalin/Redford/Pryor avatars, giant death-ray bugs, and a “PsychoBook” program (not to be confused at all with a more famous “____Book” social media site), all under the banner of a title that is both long-winded and apt: by the end, Jesus shows you the way to the highway.
Ah, but what happens before that gratifying finale? Now that I’m over-caffeinated, I may have better luck with this “plot” section. Strapping on their VR visors and headphones, intrepid CIA agents D.T. Gagano (Daniel Tadesse) and Palmer Eldritch (Agustín Mateo) enter PsychoBook, an AI/VR intelligence network being held hostage by a computer virus that manifests as a Nike-shoe-clad avatar in a Stalin mask. It wants to make a deal with the agents to start dealing “the Substance,” a green-goo byproduct of the environment (don’t worry, Eldritch stands firm: “I don’t make deals with computer viruses!”) Meanwhile, Gegano wants to quit the CIA and help his BBW German sweetie Malin (Gerda-Annette Allikas) start a kickboxing academy. Lurking in the background is the President of Ethiopa, dressed up as the superhero-villain “Batfro” (Solomon Tashe). Something goes wrong, and Gegano gets trapped in PsychoBook. Will Jesus’ help be enough to allow his escape?
Now you probably can see what I’m working with here. And that’s just one layer of what’s going on. Stylistically, it’s about as madcap as you can get. The stop-motion forays into PsychoBook, when the agents hunt Stalin, are the stuff of comic nightmares (and apparently took up most of the shooting days).
One of the many questions raised about Jesus Shows You…‘s goings-on is, “Why Robert Redford and Richard Pryor masks?” The director revealed in the Q & A after the premiere that it was a poke in the eye to the stuffy producers who demanded he have some big stars lined up before they’d give him any funding. As for the other aesthetic choices, suffice to say it’s clear that Llansó grew up in the ’80s, as beautiful old computers appear left, right, and center, and heavily influenced the mind-blowing/seizure-inducing credit sequences.
I have almost two weeks still to go here, but I sincerely doubt that Jesus Shows You The Way To The Highway will be topped, weird-wise. Any fan of the clunky sci/fi joking of “Garth Marenghi’s Darkplace” will want to catch this. Anyone wanting to see the Matrix done with no money and maximum humor will want to catch this. Anyone who wants to check out a contender for 2019’s weirdest release will want to catch this. Turn on, tune in, and just say, “F*¢k you, Stalin!”
You can also listen to our audio interview with director Miguel Llansó.
WHAT THE CRITICS SAY:
Q&A AUDIO: