DIRECTED BY: Gerald Kargl
FEATURING: Erwin Leder, Robert Hunger-Bühler, Silvia Rabenreither
PLOT: Immediately after his release from prison for attempted murder, a would-be serial killer fulfills his desires when he happens upon an isolated villa in the German countryside inhabited by a family of three.
WHY IT SHOULD MAKE THE LIST: By grounding the viewer so thoroughly and painfully within the borderline mundanity of the killer’s violence, Gerald Kargl fuses the horrific with the blasé and leaves us shocked at the permeating numbness. Over the course of a grueling day of murder—with all the blood, strangulation, and heavy lifting which that entails—we are left as enervated as the main character. Nonetheless, he charges forward from setback to bloody setback: menaced by children in yellow rain coats, showing off the contents of his car trunk to patrons of a nearby café, and finally escaping in coattails.
COMMENTS: Imagine yourself trapped in one spot. You cannot move your gaze, and the world wrenches around you as it seems you’re traveling — to a prison, a coffee lounge, a taxi, and finally, a desolate house. While trapped, you hear the plinking of water drops, the rattling of keys, and the soft voice of someone craving your trust and sympathy—someone who talks of little other than lust for murder, destruction, and revenge. Sitting through Angst from beginning to end is a challenge. Though we are only briefly locked in this man’s world, we see nothing but him and his horrible deeds, and hear nothing but his wretched thoughts, from start to finish.
Angst is more unrelenting in its focus than any serial-killer biopic I’ve had the pleasure of watching. Once we meet the film’s antihero (an emaciated, menacing Erwin Leder), the camera virtually never leaves him; those few times when it does, it focuses on nearby people—potential victims—who eyeball the camera suspiciously, or are being visually dissected as the killer contemplates what he may or may not do to them. The director is trying to break into this man’s mind. The killer is allowed a nearly uninterrupted inner monologue, so that he might explain himself to the viewer. There are hovering high-angles and poking low-angles as the camera attempts to capture him in a way that makes sense. Indeed, there are even long stretches with the camera fixed on him as he flees or pursues, never shifting in its view of his face or body as the world gyrates around him. The screen pulses and frames skip, as if the lens is trying to force itself through to enter the psychopath’s heart. It is all to no avail, as this is a man who makes sense only to himself.
Shot on a tiny budget, Angst is the somewhat true-to-life story of the murders committed by Austrian serial killer Werner Kniesek. Gerald Kargl primarily made commercials before writing and directing this movie (his one and only feature length film). The cinematographer, Zbigniew Rybczynski, cut his teeth shooting short films for various Eastern European luminaries (note: the same year he shot Angst, he won an Oscar for Best Short Film for “Tango”; shortly afterwards he began a prolific career in the music video biz). When this pair teamed up with composer Klaus Schulze (of Tangerine Dream fame), their combined efforts culminated in something disturbing, cutting edge, and incredibly commercially unviable. Even today Angst feels unsettlingly fresh, approaching the serial killer genre in a manner that not only refuses to glamorize its subject, but also refuses to feign understanding. In the beginning, we know little of this man’s life and desires, but even after spending an exhausting day with him, we are left with no real comprehension of his motives.
DVD DETAILS: Cult Epics has once again given a crackerjack treatment to their latest release. The movie looks almost new, with a crystal clear image throughout. The soundtrack and score are also given their due, with the low-key effects, muffled screams, and furtive words heard softly, but clearly. There are myriad interviews, trailers, and a commentary track. The real gem herein, however, is the forty-page booklet that not only has a number of interesting essays about the movie, but also images and (for the less fluent in German among us) translations of newspaper clippings about the Kniesek murders. This is a must-buy for any fan of the serial killer genre.
WHAT THE CRITICS SAY:
In director Victor Teran’s Enter the Dangerous Mind (2013), featuring Scott Bakula and Jason Priestley, Jim (Jake Hoffman), is an aspiring electronic music composer who goes completely insane. It’s a serious film, and Jim has serious issues with the opposite sex. His low self-esteem and the near perpetual berating he receives over his ineptitude with girls compounds his emotional baggage. The admonishment and abuse comes from Jim’s caustic imaginary roommate. Rejection by his love interest leads to paranoia, exacerbated by the ever escalating timbre of a strange and terrible chorus of discordant sounds in Mark’s head; disembodied voices mixed with the maddening phonic trappings of our total-immersion electronic media culture.
