Tag Archives: Sex

Guest Reviews

RECOMMENDED AS WEIRD: LIQUID SKY (1982)

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DIRECTED BY: Slava Tsukerman

FEATURING: Anne Carlisle, Paula E. Sheppard, Susan Doukas, Otto von Wernherr, Bob Brady

PLOT: Tiny aliens land their flying saucer on the roof of a New York City penthouse and begin sucking the brains out of sex-addicted New Wave beatniks.

Still from Liquid Sky (1982)

WHY IT SHOULD MAKE THE LIST: Tsukerman’s filming style is free-form and unconventional. Liquid Sky‘s visual footprint is every bit as avant-garde as its story about drug addicted extraterrestrials is bizarre.

COMMENTS: Aliens come to Earth in search of a heroin rush. It seems the little green, er, ah, terrestrially challenged ones don’t have the requisite opposing thumbs needed for handling a set of works, so they enjoy their smack the next best way: by telekinetically extracting the gray-matter of heroin addicts whose brains are flooded with opiates. Wonderful though it may be, heroin turns out to be only a gateway drug for the saucer-jockeys. While some human poppy-heads may find death to be the ultimate narcotic, the aliens soon discover that the endorphin rush in a juicy human brain during orgasm is the ultimate high, and they reset their priorities accordingly.

Now the gnarly little starmen seek out fornicators and harvest their orgasms for the best buzz. Still guided by the scent of smack, the space-meisters dock their star-buggy on the roof of a penthouse shared by a drug dealer and her lesbian fashion model lover. Their apartment contains a large amount of heroin, but better yet, is the locus of a lot of degenerate sex.

When the two gal pals aren’t waxing philosophic during their performance art exhibitions and dance routines at a local New Wave club, they are attracting a steady stream of addicted customers, androgynous jet trash, and depraved sex fiends back to their pad. The astral hop heads make the most of the situation and suck hapless guests dry when they sexually relieve themselves. Of course this kills each guest, but no matter. A few dead bodies are an almost normalizing factor at these two girls’ crazy, drug-addled, day-glo, non-stop New Wave penthouse party.

A Berlin scientist who has been studying the aliens makes the scene and tries to rescue the girls before the little neuron nibblers absorb their whacked-out noggins as well. The situation becomes a bit sticky when he discovers that the fashion model has plans of her own for the moonmen junkies.

Liquid Sky is a terribly dated, low budget film that is imaginatively colorful and oh so avant-garde. While it looks pretty campy now, 1980’s hipsters affirm that at the time of its release, Liquid Sky was considered to be the coolest thing by New Wave standards since “smart drinks” and those wraparound mirrored “spectrums” Devo used to wear.

WHAT THE CRITICS SAY:

“…one of the weirdest films you’ll ever see… The film redefines weirdness and randomness as it jumps back and forth between seemingly unimportant scenes in clubs where our characters, like deer stuck in headlights, dance away and fight off the advances of others.”–Ed Gonzalez, Apollo Movie Guide (DVD)

Guest Reviews

RECOMMENDED AS WEIRD: BAD BIOLOGY (2008)

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DIRECTED BY:  Frank Henenlotter

FEATURING:  Charlee Danielson, Anthony Sneed, Mark Wilson

PLOT: Mutant genitalia drive their masters to stalk, copulate and kill.

Still from Bad Biology (2008)
WHY IT SHOULD MAKE THE LIST:  Bad Biology is a campy shocker about rogue sexual organs.  It’s camp value stems from the director’s willingness to pull out the stops and include any bizarre scenes he deems appropriate, rather than from inferior filmmaking or a desire to make the movie look cheap or corny.

COMMENTS:  Frank Henenlotter (Basket Case, Brain Damage) finally got a decent budget and made his most delightfully freakish, slick and naughty movie yet. The opening line consists of a mutant girl (his real life girlfriend , the very pretty Danielson) stating, “I was born with seven clits.”

Jennifer is a living sexual anomaly and nymphomaniac perpetually seeking satiation as she struggles to puzzle out her destiny.  She mates, gestates and conceives in only a few hours, often inadvertently killing her partner and depositing her malformed, monstrous issue in any convenient waste receptacle.  Believing that she is deified by her “gift,” she considers herself to be a genetically advanced Eve.

Batz is a nervous stud with a personified penis that behaves more like an evil conjoined twin than a sexual organ.  A side effect of steroid abuse, it has a mind and a will of its own.  It is in the habit of detaching itself to embark on its own adventures . To keep it under control, Batz consumes powerful cocktails of animal tranquilizers.  This only curtails its wanderings.  It still dances in his pants to the beat of its own drummer, literally.  Batz’ bat is capable of inducing perpetual (i.e. permanent) multiple orgasms in his, or rather, its dubiously “lucky” partners.

The two sexual mutants, with their latently homicidal sexual super apparatuses, consume a succession of vapid sex partners as they strive to satisfy their own demented appetites—and to control, or perhaps just placate, their throbbing, pulsing, oozing out of control reproductive organs.  That is, until they “meat” each other.  Bawdy, tawdry, seamy, sordid, ribald and every bit as prurient, squishy, disgusting and hilarious as one could hope, Bad Biology just has to be seen to be fully appreciated.

WHAT THE CRITICS SAY:

“…more out-of-control than anything the director has done.”–Matthew Sorrento, Film Threat (contrmporaneous)

Capsules

CAPSULE: CAT PEOPLE (1982)

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DIRECTED BY: Paul Schrader

FEATURING: Nastassja Kinski, Malcolm McDowell, John Heard, Annette O’Toole, Ruby Dee,

PLOT: A young woman struggles with an ancient family curse while pursuing the purrfect mate.

Still from Cat People (1982)

WHY IT WON’T MAKE THE LIST: Cat People, loosely based on the Val Lewton original, is a slightly atypical, high quality horror film.  It is a variation of the old werewolf theme, focused on felines rather than canines.  It is not quite unconventional enough to be weird, but it has a strange feel compared to other horror movies.

COMMENTS: Orphaned, beautiful Irena (Kinski) comes to live with her brother Alex (McDowell) in his creepy new Orleans home, after being separated from him for years by the mysterious death of their parents.  Alex is a pastor at an even creepier chapel and he carries the burden of some rather odd baggage.  It seems that he is taken to roaming and prowling at night, climbing trees, clawing things up, wolfing down prostitutes, and getting himself locked in zoo cages.  Worse, he unceremoniously demands sex from the mousy Irena, who isn’t exactly keen on the idea.  It never occurs to poor Alex to try sprinkling some catnip on his business areas and begging to have his tummy scratched.

Irena discovers that if she rubs up against anybody besides Alex, she will turn into a puma—a carnivorous puma with an insatiable lust for rich, red, raw human flesh.  To become human again herself, she must feast on the living.  This is of course, quite understandable.  Few things are as disappointing as a menu of Fancy Feast, when one could be munching on a delicious man like John Heard (C.H.U.D.) or his lusty girlfriend Annette O’Toole (Smile).  Heard’s zookeeper character certainly gives Irena aplenty to purr about.  Irena falls in love with Heard, but will she be able to resist his charms—and the savory goodness of his tender, meaty loins and chops?  Then there’s the matter of that pesky girlfriend with the hair like red yarn.  She caterwauls her concerns surrounding Irena, and Irena wishes a cat had her tongue.  Hopefully she’s nothing a hiss and a swat can’t take care of.

Irena explores the French Quarter and her blossoming desires, and experiences some very unsettling biological changes when she’s in heat.  She becomes embroiled in a murder case as her brother stalks her, she stalks the girlfriend, chases after Heard, and Alex plays cat and mouse with the police.  Meanwhile Heard is quickly beginning to realize that toying with the supernatural is not always the cat’s meow.

Cat People is a very arty film with a distinctive visual pawprint featuring Big Easy location cinematography and some striking, unusual shots. There are some interesting ultraviolet night sequences filmed from a werecat’s point of view that are innovative for the date of release, putting the simple thermal imaging used in Wolfen to shame.  An original score by David Bowie and Girogio Moroder (Midnight Express) compliments the avant-garde look and feel of the film.  Well acted, Cat People is a pleasing change of pace from mediocre, industry standard horror movies.  It boasts an unusual, well-structured plot and a bizarre ending which nicely balances out the heavy compliment of cat shots.  And by cat shots, I mean very solid thespianism on the part of a couple of beautiful and charming black leopards (in addition to all the of naked supple human breasts, and full frontal nude footage of the spectacular specimen of feline-esque femininity, Nastassja Kinski, captured in her prime. Rowwwr!)

WHAT THE CRITICS SAY:

“The obscure proceedings are often ludicrous (especially in the orange-colored primal-dream sequences), yet you don’t get to pass the time by laughing, because it’s all so queasy and so confusingly put together…”–Pauline Kael, The New Yorker (contemporaneous)

Capsules

CAPSULE: À L’AVENTURE (2009)

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DIRECTED BY: Jean-Claude Brisseau

FEATURING: Carole Brana, Etienne Chicot

PLOT:  Sandrine, bored with sex and life in general, takes a year off from the rat race

Still from A L'aventure (2009)

and meets some libertines who explore the intersection of sex, hypnosis and religious ecstasy.

WHY IT WON’T MAKE THE LIST: This retro sex-drama only flirts with weirdness at the very end.  Considered as a conventional film, it’s neither profound, erotic, nor even very interesting.

COMMENTS: A post-revolutionary examination of the sexual revolution, À L’aventure feels like a talkier, less exotic Emmanuelle (1974).  The plot, involving a beautiful French woman who ditches restrictive monogamy and explores the limits of sexuality—including masturbation, S & M, group lesbian sex, and hypnosis-aided orgasm—seems torn out of a middlebrow softcore “art” film from the early 1970s.  Shout-outs to Freudian psychoanalysis, Indian maharishis, past-life regression therapy and other forms of esoteric knowledge confirm the initial impression that À L’aventure is the work of an aging hippie nostalgic for the days when sexual repression and conformity could be blamed for all society’s ills.  A celebration of that sort of lost naïveté could have made for a fun movie, but for Jean-Claude Brisseau, pleasure is a very serious and unfulfilling business.  The ecstasy seekers in À L’aventure rarely smile, and in fact spend most of the movie wearing dour, serious expressions and furrowed brows, as if they were attending a lecture on modern physics. And about half of the time they are, thanks to the presence of a part-time taxi driver and park bench philosopher who uses his screen time to explain the origins of the universe and the sociological significance of panties. The cinematography is beautiful when it focuses on the French countryside, and the sexual choreography can be arousing, but overall the project is off-puttingly pretentious.  Brisseau’s attitude towards women is subtly disquieting, as well.  In the erotic scenes men are marginalized and women fetishized; he prefers to film lesbian sex.  His obsession with the female orgasm is strange; he uses it as a symbol of unobtainable ecstasy, seeming to forget that about half his audience is capable of obtaining it.  On the surface, Brisseau appears to worship women, but there’s something in his attitude reminiscent of an 18th century European admiring the Noble Savage; he seems more interested in romanticizing female sexuality for his own ends than he is in exploring or understanding it.  In terms of its ideas, the film is confused and uncertain, but not entirely vapid.  The theme of freedom versus convention is treated more subtly than one might expect; at the end Sandrine’s sexual adventure leave her no more satisfied than when she set out, and there is a suggestion that the erotic/hypnotic experiments may have breached limits woman was not meant to transgress.  But in the end, the film’s fatal flaw is simple: it’s dull and talky, and the talk doesn’t lead anywhere enlightening.  Only an overeducated Frenchman could make sex this boring. 

À L’aventure is the third movie in a trilogy about female sexuality that began with Choses Secrètes (2002) and continued in Les Anges Exterminateurs (2006). After the first film, Brisseau was criminally charged with sexual harassment against two of his actresses, receiving a fine and a suspended sentence.

WHAT THE CRITICS SAY:

“Bizarre, at times almost surreal, very sex-filled and captivating in it’s own degenerative way.”–Gary Tooze, DVD Beaver (DVD)

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C APSULE: ABSURDISTAN (2008)

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DIRECTED BY:

FEATURING: Kristyna Malérová, Max Mauff

PLOT: A young couple’s about-to-be-consummated love is threatened when the women of their village organize a sex strike against the lazy townsmen who will not fix the pipe that brings water to the hamlet.

Absurdistan

WHY IT WON’T MAKE THE LIST: Disqualified for false advertising in the title: there’s nothing absurdist in this shamelessly romantic comedy. Still, it’s an offbeat and often beautiful fable that’s kilometers and kilometers away from the competition in this most formulaic of genres. A good date night movie for people who aren’t idiots.

COMMENTS: Absurdistan takes place in a central Asian village, once famed among merchants traveling the Silk Road for its beautiful women and virile menfolk, but now forgotten by the modern world. Unburdened by cell phones, social networking sites and other conveniences of the modern age, the villagers have reverted to simpler ways—which is to say, they think mainly about sex. And as long as the men are getting it, they have little incentive to do anything else, since the women take up the duties of baking, herding, and farming out of necessity. They grow too lazy even to fix the town’s water pipe, preferring enduring drought and living in filth to the unacceptable prospect of working up a good sweat. Although sex in Absurdistan is used as a weapon, overall, the village’s attitude towards the dirty deed is refreshingly frank and seems innocent and healthy compared to our own: its importance is freely acknowledged and respected, and not hidden from the children like a shameful secret. This perspective gives the movie a tastefully lusty charm that’s reminiscent of its inspiration, Aristophanes’ “Lysistrata.”

The most unique aspect of Absurdistan is the scarcity of dialogue; background info is given via voiceover, but very few words are actually spoken by the characters (and except for the heroine’s name, no words at all are spoken by the male lead). This is partly due to circumstance; few in the internationally assembled cast could speak properly accented Russian. More importantly, as an artistic choice it gives the film an aura of timelessness and universality. With no verbal exchanges, the comedy is delivered silent-movie style, and isn’t always exactly subtle: there’s a bit where a man stuffs two watermelons into a brassiere in order to infiltrate the women’s camp. None of the gags are gut-busting, but along with the top-notch desert cinematography, exotic music, and assured storytelling, it’s enough to keep the audience well-charmed until the climax.

Director/co-writer Veit Helmer doesn’t skimp on the sentiment—after completing their quest to save the parched village, the young lovers are granted not one but two fairy tale happy endings with heart-melting, magical images. But the hearts and flowers aren’t slopped on simply because the target demographic expects it. In the service of an original, well-told story, Helmer earns the right to be a bit sappy, and we earn the right to enjoy it.

Helmer also helmed 1999’s Tuvalu, which features a similar streamlined storyline with minimal dialogue, but adds experimental film-tinting and more surrealistic touches and absurd humor.

WHAT THE CRITICS SAY:

“…a bizarre yet charming plot, and the overall ensemble insanity — like Amélie meets Dogville, though not as compelling as either — is curiously entertaining.”–Chris Bilton, Eye Weekly

Canonically Weird (The List)

39. COWARDS BEND THE KNEE, OR, THE BLUE HANDS (2003)

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“I only include things that are psychologically true in my stories, no matter how bizarre, stupid, silly or gratuitous the episodes in them may seem… I can only hope that the spectacle of me trying to inflict pain on hard-to-reach places on my own body is amusing to some people.”–Guy Maddin

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DIRECTED BY: Guy Maddin

FEATURING: , Melissa Dionisio,

PLOT: Amateur hockey player Guy Maddin falls in love with the proprietor’s daughter when he takes his current girlfriend to a hair salon/brothel for an abortion. The daughter, Meta, will not give herself to a man until her father’s death at the hands of her mother is avenged. To accomplish this, she wants to transplant her dead father’s hands onto Guy, so that it will be her father’s hands that strangle her mother.

Still from Cowards Bend the Knee (2003)

BACKGROUND:

  • Commissioned by the Power Plant Art Gallery of Toronto.
  • On its debut at the International Film Festival in Rotterdam, viewers watched the ten chapters of Cowards Bend the Knee through ten peepholes in a wall. Spectators had to kneel to put the peepholes at eye level.
  • Maddin issued a companion book to Cowards Bend the Knee (now a collector’s item) containing an expanded screenplay of the film and an interview with Maddin where he discusses Coward‘s autobiographical elements and gives his personal interpretations of the film.
  • Autobiographical elements abound in Cowards Bend the Knee. Maddin’s real life Aunt Lil owned a beauty parlor similar to the one that appears in the film. Maddin’s father coached the Winnipeg Maroons, a pre-NHL professional hockey team; the actual Allan Cup championship ring his father won appears in the film.
  • Maddin’s mother, Herdis, a non-actress, played Meta’s grandmother in the film.

INDELIBLE IMAGE: As Veronica lies on the operating table undergoing a clandestine abortion, the blood streaming between her legs forms itself into a Canadian maple leaf.

WHAT MAKES IT WEIRD: Cowards features Maddin’s trademark in-your-face style (a mix of silent film artifacts and glitchy hypermodern editing); crazed, dreamlike narrative (incorporating hockey matches, beauty salons, murder, infidelity, ghosts, and a hand transplant); and a wildly veering, yet somehow coherent tone that moves from melodrama to slapstick to absurdist vintage pornography to Greek tragedy in the space of a few frames. If that’s not enough, there’s the fact that the entire story is observed by a scientist, who witnesses it being played out while looking through a microscope at a dab of semen on a slide. Weird enough for you?

[wposflv src=http://366weirdmovies.com/wp-content/uploads/2009/10/Cowards-Bend-the-Knee.flv width=480 height=360 previewimage=http://366weirdmovies.com/wp-content/uploads/2009/10/cowards-bend-the-knee-still.jpg title=”Cowards Bend the Knee clip”]
Clip from Cowards Bend the Knee

COMMENTS: Maddin’s Cowards Bend the Knee is a dream, and like all dreams it is at the Continue reading 39. COWARDS BEND THE KNEE, OR, THE BLUE HANDS (2003) →

Guest Reviews

RECOMMENDED AS WEIRD: DEADGIRL (2008)

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DIRECTED  BY: Marcel Sarmiento and Gadi Harel

FEATURING: Jenny Spain, Shiloh Fernandez,

PLOT: Two high school delinquents find an undead young woman and use her as a sex slave.
Still from Deadgirl (2008)

WHY IT SHOULD MAKE THE LIST: Deadgirl is weird by virtue of its highly unconventional subject matter, which is treated in as matter-of-factly as a conventional drama.  It’s also better than you might think;  Deadgirl is one of the best necrophilia-themed movies I’ve seen.

COMMENTS:  When I read any description of a horror movie that includes the words, “teenager” or “students,” it stops me in my tracks, and I groan in disappointment.  However, it was conducive to the plot of this horror yarn that the two antagonistic protagonists be just that.

The pair are working class high school misfits.  (I must note that they are little more working class than the jocks and cheerleaders at most high schools, who stridently compensate for their ordinariness by engaging in meaningless make-work activities and ardently conform in order to raise their perceived social status.)  The two boys in this film are misfits only in the sense that they aren’t on the football team.   Like all teenage boys (and girls, let’s be honest) they are also dying of horniness.

Rickie (Fernandez) predictably covets a cheerleader possessing no redeemable qualities, who is saving herself to be date raped by the captain of the football team some drunken Homecoming night.  One afternoon, his friend J.T. (Segan) convinces him to skip class to drink beer in an abandoned insane asylum.  Where else?

Once there, they discover an inexplicably re-animated, shapely young dead girl (Spain) Continue reading RECOMMENDED AS WEIRD: DEADGIRL (2008) →