An elevator boy’s loneliness pulls him out of body and mind.
DIRECTED BY: Zachary O. Burch
FEATURING: Francesca Caterina Ghi, Nidalas Madden, Peyton Rowe, Tyair Blackman
PLOT: With a storm approaching, a group of housemates try to resolve their personal relationships, while a mysterious entity lurks in the shadows.
WHY IT WON’T MAKE THE LIST: She Found Now is a curious little film, featuring interesting screen images and loaded with portentous symbolism and mannered acting. But the dream state dramatized is not new enough to be surprising, and the weirder elements feel less motivated by the plot than positioned to obscure it.
COMMENTS: The pretty girl looks up from her pasta, searches for the right moment, and then makes her play to break the ice with her paramour: “So, I heard around that there’s supposed to be a hurricane coming by. Would you feel comfortable at my place?” Such is the nature of things in the universe of She Found Now—disaster lurks around the corner, but people show only the most casual awareness of it.
This scene, which kicks things off, is not like any other in the film, and yet it’s strangely representative of the movie as a whole. Most of the action, such as it is, takes place within a single apartment, but the characters are mentally elsewhere most of the time, either in a dream locale (like the restaurant, rendered in amusingly obvious green screen), a landscape of their own fears, or in the mind of someone outside. Our characters are trapped, but longing for an elsewhere they can only imagine.
The filmmakers clearly appreciate surreal humor. A scene in front of a static-filled television almost has avibe to it, as more people keep arriving to gape at the screen. Similarly amusing is a game of Trivial Pursuit where the trivia is people’s lives: “How do you feel?” “Are you satisfied with yourself?” Director Burch and co-screenwriter K. L. Scott also have a knack for striking imagery: a monochromatic encounter with a mystery doppelganger is effectively creepy, while a shadow puppet that lingers and transforms is genuinely unsettling.
Given their limitations, the makers of She Found Now do a lot with a little. They clearly learned the trick of leaning into their challenges. For example, one can easily surmise that actors were not available to re-record dialogue. Instead, they cast new voices that are blatantly out-of-step with the visuals. It adds another layer of dissonance to a storyline that is built on mystery.
My biggest problem, though, concerns that mystery. All the surrealism, all the deliberate oddness and opaqueness… it doesn’t add up to very much. In the final act of the film, when all of our main characters are being stalked by a malevolent force, the antagonist is rendered as a guy with bear paws whose face is blocked out by a big dot. Should we know who this is? Is the absence of a face a metaphorical comment on our fears? Or is it just a lo-fi solution to an inability to properly represent the horror being invoked?
I was plagued by questions like this throughout She Found Now. Even the title flummoxed me. Is that a comment on the lead’s predicament, or her conclusion? Which now is “Now”? And should I draw any inference from the fact that the title is not only drawn from a song by cult shoegazer band My Bloody Valentine, but that the album in question marked that band’s emergence from a 14-year hiatus? She Found Now feels like a word problem that is impossible to solve because there just aren’t enough clues to piece the answer together, and yet the film is nothing without its mysteries.
There’s the hint of something powerful in She Found Now. I suspect the filmmakers were hoping to invoke somethingian, a visual metaphor for potent psychological roadblocks. But the reference point I kept coming back to was “No Exit,” the legendary play by Jean-Paul Sartre in which three people trapped in a room for an eternity come to learn that “hell is other people.” These flatmates do not hate each other, but they are trapped in each others’ self-destructive orbits. But so much is invested in deliberately obscuring those real emotions in surreal decoration that the movie never gets to be what it really is.
FEATURING: Uncredited documentary subjects
PLOT: Scored to a disturbing minimalist composition, a parade of early 20th century images on decayed and damaged film stock march across the screen, forming hypnotic abstract landscapes.
WHY IT MIGHT MAKE THE LIST: We avoided the hypnotic experimental documentary subgenre on our first pass through the List of the Weirdest Movies ever made, because this peculiar corner of art films normally wed an unusual (weird) form to commonplace (not-weird) subject matter. When it comes to honoring movies as Apocrypha, however, it’s harder to argue that formally groundbreaking movies like Koyaanisqatsi—and this one—can be excluded from being considered among the strangest things the mind of man has come up with.
COMMENTS: A boxer punches an amoeba. A man in a fez prays at a mummy’s tomb, in negative image. A lone airplane flies through the sky, almost perfectly centered in a wavering iris puncturing the darkness. Nuns and schoolchildren strobe in and out of existence. The screen is filled with nothing more than a billowing cloud. Abstract patterns whir by, almost looking as if they were drawn by hand—a butterfly here, a flower petal there—and fade away to reveal a shy geisha.
coured over what must have been thousands of hours of partially decayed stock footage to select the most wondrous and poetic images time accidentally created. A complete taxonomy of film damage is on display here. Images sometimes decay from the center outward, sometimes from the edges inward. Frequently, the film is warped so that abstract cracked lines obscure the underlying picture, but often the effects are more surprising. Individual stills might look like gibberish, but because each frame of film holds a slightly different piece of information about the whole, when the series is run through a projector, ghostly figures emerge. The visuals often resemble experiments, except that the effects here have been created entirely by the natural degradation of cellulose.
Decasia‘s reliance on a make the orchestra sound like it was covered in cobwebs, with instruments that had been sitting for a hundred years, creaky and warped and deteriorated…” The uncomfortable but still beautiful sounds divert our thoughts to the darker implications of the pictures dancing and disintegrating before our eyes. The music and the images exist in such a perfect, unconscious symbiosis that it’s meaningless to wonder which came first.obviously recalls Michael Gordon’s composition is dissonant and confrontational. Low strings create a ceaseless rhythm, while violins fall through microtonal scales in a long, slow decay. Horns enter the mix like distant alarms. Gordon specified that certain instruments in the Basel Sinfonetta be deliberately out of tune. In keeping with the theme of recycling, he used discarded car brake drums he found in a junkyard as an instrument, along with detuned pianos. His intent, he said, was to “
Decasia is an authentically Surrealist documentary. The startling images have all been generated via a random process, with the interpretation up to the individual viewer. Everyone in these film clips is long dead, and soon the damaged images themselves will fade away to nothing. And yet, the experience is marvelous, not depressing.
WHAT THE CRITICS SAY:
(This movie was nominated for review by “Tadd.” Suggest a weird movie of your own here.)
A woman appears in a colorful world which gradually loses its charm, and reveals to her the unfortunate nature of her existence.
DIRECTED BY: Bertrand Blier
PLOT: A man in the Metro confesses his fantasies about killing strangers to a stranger; a surreal series of casual murders follows, most occurring over the course of a single long night.
WHY IT MIGHT MAKE THE LIST: This dreamlike and absurd black comedy about murder may be the most never made.1)The comparison is hardly diminished by the presence of actresses Belle de Jour) and . (
COMMENTS: “Don’t you ever get odd ideas?”, young and unemployed Alphonse ( ) asks a stranger in the Paris Metro. Director Bertrand Blier has plenty of odd ideas, most of them revolving around murder and his characters’ blasé reactions to the ultimate crime. It turns out Alphonse may, or may not, have killed the accountant he met in the subway—but no one seems to care. His wife merely throws his bloody switchblade in the dishwasher. He goes to his new neighbor, who just happens to be a police inspector, to report the death, but the man is off duty and can’t be bothered. Another murderer shows up at his doorway and Alphonse invites him in for dinner and a glass of wine. Then, through a series of dreamlike coincidences, the inspector and the killer join Alphonse on a murder spree—if such a laid-back, stumbling affair can be called a “spree,” and if some of the mysterious killings qualify as “murder.”
For the most part, the film’s events occur over one long, endless night—with perhaps a nap or two—before a sunlit epilogue in the French countryside. Characters never show up unless they are needed as killers, victims, or witnesses—there are no extras waiting for trains in the Metro, the Paris streets are deserted, and even the skyscraper that houses Alphonse’s apartment is totally uninhabited except for him, his wife, and the newly-arrived Inspector. Alphonse, and the other characters, also complain about the cold—they never seem to be able to get warm. Perhaps they are feeling the chill of the grave?
Alphonse is the dreamer who has an inkling that he might be dreaming—he is the only one who (occasionally) wonders what’s going on, who finds it odd that no one seems to care that he might be a murderer. Everyone else accepts the ever-shifting social dynamics with the calm acceptance of someone living in a dream. The acting is utterly deadpan and droll. A man is tortured by being exposed to a string quintet. Alphonse mentions that he has nightmares that last all night where he is wanted for murder and chased by the police. Perversely, in the nightmare script that plays out, the police don’t hunt him, but abet his ambiguous crimes. Some of it is a black satire on modern alienation, but the surrealism of the scenario speaks to deeper fears—death is the only sure constant in this movie where caprice otherwise rules the night.
Buffet Froid flopped (commercially) on its release, wasn’t screened in the U.S. for seven years, and is barely distributed today. It is reportedly a cult film in France, but that doesn’t do much for the rest of us. I was able to find it on the free-streaming service Kanopy (which requires membership at a a participating public or university library—and the catalog my differ depending on your supplier).
WHAT THE CRITICS SAY:
(This movie was nominated for review by “Dwarf Oscar,” who called it an “an absurd and deadpan comedy that gained a cult status here in France.” Suggest a weird movie of your own here.)
References [ + ]
|1.||↑||The comparison is hardly diminished by the presence of actresses Belle de Jour) and .(|
Sally Cruikshank’s zany animation style is distilled into its pure crystalline form in this short. It’s a psychedelic experience with so much going on that very little sticks.
A man lost at sea must choose between staying friends with a jaded burning corpse, or making friends with a more enthusiastic face that just appeared on his boat.