Tag Archives: War

FANTASIA FILM FESTIVAL 2020: LABYRINTH OF CINEMA (2019)

366 Weird Movies may earn commissions from purchases made through product links.

Recommended

DIRECTED BY:

FEATURING: Takuro Atsuki, Rei Yoshida, Yukihiro Takahashi, Takato Hosoyamada, Yoshihiko Hosoda,

PLOT: Japanese teenagers find themselves thrown into the movies screening at a cinema on the last night before it closes.

Still from Labyrinth of Cinema (2019)

WHY IT MIGHT MAKE THE APOCRYPHA LIST: Nobuhiko Obayashi’s final movie, completed only months before his death, is an exuberant, monumental, poetic and surreal ode to the power of cinema.

COMMENTS: I’d advise letting yourself get lost inside Nobuhiko Obayashi‘s Labyrinth of Cinema. Due to the way it hops around between eras and genres, the story may be easier to follow for those familiar with pre-WWII Japanese cinema; but given that the movie begins by introducing one Fanta G, a time-traveler who arrives in modern-day Onomichi, Japan, in a spaceship with goldfish floating inside it, it’s fair to say that narrative logic is not uppermost on Obayashi’s mind. This is a movie with atmosphere to absorb and imagery to intoxicate.

“Movies are a cutting edge time machine,” Fanta G tells us. “You’ll experience time lags in this movie.” You have been fairly warned. After he lands his spacecraft in the harbor and makes his way to Onomichi’s only cinema for the all-night war movie marathon, we’re introduced to the rest of the main characters. Noriko is a 13-year old schoolgirl from a nearby island who almost always appears onscreen bathed in an idyllic blue light. Teenage film buff “Mario Baba” is smitten with her; he sits in the audience with two companions, a nerdy aspiring historian and the son of a monk who intends to become a yakuza. As the first feature begins, Noriko climbs onstage and begins tap dancing in front of the screen; when she hops into the film itself, no one in the audience bats an eye. The three boys soon find themselves mysteriously absorbed into the screen, as well. But the movie keeps changing, and the trio find themselves involved in musicals, samurai films, and wartime adventures, playing out various scenarios, but always pursuing Noriko, who serves both as damsel in distress and an ever-receding symbol of the epiphanic power of cinema itself. The skipping-through-film-history format plays out like a live action variation on Millennium Actress, but with an even more dislocated plot.

Most long movies are slow-paced, languorously stretching out to fill the available time, but Labyrinth of Cinema jets like a rocket through its three-hour tour of Japanese cinema. This makes it exhilarating, but also a little exhausting. Besides the constantly shifting plots—the teenage trio find themselves in new roles, facing new adversaries, every five minutes or so—Obayashi constantly switches styles. He recreates traditional genres, but also throws his own immersion-breaking visual trickery onscreen: vertical wipes, big blocks of primary color, actors enclosed in circular irises that resemble the Japanese flag, blazing computer-generated sunsets, and sidebar text commenting on the action (when one character first appears, he shows us a legend cheekily explaining “we don’t know his name yet”). Along the way we get plenty of the surreal touches we’d expect from the mind that gave us Hausu, including a piano tune played by bullets, and an emotional death scene with a woman who just happens to be sporting a Hitler mustache. Many such surprises lurk inside this maze of movies.

The pace slows a bit after intermission as the story makes its way towards its climax at Hiroshima. A strong and consistently humanist anti-war theme runs through the entire film, but the main focus is always on the cinematic form itself. Labyrinth of Cinema is an ode to the ways in which movies both distort and inform reality; it’s Obayashi‘s love letter to the art to which he devoted his life, shown as much from the perspective of a fan as of a craftsman. While doubtlessly the epic could have been edited down for clarity—and might have been, had Obayashi survived to tinker with it further—much of the movie’s ramshackle extravagance would have been lost. I’m not sure we would want to lose a single second of Obayashi’s last gift to the world.

WHAT THE CRITICS SAY:

“…bursting with energy, passion and dreamlike invention… the border between reality and fantasy dissolves into a colorful alternative universe that is uniquely Obayashi’s.”–Mark Schilling, Japan Times (contemporaneous)

APOCRYPHA CANDIDATE: SLAUGHTERHOUSE-FIVE (1972)

366 Weird Movies may earn commissions from purchases made through product links.

“I love George Roy Hill and Universal Pictures, who made a flawless translation of my novel Slaughterhouse-Five to the silver screen … I drool and cackle every time I watch that film, because it is so harmonious with what I felt when I wrote the book.”– Kurt Vonnegut, in the preface to Between Time and Timbuktu

Recommended

DIRECTED BY: George Roy Hill

FEATURING: Michael Sacks, Ron Leibman, Eugene Roche, Valerie Perrine

PLOT: Billy Pilgrim, a chaplain’s assistant in the thick of WWII,  comes unstuck in time and yet endures, partly through the philosophical guidance of aliens from the planet Tralfamadore.

Still from Slaughterhouse-Five (1972)

WHY IT MIGHT MAKE THE APOCRYPHA: While this movie is no weirder than it has to be, it is the most faithful movie adaptation of as novel from one of the strangest geniuses in American literature, so it has that going for it. Standalone, it punches the same weight as the war movies we honor here, while taking a novel that was seemingly impossible to film and making it look so natural you wonder that it wasn’t written as a script in the first place.

COMMENTS: At last, our quest for the ideal Kurt Vonnegut adaptation brings us to Slaughterhouse-Five (1972). This is the Papa Kurt movie that comes most highly recommended, with a promising directorial credit. George Roy Hill also directed the film adaptation of The World According to Garp (1982), another difficult book-to-film challenge with another author of sophisticated black comedy, which he pulled off with somersaults. Hill’s resume is bursting with offbeat cleverness like Thoroughly Modern Millie (1967), the weirdest musical about a roaring-20s flapper busting a human trafficking ring. Charged with putting Kurt Vonnegut’s most acclaimed novel to film , Hill made an effort which the author himself would go on to praise, miracles never cease! Now let us pause to quaff a shot of something that will make our breath smell of mustard gas and roses, and prepare to be thrilled. I will try to explain what it means to be unstuck in time: take a normal life as a deck of cards, then shuffle it. That’s all; there’s no time-traveling DeLorean here.

We open with Billy Pilgrim (Michael Sacks) in an unexpectedly graceful setup: he’s typing a letter explaining how he is unstuck in time, jumping back and forth in his life, with no control over where or when… Then we segue into the war. Billy served as a chaplain’s assistant in the U.S. Army during WWII; he revisits this part of his life at random. He also shifts to the planet Tralfamadore, where he is held by aliens as an intergalactic exhibit with a mate, Montana Wildhack (Valerie Perrine), who was chosen for him by his alien hosts—who are quite pushy about having them breed. She’s sweetly Continue reading APOCRYPHA CANDIDATE: SLAUGHTERHOUSE-FIVE (1972)

CAPSULE: MONOS (2019)

366 Weird Movies may earn commissions from purchases made through product links.

Recommended

DIRECTED BY: Alejandro Landes

FEATURING: Sofia Buenaventura, Julianne Nicholson, Moisés Arias, Wilson Salazar

PLOT: A paramilitary squadron of teenagers guard a hostage at a remote jungle location; bad decisions by the inexperienced soldiers lead to tragedy.

Still from Monos (2019)

COMMENTS: Monos is a movie that reminds everyone of other movies, of Lord of the Flies and Apocalypse Now and Aguirre the Wrath of God. That’s not a knock on director Alejandro Landes; there’s no need to reinvent the wheel, when existing styles are the best means to tell the story you want to tell.

A co-ed group of eight teenagers are given rifles and tasked with guarding an American hostage (and a cow) on a lonely mountaintop. To pass the time, they play blindfolded soccer and shoot automatic rounds into the air; as the story begins, their life is more like summer camp than boot camp. They have code names like “Rambo” and “Bigfoot” and work for “the Organization,” with their single point of contact with the outside world a ripped dwarf dubbed “the Messenger.” We do not know why they are fighting or who they are fighting for or against. Besides providing an ambiguous ambiance, there’s an important reason for the lack of specific context to the military campaign–it puts you in the same position as the conscripted kids, who have no ideology and show no understanding of the prospects or merits of their side of the conflict.

Monos is a worthy movie, but it’s mostly a work of psychological realism exploring the dynamics of a group of child soldiers. The kids struggle against their hormones, form internal alliances, seem to not understand why their hostage isn’t friendlier to them, and make immature decisions that lead to their numbers being whittled down over the course of the movie. Its slim claims to weirdness stem from a number of impressionistic, ritualistic montages—in particular, one where three of the team discover psychedelic mushrooms on the eve of a government ambush—which gives it that surreal fog-of-war haze found in war films like Come and See. Mica Levi (Under the Skin ) contributes a misty, atonal score that heightens the ethereal unease.

Wilson Salazar (“the Messenger”) was himself drafted into the Revolutionary Armed Forces of Colombia (FARC) at the age of thirteen. He was initially brought in to train the kids to act like soldiers, but the filmmakers liked his look and persona so much that they cast him in a prominent role.

WHAT THE CRITICS SAY:

…surreal, wildly beautiful… Easily one of the best films of 2019.”–Tara Brady, The Irish Times (contemporaneous)

360. COME AND SEE (1985)

Idi i smotri

“And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see. And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him.”–Revelation 6:7-8

Must See

DIRECTED BY: Elem Klimov

FEATURING: Aleksey Kravechenko, Olga Mironova, Liubomiras Laucevicius

PLOT: Florya, a boy of about 14, digs in a field with a playmate, hoping to find a buried rifle so he can join the Belorussian partisans fighting against occupying Nazis. He finds one, and is soon roughly whisked away by soldiers to the forest campground, leaving his sobbing mother behind. When the troops go on patrol he is left alone to guard the camp, but after the Luftwaffe bomb the area he and a female companion return to Florya’s village, where he finds the war has devastated everything his once knew.

Still from Come and See (1985)

BACKGROUND:

  • Based on a memoir of a teenage Belarussian partisan, Come and See was commissioned to celebrate the 40th anniversary of the Soviet Union’s victory over the Nazis.
  • Director Elem Klimov, still a relatively young man at 52 when he completed Come and See, chose to retire from filmmaking after its release, saying that he could not top this achievement.
  • Come and See is included in Steven Schneider’s “1001 Movies You Must See Before You Die” and tied for 30th (among directors) and 154th (among critics) in “Sight and Sound”‘s 2012 Greatest Movie poll, among other accolades and honors.

INDELIBLE IMAGE: It could be the closeup of Aleksey Kravechenko’s prematurely aged face at the end. Or the S.S. skull-on-a-stick the refugees turn into an effigy of Hitler. For me, however, the most surprising and unforgettable image was the nightmare of Florya and Glasha sloshing through a muddy bog in desperation, fleeing from a horror they will never be able to outrun.

THREE WEIRD THINGS: Forest Charleston; cow in a firefight; kill baby Hitler?

WHAT MAKES IT WEIRD: Come and See’s flirtations with surrealism nudge it into the “weird” category, and then its sheer grueling intensity carries it to “must see” status. That recommendation should perhaps come with a warning that, despite containing nothing particularly graphic, this movie’s sheer aura of evil is likely to disturb you on a deep level. This is not a shock-for-shock’s-sake experience, however, but an honest, unflinching dip into the subconscious of an adolescent boy thrust into a horrific situation initially beyond his comprehension—one which he tragically comes to understand all too well.


DVD trailer for Come and See

COMMENTS: Come and See is war movie as horror movie. It is notable for its immersive intensity. It unrelentingly assaults your sensibilities, as sadistically eager to strip away your innocence as it is to Continue reading 360. COME AND SEE (1985)

CAPSULE: KING OF HEARTS (1966)

DIRECTED BYPhilippe de Broca

FEATURING: , , Françoise Christophe, ,

PLOT: Signal Corps pigeon-keeper Charles Plumpick is mistakenly sent into the recently abandoned town of Marville to defuse German explosives, but his mission hits a road block when released members of the local insane asylum adopt him as their king.

WHY IT WON’T MAKE THE LIST: King of Hearts is whimsical, farcical, pacifist, fairly amusing and even sometimes tense—but not weird. Film-maker Phillippe de Broca lets his hippie-freak flag fly high, but the tone and story are altogether too bright and straight-forward for this to parade anywhere near List candidacy.

COMMENTS: It is altogether natural that a movie like this—an atypical period film (WWI) made during a disruptive decade (the 1960s) concerning a small French town taken over by the inmates of an asylum—appeared on our radar. Though filmed during the (stage) theatrical run of another asylum-themed dramaKing of Hearts is preaching more to the pacifist/anti-establishment choir than dealing, cinematically, with any madness other than the folly of war. While it is set during the first World War, it’s more of a fluffy predecessor to other counterculture anti-war films like Altman‘s M*A*S*H or ‘ Catch-22.

It is safe to presume that in contemporaneous times, Charles Plumpick (Alan Bates) would have been a draftee. The Great War was a strange beast, though, and as an Englishman there’s every reason to believe that this bookish lover of birds would have volunteered the minute he heard that Jerry was on the march. As a signals officer for the military (specialty: carrier pigeons) with a name similar to a bomb disposal expert, he is sent off to the recently evacuated—and recently booby-trapped—town of Marville. Feeling guilty, one of the townsfolk unlocks the insane asylum as he flees. After wandering out, the inmates find all kinds of diversions: dressing up fancifully, enjoying shaves and haircuts, and staging ad hoc parades. Our hero Plumpick is mistaken for their King, and spends the movie being feted, scurrying madly to find the bomb trigger, and getting seduced by a cinematically antediluvian manic pixie dream girl.

I was reminded of my love of darker cinema when I first watched King of Hearts: it is entirely missing any aura of unease, much less menace. The “insane” people are all highly functional, charming, and seemingly guilty of nothing more than harmless delusions and a capacity for wonder. The British soldiers are Scottish, the only reason for which I could deduce was so the film-maker could have a bunch of kilted yobbos running around (there’s a trio of soldiers sent after Plumpick that wouldn’t have been out of place amongst the constables in The Pirates of Penzance). The Germans are boobs in the “Hogan’s Heroes” mold. The showdown between the two sides when they descend upon the city is the only bit of violence, and its orchestrated in a manner that screams, “Hey! I think war’s stupid!”

What kind of movie would it have been if Plumpick were infiltrating a bomb-laden city peopled by actually insane citizens? Obviously the movie would have been very different; and almost certainly much less beloved. King of Hearts was received lukewarmly at its release, but developed a considerable cult following since. There are some decent laughs, some clever lines, and yes, despite my complaints, I largely enjoyed the thing. However, throughout it all I couldn’t help but wonder, “How much darker, troubling, and altogether more glorious could this have been if the inmates had been more like those found in Charenton?” Ah well.

WHAT CRITICS SAY:

“…a surrealistic jewel of a comedy which you realize, when you can catch your breath between laughs, has made the case for the sanity of the lunatics and the madness of the war-waging sane.”–Charles Champlin, The Los Angeles Times (DVD)

341. UNDERGROUND (1995)

“If you saw what I see for the future in Yugoslavia, it would scare you.”–Marshall Tito, 1971

“I think that this current conflict is the result of tectonic moves that last for a whole century. If there is anything good in this hell and horror, it is that the tectonic disturbance will result in absolute absurdity. And then a new quality will emerge from it.”–Emir Kusturica, circa 1995

Recommended

DIRECTED BY:

FEATURING: Predrag Manojlovic, Lazar Ristovski, Mirjana Jokovic, Ernst Stötzner, Slavko Stimac, Srdjan Todorovic

PLOT:Two Yugoslavian gangsters join the Communist Party to resist the invading Nazis. One tricks the other into hiding out in a large cellar, where he and a small tribe of partisans manufacture munitions he believes are going to the resistance but which are actually being sold on the black market for years after the war has ended. Decades later, the ruse falls apart, and the former friends meet on the battlefields of Kosovo.

BACKGROUND:

  • Kusturica adapted Underground from a play by Dušan Kovačević, although he only took the premise of people tricked into residing in a cellar under the pretense of a fake war from that source.
  • The movie was filmed in 1992 and 1993, while the Bosnian War was raging—and ethnic cleansing was going on.
  • Emir Kusturica’s original cut ran for 320 minutes, about the same length as the six part serialized television version released later.
  • Underground won the Palme d’Or at Cannes, but was not nominated for a Best Foreign Film Oscar.
  • Despite its international success, Underground was controversial nearer to home. Kusturica was accused of taking money from the Serbian Broadcasting Corporation, which would have been a violation of sanctions against the Serbian government. (The director countered that he had only accepted non-financial assistance, and won a lawsuit for libel against a playwright who accused him of taking money from the Serbs.) The film was also criticized for being too conciliatory by not blaming Serbia and Slobodan Milošević’s regime directly for the Bosnian conflict. (Kusturica himself is ethnically Bosnian).

INDELIBLE IMAGE: A burning wheelchair circling an inverted crucifix under its own power.

THREE WEIRD THINGS: Flying bride; chimp in a tank; underwater brass band

WHAT MAKES IT WEIRD: Up until the third act, Underground plays as an absurd, Balkanized satire—a far wilder ride than the average moviegoer is accustomed to, but not a film that went all the way to “weird.” That final half-hour, however, pulls out all of reality’s stops, sending the film off into a nightmarishly surreal conclusion, then soldiering on to a more conciliatory mystical ending. It’s the perfect, weird way to cap off a world cinema masterpiece.


Original trailer for Underground

COMMENTS: Emir Kusturica considers himself Yugoslavian. “In my Continue reading 341. UNDERGROUND (1995)

339. WALTZ WITH BASHIR (2008)

“I am afraid that memories suppressed could come back with a fury, which is dangerous to all human beings, not only to those who directly were participants but to people everywhere, to the world, for everyone. So, therefore, those memories that are discarded, shamed, somehow they may come back in different ways — disguised, perhaps seeking another outlet.”–Elie Wiesel

Must See

DIRECTED BY:

FEATURING: Ari Folman

PLOT: Director Ari Folman’s old friend describes a recurring nightmare where he is accosted by 26 angry dogs, a dream that is related to his experiences in the Lebanon War of 1982. When pressed about his own recollections, Folman notices that he only has one clear memory from the war: skinny dipping in the ocean while flares fall over Beirut. He interviews other friends who served with him in an attempt to remember what happened to him in the war, but no one’s memories match his own.

Still from Waltz with Bashir (2008)

BACKGROUND:

  • The 1982 Lebanon War began when Israeli forces invaded Lebanon in an attempt to stop Palestinian terrorists who were operating across the border. The Israeli’s sided with Christian elements in Lebanon—the Phalangist party—led by the charismatic Bashir Gemayel. Gemayel was elected President of Lebanon in 1982, but was assassinated after less than a month in office. Although a member of a rival Christian political party later confessed to the assassination, members of a radical branch of the Phalangists immediately blamed Palestinians for the killing and undertook a massacre in two refugee camps, systematically killing civilians. 1 The occupying Israeli army not only allowed the massacre to continue for two days, but shot flares at night to illuminate the streets at the Phalangists request, before ordering the paramilitary troops carrying out the massacre to disperse. An Israeli investigation found defense minister Ariel Sharon negligent for failing to protect the civilians from the Phalangists, and he was forced to resign his post over the resulting scandal. He was elected Prime Minister in 2001, however.
  • Although often mistaken for rotoscoping, the animation in Waltz with Bashir is done cutout style, aided by computers (they actually used Flash). The scenes were filmed and then recreated by animators, rather than drawing directly over the film frames as is done in rotoscoping.
  • Folman exaggerates his memory loss as a literary technique. On the film’s commentary track he explains that in reality he did not have a complete loss of memory, as depicted in the film, but he had suppressed his memories of the Sabra and Shatila incidents.
  • Waltz with Bashir was banned in Lebanon and parts of the Arab world.

INDELIBLE IMAGE: There are many choices here, from the scene of the soldier dancing in the middle of a firefight from which the movie takes its name to the devastating last forty-five seconds. But Waltz with Bashir hooked us with its first (and most) surreal image: the soldier who dreams he is rescued from his troop transport by a giant naked woman who emerges from the sea.

THREE WEIRD THINGS: Rabid dog revenge; backstroking giantess; Doberman porn star

WHAT MAKES IT WEIRD: Waltz with Bashir is a perfect example of our sliding scale for weird movies. Ari Folman has made three movies that dabble in surreal imagery; the other two (Clara Hakedosha and The Congress) are inarguably weirder. But Bashir is his morally complex masterpiece, the film for which he seems destined to be remembered. Groundbreaking in form, shocking to the senses and the conscience, it portrays war from a soldier’s ground-eye view as an absurd, half-remembered dream—but one with very real consequences, which emerge from the murk of remembrance into the harsh light of reality in the brutal finale.

Original American trailer for Waltz with Bashir

COMMENTS: A young man walks out of the ocean and stares at us. Continue reading 339. WALTZ WITH BASHIR (2008)