Spanish zombies, rural American zombies, a Korean serial killer, monsters and illicit mindbending drugs, a blood-fuelled car, small-town fascism, an eccentric family in retreat from the modern world, and a man with a truffle-hunting pig – there’s no pattern here in my recent movie-watching other than a restless search for the original and the entertaining.
I had to overcome numerous unforeseen difficulties to see Tears of Kali (2004), the first feature by German director Andreas Marschall (Masks, 2011), a stylish and artful collection of three loosely connected horror stories linked to a dangerous cult; each story centres on a couple of characters caught in psychologically tense conflict with occasional eruptions of graphic physical violence.
David Cronenberg returns to his roots with a new movie which borrows its title and major themes from his early experimental feature Crimes of the Future (1970); once again nature responds to destructive human activity by accelerating the mutability of the body. This time Saul Tenser (Viggo Mortensen) transforms his continually mutating body into an object of performance art, infusing the body horror with a powerful note of black comedy in the director’s best film since Crash (1986).
Bertrand Tavernier’s epic eight-part documentary Journeys Through French Cinema (2017) offers a personal and idiosyncratic history rooted in the filmmakers personal passions; Enzo G. Castellari’s The Big Racket (1976) and The Heroin Busters (1977) showcase the cynical, violent action of Italian genre movies of the ’70s; Andreas Marschall turns homage into effective horror in the retro-giallo Masks (2011); and Puloma Basu and Rob Hatch Miller’s documentary Other Music (2019) captures an experience all-but-lost today with their account of the final days of a great independent record store in New York City.
A pair of eccentric characters – a man who creates an alter-ego who performs dangerous stunts for a local cable access show, and a man who claims a lifetime of alien encounters (including intense sexual experiences) – are given sympathetic consideration in two strange and entertaining documentaries: Jay Cheel’s Beauty Day (2011) and Brad Abrahams’ Love and Saucers (2017)
Criterion’s new Blu-ray release of Joseph Losey’s chilling allegory of identity disintegrating under the pressure of anti-Semitism in Occupied France features a new 4K transfer from the original negative and includes three-and-a-half hours of supplements about the production and the real history in which the story is grounded.
Recent viewing of Arrow Blu-ray releases includes horror, sci-fi, comedy, martial arts and murder from directors Terry Gilliam, John Landis, King Hu, Robert Altman, Takashi Miike and Mario Bava.
Criterion’s Blu-ray release of Alex Cox’s masterpiece Walker (1987) revives this deconstruction of America’s self-mythologizing at a time when its themes are more pertinent than ever; imperial attacks on domestic and foreign societies driven by a toxic mixture of religious self-righteousness and unfettered capitalist greed have been on the rise for decades and Walker traces the roots back to the mid-19th Century doctrine of Manifest Destiny.
When filmmakers attempt to tell a story in a single sustained shot they encounter a number of technical issues because they have to abandon many of the tools developed over the history of cinema. Two recent Japanese movie approach the challenge in very different ways, one (Yuji Shimomura’s Crazy Samurai Musashi [2020]) succumbing to the inherent limitations, the other (Shin’ichiro Ueda’s One Cut of the Dead [2017]) interrogating those limitations with great comic effect.
Colombian filmmaker Juan Diego Escobar Alzate’s first feature Luz: The Flower of Evil (2019) is a poetic slice of folk horror with striking imagery and moments of disturbing violence rooted in a very dark vision of Christian patriarchy.