August 3, 2012 § Leave a comment
“17-year-old Tomás, and his younger sister Marcela, leave home to attend a fancy dress party. She never comes back. A year later, Tomás and his family go on a trip to an isolated country house, intending to heal their wounds…”
“…But in the hauntingly beautiful countryside, the trip will soon turn into a collective hell. The isolation unearths the memories of Marcela’s death; one son’s deep attraction to his aunt; another son’s hatred for his brother; and the dark fantasy that completely envelops the family’s 10 year-old twins, based on the macabre stories that their aunt tells them before bed. Soon the family members are sunk into a state of nightmarish insanity that some of them may not survive.”
Though there is currently very little info surrounding the release of El Resquicio (literal translation “The Opening”) and thus far no English subtitles for this Colombian-Argentine film, the atmosphere in the trailer alone is enough to convey that this is one family for whom a healing trip away is backfiring with ample sufficiency to delight fans of cinematographic, isolated family madness.
May 29, 2012 § 2 Comments
Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears – Edgar Allan Poe.
And so it is that this video from French record label and digital art-mongerers, Stellar Kinematics, caused me to have the tears pertaining to that which I find beautiful. This clip is raw from Camera E-8 on the launch umbilical tower/mobile launch program of Apollo 11, July 16, 1969. This is an HD transfer from the 16mm original. More at http://www.spacecraftfilms.com/. Music by Dusty Brown – This City Is Killing Me.
Free download of Dusty Brown’s This City Is Killing Me EP available on their website, http://www.dustybrown.com/
You might also like…to play and download this Stellar Kinematics release by Playground.
August 22, 2011 § Leave a comment
Hello. Eclect Elect has returned after a lengthy absence consisting of house move, lack of internet and lovely dog adoption. More information on the great life event that is finally adopting ones own dog will surely follow, but for now I offer you some celebratory music and dancing courtesy of Tommy Four Seven/ The29Nov Films and Funki Porcini/ Luis Buñuel. Enjoy!
May 7, 2011 § Leave a comment
Growing up with a visual diet of stop-motion animation has ceaselessly endeared it to me for its beguiling, dark charm. A regular fixture of my televisual intake, from the synonymous Ray Harryhausen to the pure magic of Czech Animation, stop-motion captured my head and my heart from a very early age. Czech surrealist filmmaker, Jan Švankmajer, is, of course, still propagating his auteurism within this cinematic field, but reaching a new generation with his mastery of the craft, largely via the internet, is the UK’s very own David Firth; animator, musician, video artist, and he of Salad Fingers fame.
Notoriously time consuming, stop-motion has been less of a viable filmmaking option for Firth, but today, reader, we’re going to have a mini retrospective of mannequin-based animations from this particular realm of artistry, beginning with Firth’s own Crooked Rot, and, as inspiration does beget inspiration, Adam Rosenberg’s tributary Manny.
And so I present to you, with music composed by Marcus Fjellström, Crooked Rot…but not before some introductory words on the film by Firth himself:
This project really began when I discovered a treasure cave of strange items in my own back yard including mannequin heads and rubber hands. It inspired me so much that every time I returned I gathered more inspiration.
And now for Adam Rosenberg’s heavily-influenced yet sufficiently self-stamped Crooked Rot homage, Manny:
And here are some links should you wish to further investigate the talents involved:
http://www.fat-pie.com/ for David Firth
http://kafkagarden.com/ for Marcus Fjellström
http://www.youtube.com/user/Moose13088x for Adam Rosenberg
May 3, 2011 § 1 Comment
Written and directed by Steve Ayson, this 2002 New Zealand short is not only one of my favourites, but over 12-minutes-worth of innovative creepiness to put you off any domestic renovations you might have in mind for, approximately, forever.
May 3, 2011 § Leave a comment
May 2, 2011 § Leave a comment
Released by Anchor Bay in January 2011, Amer (Bitter) is Hélène Cattet and Bruno Forzani’s deliciously formidable inaugural feature and open homage to cult Italian horror genre, giallo.
This near dialogue-free French/Belgian giallo extraordinaire a – triptych tale of Ana amid the lust and violence that shapes her – shows its devotion to its generic procreators with more than enough aplomb to seamlessly anchor it in French art-house cinema. Elated for days following the screening, it’s no secret that this gloriously fervent psychoanalytic hotbed ignited in me some hope for the filmic future.
Frankly, a staggering first feature and nothing less than essential viewing for fans of giallo and art-house alike, or, for the virgin masses, an intoxicating cinematic opiate that will leave you seeking out your erstwhile fix.
April 14, 2011 § Leave a comment
It would not be unheard of for me to complain, like many others, about Hollywood’s increasingly worrying lack of original content. The machinations of this moneyed industry have truly gone into overdrive with the cashing-in of ‘known’ titles and an excess of bums-on-seats guff. You can imagine, then, how excited I was at the promise of Rubber; Quentin Dupieux’s (he of the better-known musical moniker, Mr. Oizo) avant-garde offering concerning one telepathically murderous tyre. It is well, then, that we might subtitle Dupieux’s seemingly admirable creative flexing exactly as he himself has rather obtusely pitched it from the outset: Quentin Dupieux vs. Hollywood.
And so it is that the gloves came off and our eyes were to be opened to a rejection of Hollywood’s relentless shackles in favour of something original, funny, dark, charming, carefully studied and, above all, different. This was the tempting premise and, judging by the teasers and trailer, Dupieux was set to nail the delivery. And indeed he might well have had he actually made a study of a murderous tyre. That he did not is where the problem lies…
The tyre’s dusty awakening was such a beautiful and darkly amusing observation of the lone and the inanimate and, had Dupieux ditched the arrogance in favour of continuing with this, he’d have had a much subtler and, consequently, more valid basis for his commendable argument. However, what we instead get is 82-minutes of the most unfounded ego trip I’ve yet seen in the cinematic field. Dupieux’s ‘film within a film’ is his personal pop at the industry and as such is the most horribly contrived, disengaging, near-baseless letdown of a directorial vehicle I’ve yet had the distinct displeasure to view. To have shelved the promise of something so deliciously unique for a cinematic weaving of new clothes for the Emperor is unforgivable and, in fact, given that I ended up feeling I’d rather have watched anything featuring Jennifer Aniston simply for the lack of fraudulence, bizarrely bucks its own purpose. Previous to this, the angriest I’ve felt about a film acclaimed yet under-delivering is Michael Haneke’s Hidden. In light of Rubber, however, this pales given Haneke’s rightly well-respected body of superior work and on-point criticism of the media. Dupieux has yet to prove himself and attain this right, and, unless he drops the ridiculous conceit and critical ham-handedness, I can’t honestly see him doing this. And that is why the result for Dupieux’s painfully self-styled filmic fisticuffs can only be: Hollywood: 1, Quentin Dupieux: 0.