May 3, 2011 § Leave a comment
Completed for the Castro Theatre, San Francisco, is this 24″H x 18″W limited edition silkscreen print by David O’Daniel aka Alien Corset. Signed and numbered by David, you can, at a cost of £75, purchase this printed loveliness at the Richard Goodall Gallery.
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.
March 13, 2011 § Leave a comment
Completed at the French animation school, Le Gobelins, Chronos 1.0 is an animated short by Wassim Boutaleb, Bruno Mangyoku, Vincent Mahé & Yann Boyer. Realised in a mixture of traditional and digital mediums, it served as the opening sequence for the Annecy’s 2007 Animated Film Festival. Sound design is by Gerard Labadie, with music by Gabriel Ray & the students of Le Conservatoire de la ville d’Annecy.
March 13, 2011 § Leave a comment
“You’re a sick fuck, Fink.”
Here we have a rather striking imagining of the titular character from my favourite film by the brothers Coen, Barton Fink. Created by Stefan Faehler and showing at the upcoming Spoke Art exhibition, Quentin Vs Coen, at New York’s Bold Hype Gallery from the 7th – 9th of April. Remaining work will be available to purchase online through the Spoke Art shop.
March 12, 2011 § Leave a comment
“They’re all brand new and perfect…” Beware, urban scum, for vigilante-hobo, Rutger Hauer, is on your case with a shotgun and a severe bout of existential disaffection. All he wants is a lawnmower to make the city pretty, but the dregs of society push him too far. So far, in fact, that Hobo takes the law – and lawnmower-replacement shotgun – into his own hands, blasting away said urban scum with more gusto than Kim and Aggie with non-branded disinfectant.
UK release date is July 22nd 2011. In the meantime, here’s a taster of Eisener’s take on bloody revenge when Christmas trees get pushed too far in his precursor short, Treevenge.