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Article by: Dave O Butnu
Canadian sisters, Jen and Sylvia Soksa are making waves in the world of indie horror. With their debut, Dead Hooker In A Trunk, only just reaching its release on DVD in the UK, they are already working on their next project, American Mary. Luckily, the Soska Sisters were able to take some time out of production to talk to subtitledonline.com…
Your first film, Dead Hooker In A Trunk, has just come out on DVD after a pretty successful run on the horror festival circuit. I understand that you’ve been working on it for over 3 years now, so how does it feel to let it loose on the world after all the hard work?
Sylvia: It feels so wonderful that it doesn't seem like reality. Working on this film, we had to face a lot of challenges and use our resources to work around those. We're so used that process that to have it finally out and world distribution just around the corner is a hugely humbling honour. I'm very grateful to the horror community that has really gotten behind the film and made it get to this point. It's a testament to the power of the people and I'm so happy they dug the flick.
Jen: Everything with our Dead Hooker In A Trunk has been surreal. It's an incredible feeling to be a filmmaker with a released film. When you start out, you're just so damn excited to be making a film. There is so much more that goes into filmmaking than just the making of the film in the first place. Not enough people talk about what a struggle it is to get your film out there after it is completed. The festival circuit goes a long way in getting your film seen. It's the people and their response to the film that is the most vital. I can't even begin to say how grateful we are to have been embraced by the horror community.
The film has a very ‘exploitation’ style title, and when watching Dead Hooker… I know that you’re both fans of Grindhouse, but I couldn’t help thinking of Troma as well. Did you consciously draw on these sorts of influences?
Sylvia: There is such a huge misconception that only certain people with a certain amount of money can make movies in a very certain way. That's bulls**t. People with very modest budgets have been making cool flicks since film first began. Troma and the old Grindhouse films of yesterday aren't great because they are flashy, expensive, studio opuses - they were great because of the heart that is put into the work. You can't buy that.
We have loved horror films since childhood - we started at the ripe old age of 9, although the fascination was always there - and we were getting frustrated with what we were seeing in the theatres. I remember talking to Jen and saying that Grindhouse was the first time in a long time that I was excited to go to the movies. We wanted to make something that we would like to see in a theatre and that was the idea that fuelled Dead Hooker In A Trunk.
Jen: The whole Grindhouse style lends itself to indie filmmaking. Having said that, doing a film in the Grindhouse style doesn't mean you can cut corners and get away with making a crappy movie. On the contrary, a Grindhouse film, because they can be done so effectively with a modest budget, are very carefully critiqued. Make sure you have intentional camera work, sharp editing and good actors. Bad acting will instantly ruin your film even if everything else is flawless. It's a big part of why most people are reluctant to even watch an independent film with ‘no name’ actors. As sh***y as it is, people want to see name actors in your films for that very reason. Any indie filmmaker trying to get their film out there can tell you one of the first things anyone asks about your film, especially festivals, reviewers, and distributors, is "who's in it?"
But I digress... We did want to make our film Grindhouse style. We wanted Dead Hooker In A Trunk to be larger than life and that's another thing that the Grindhouse style is really great for. DHIAT is our own take on Grindhouse. We had talked a bit during the making of the film about doing the degraded film with lines running through it, but it took more away from the film than anything else.
Towards the end of Dead Hooker… one of you says something like, “I can’t believe that there were no bad consequences for all of this!” Was it quite liberating to make a movie without teaching everyone a lesson in morals?
Sylvia: You can have morals in a film without preaching at people. I hate watching a film and then having the filmmaker's opinion forced down my throat. Film - like all art - should be open to interpretation. There are tender moments in DHIAT but the overall feeling is fun and loose. No character is just good or just bad. There are too many films where the protagonist has to be this sinless perfect person and that is just not how people work. I really enjoyed the twenty-something b**tard characters that led the adventure. It really did feel liberating to write flawed people who, despite those flaws, had very endearing qualities.
We wanted to have the cast go through all sorts of over the top insanity and, in the end, the only real change in circumstance is the growth in the relationships between the group in seeking peace for the hooker - a stranger in an occupation that is often looked at as less than human. They try to do right by her and that's sweet in a very demented way.
Jen: One of the things said about the film that I am most proud of is "you find yourself falling for these lovable characters despite them never really doing anything lovable." I agree fully with what Sylvie said. I hate those intentional sweet moments that are shoved down our throats more often than not accompanied by some sentimental music. It's insulting to an audience much like a laugh track. We are free to feel however we like about whatever we like. It's degrading to tell your audience "this is the sad part" or "you're supposed to laugh here.”
When we set out to make Dead Hooker In A Trunk we more than anything wanted to make a film that is pure enjoyment for our audiences. Don't you hate that feeling when you leave a theatre and you feel so humiliated for having paid and gone out to see yet another steaming pile of crap that you hope no-one sees you there? I know I do. There may be fewer people going to the theatres these days, but who can really blame them? We wanted to make a film that would get people excited to see it. It started with the title and built from there. It was very liberating to make a film however we liked with whatever story we wanted and with whoever we pleased. We wanted to make a WTF film, and I would humbly say that we have done exactly that.
If people watching your films choose to walk out, do you look at it as more of a triumph or does it hurt your feelings? I love Dead Hooker…, but it must go without saying that some people wouldn’t have the patience for such a relentless movie.
Sylvia: I saw Bob Saget doing stand up in town a few weeks back and people walked out over some jokes that seemed tame to me. But I'm a terrible judge of what people will find offensive. At first, it bothered me when I heard of people walking out, but it's their choice to do so and you can't push your interests on people. That said, we thought the title of the film was ample warning for what they were walking into.
What I do like is the few times I've been in a darkened theatre, watching a horror, and seeing people get so scared from something in the film that they run out screaming. Fear is very interesting to me. I understand what can make something scary, but often I don't find those feelings in myself when watching films. My mother explained horror to me very straight forward when we were young: everything you see on the screen is created by talented artists with the intention of scaring you. So, what can be threatening about that?
One day, I want to create that. That moment that is so horrific in a film that an audience member, despite knowing better, runs screaming out of the theatre because of something we created. I just think that means your work truly touched someone. Not everyone has to run out, screaming, but it would be nice.
Jen: I guess it would depend on why they were walking out of our film. Everyone deserves a bathroom break. Seriously, though, I am surprised when someone is offended by the film. It is just as comedic as it is horrific and, before you even realise it, it gets actually quite touching and sweet. One of the many things that our title does is give our audiences a taste of what they're in for. If you don't giggle like a school girl at a Bieber concert when you first hear it, chances are it's not your cup of tea. I don't expect everyone to love our film. There is no-one film universally loved by everyone. Even films considered classics or one of the greats aren’t loved by everyone. If you start making your work for everyone, you're going to end up with something no-one will enjoy.
There are a lot of contrasts between the characters in Dead Hooker…, most notably the two ‘goodies’ and two ‘baddies’ in the main group of four. Is this theme of duality something that lies closer to your hearts, being twins? Do you get a lot of people assuming that you’re exactly the same as each other?
Sylvia: Relationships between people and the internal conflict of good and evil within individuals fascinate me. We started with two 'goodies' and two 'baddies', but, as the story progresses, you see that these stereotypes have different dimensions. We wanted to play around with that and have contrasting character aspects. Badass was rivalled by her twin Geek. Both are hot-headed and stubborn, but in different ways. Junkie was rivalled by Goody Two-Shoes, as both had this innocent outlook on the world but from two polar opposites of the spectrum. I see people putting a significant amount of faith in stereotypes - that probably came from being born as a twin which comes with preconceived notions of this and that - and I wanted to play with those thoughts and put them on their head a bit.
Jen: We've heard every twin joke, comment, and question you could ever imagine. More often than not, "Which one's the evil twin?" Probably both of us. Being Catholic, we've always had this fascination with good and evil. We divided our four heroes into very definitive stereotypes, but wanted to break those stereotypes, or at very least throw them into question, by the end of the film. Goody in particular has a very distinctive character arc. You can see his breaks in his armour, so to speak, throughout the film, and he more than proves his incredible strength by the end of the whole bloody affair.
We realised that we'd be expected to do a good job of it, seeing as we are real life sisters and that has to come into play on camera. We work very well together. We are two very different people, but we think the same and understand one another. Duality is fascinating to us.
Have there been any issues with censors around the world, now that the movie is being released? Did Dead Hooker… get banned or cut anywhere?
Sylvia: We got extremely lucky with this film in the respect that we maintained creative control over the entire project without having to fight for our content. I'm actually surprised it didn't get more backlash. The only banning happened over the title without the film being watched, so I think people don't have a problem with the content. It got an 18+ rating, but it has extreme language, violence and full frontal male nudity, so that was expected.
Jen: The film is available in its entirety and I am so happy about it. I absolutely detest censorship. I feel that not only is it bulls**t to tell someone what they can or cannot watch and remove the opportunity for them to even decide for themselves, but it breeds ignorance. Just because you don't see something doesn't mean it doesn't exist. How are we ever supposed to deal with real horror in our lives? If someone is attacked and raped, they can't just cut to the next day. They have to be there. Art imitates life. When violence and horror disappear from reality, then it would be appropriate to remove those aspects from film.
If anyone under 18 is reading this, I'm sorry we couldn't lower our rating so you could grab a copy of DHIAT or see it. I hope you still find a way and I hope it inspires you to go out and make your own films. I sincerely mean that. DOB
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Film: Julia’s Eyes
Year of production: 2010
UK Release date: 20th May 2011
Distributor: Optimum
Certificate: 15
Running time: 112 mins
Director: Guillem Morales
Starring: Belén Rueda, Lluís Homar, Pablo Derqui, Francesc Orella, Joan Dalmau
Genre: Horror/Thriller
Format: Cinema
Country of Production: Spain
Language: Spanish
Review by: Dave O Butnu
The return of giallo to the international film circuit will be just the thing many horror fans have been waiting for, and with recent successes like Amer, we can only wait with baited breath for the next crazy European psycho killer to mess with our brains. New Spanish thriller Julia’s Eyes could well be the next big thing. Anyone that’s seen The Orphanage will certainly have high hopes, given that it is made by the same team, but can such a mainstream aesthetic live up its more visually flamboyant predecessors?
The story follows Julia, who has a degenerative condition which leads to blindness. Her twin sister has the same affliction and is found hanged in a basement soon after losing her sight. The verdict is suicide, but Julia suspects something more sinister at play.
As she begins to unravel her sister’s personal life, she finds herself in a losing battle for her own eyesight. However, her growing obsession drives her on to continue hunting for the person that she is convinced has killed her sister.
The trail of clues leads to a nail biting conclusion, as Julia discovers how her sister died…
Just in case you’re not too sure what giallo is, it’s a genre that was popularised by some legendary filmmakers, such as Mario Bava and Dario Argento. Most giallo movies were made between 1960 and 1990, but in the last two decades, the genre has been something of a rarity in cinemas. It is a type of thriller/horror which originated in Italy. They are called gialli (plural), which simply means ‘yellow’, because many were based on detective novels which came with a yellow cover. Generally, giallo involves a number of characters who are all killed off one by one by a mysterious gloved/masked killer.
There is usually a strong psychological element, as well as sexual themes and a lot of focus on style and fashion. Julia’s Eyes features just about all of the tell-tale signs of giallo, with numerous plot twists and mind games at play. For most of Julia’s Eyes, we find ourselves frequently changing our minds about if there really is a killer and who they might be. In terms of its script and story, this film is a meticulously constructed rollercoaster of fear and suspense.
It may be obvious, but the dominant theme of Julia’s Eyes is vision and voyeurism, which is always a subject close to the heart of cinema. The power of the gaze is often regarded as a metaphor for sexual and physical dominance; however, when the gaze is taken away, we are infinitely more vulnerable and impotent. These concepts all manifest through Julia’s struggle to keep her vision, which is cleverly used to take us to some very dark places indeed. It is said that the most frightening films place the horror off camera, but Julia’s Eyes actually puts it in front of the camera and keeps us from really being able to see it. It’s almost as if this approach makes the most of both displaying and concealing at the same time, creating a whole new perspective on fear and edge-of-your-seat suspense.
This theme is explored through the dialogue and events, but, most strikingly, through the visuals. Unlike the vibrant, colourful imagery of Amer, and many other gialli, Julia’s Eyes mostly presents us with shades of gloom and grey. Many of the sets use very low key lighting and restrict what is visible, using what we can’t see to create tension and suspense. It also implements a lot of out of focus shots and shadows, further obscuring what can be seen.
Starring in the title role is Belén Rueda, who also played the lead role in The Orphanage. Belen seems to have an amazing talent for playing the distressed, as once again we see her as a character that is quite literally on the verge of a nervous breakdown. She conveys this distress so well that it envelops the audience in her hysterical panic.
Julia’s husband, Isaac, is played by Lluís Homar, who also appeared in the Pedro Almodovar film Bad Education (incidentally Almodovar produced Guillermo del Toro’s The Devils Backbone). Homar plays the role of Isaac brilliantly, with a thoroughly believable performance. His role in Julia’s Eyes is not an easy one. Isaac is a husband whose wife is apparently going crazy and blind, but his ability to adapt to each new twist in the story, with just enough restraint to make us question his virtues, is a truly uncanny ability.
One other notable element of this movie is the use of flash bulbs to blind people in the dark. This echoes perfectly the voyeuristic Hitchcock classic Rear Window, both visually and thematically. This light bulb homage is a very fitting reference, considering that Rear Window and Julia’s Eyes share a lot in terms of the themes that they both tackle, since both films feature amateur sleuths with not just disabilities, but restricted viewpoints.
Julia’s Eyes is a more subtle giallo than most, offering all the usual giallo hallmarks, but in a much more conventional and mainstream package. The plot will keep you guessing from start to finish and may also deliver a few (un)pleasant surprises, which makes Julia’s Eyes a must for any fan of European slashers and gialli, but perhaps, more importantly, a very accessible introduction for anyone new to it. Julia’s Eyes is an all round pleaser, ticking all the boxes and offering the occasional bit of gore as a bonus. DOB
Series: Tower Of Druaga – The Complete Series
UK Release date: 9th May 2011
Distributor: MVM
Certificate: 12
Running time: 600 mins
Director: Koichi Chigira
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Dave O Butnu
When most computer games are adapted to film or TV series, the results are often disappointing. We’re all familiar with the mass disappointment with such ventures as Final Fantasy: The Spirits Within and the Resident Evil franchise, and even Christian Slater couldn’t save Alone In The Dark from its straight to DVD destiny. Even if you thought these films were good, they by no means lived up to the stature of the games on which they were based. What can producers do to make computer game adaptations more enjoyable, especially in the eyes of the fans of the games they often butcher? The answer is, of course, to do things differently, and that is exactly what anime producers Gonzo have done with Tower Of Druaga.
As the title suggests, the series is about a huge tower, in the fantasy land of Uruk, which was built by an evil god called Druaga. At the top of the tower is a holy crystal rod, which is both fantastically powerful and incredibly valuable. This means that many of the citizens of Uruk set out to climb the tower in hope of getting the crystal rod and the countless other treasures littered around its many floors. However, the tower is no easy climb and is filled with armies of nasty monsters and malicious traps.
As Jil sets off with a group of fellow climbers, including his brother, it soon becomes clear that he has a lot to learn before he will be strong enough to reach the top of the tower. The group tell Jil to leave, so he finds new friends to climb with, who also turn out to be inexperienced climbers. Also climbing the tower is the mighty Army of Uruk and an evil assassin. Everyone seems to have different motives for climbing the tower and it soon becomes clear that they are not just competing with the tower, but each other as well…
You’ll be forgiven if you’ve never heard of a game called The Tower Of Druaga, since it was only released as an arcade game in Japan and the United States, way back in 1984. The game was a sort of action role-playing game and spawned a number of sequels on various consoles. The anime series uses the story of the game as its backdrop, but is set 80 years later and in a completely new and bigger tower.
So what does Tower Of Druaga do differently to its various other video-game-adapting counterparts? Well, firstly it doesn’t take itself as seriously. In fact, for the most part you could say it’s a comedy. The comedy employed is mostly quite slapstick, however, there are also a lot of jokes and references to the original game, role-playing games (as in Dungeons & Dragons) and computer games in general. In most cases, the jokes are really funny and will often catch you off guard, but some of the humour is a little lost in translation.
Tower Of Druaga takes even more from the original game by playing on the repetitive nature of such games. The characters make complaints about “yet another fight” and how “everything looks the same.” This approach actually seems to make it far more enjoyable than if the series had simply tried to be a serious adaptation.
The series also utilises the seemingly infinite sub quests that are another typical cliché of Japanese RPG games. In almost every episode we see the characters helping someone get their stolen wallet back or looking for their missing spear. This also shapes the narrative in to a more labyrinthine structure, which again seems even more ironic given that it is effectively set within a tower-shaped labyrinth!
Further to the constant sub quests, there is also a conspiracy sub plot as well as some sort of ancient prophecy which is gradually explained. Every episode brings completely new surprises, even though we all assume that we know what is going to happen next because of the countless clichés. The constant detours that the narrative takes us on distract us enough that by the time we end up back on track, we’ve forgotten that we knew where we were going!
Considering the aesthetic appearing to be directed more at younger audiences, Tower Of Druaga actually depicts some fairly adult content and themes. People actually die (the bad guys ruthlessly execute innocents), some characters even change gender at one point and, although we don’t see it, they discreetly joke about taboos such as masturbation and group sex.
Even more interesting are the opening credits to each episode, which show high school kids, who resemble the characters from the story, living their normal real world lives. Perhaps this suggests that the story portrayed in the series is merely an anime based on a group of children playing a role playing version of the game! Maybe we are just imagining that we are watching the DVD! Can any of this be assumed to be ‘real’?! To make things worse, the theme tune is incredibly catchy and you will find yourself humming it for days, despite not being able to understand the Japanese lyrics.
For anyone who isn’t too sure if they like anime, Tower Of Druaga is a good place to start. The episodes are only 25 minutes long and it will make you laugh throughout. Especially if you like playing games like Zelda or Final Fantasy. If you already know that you like anime, then you’ll definitely enjoy Tower of Druaga. This series is both insane and very funny, albeit very geeky at the same time! DOB
Film: Dream Home
Release date: 28th March 2011
Certificate: 18
Running time: 96 mins
Director: Pang Ho-cheung
Starring: Josie Ho, Michelle Ye, Eason Chan, Lawrence Chou, Norman Chu
Genre: Horror
Studio: Network
Format: DVD
Country: Hong Kong
In this age of economic turmoil, it has never been harder to get on to the property ladder, yet for many this is a benchmark in measuring our success. As we find ourselves in more and more debt, the distance to the first rungs of real estate can seem out of reach. Dream Home is a Hong Kong slasher that will make anyone question whether it is a leap that is worth taking. It is also a movie that shows us that the economic crisis is exactly the same on the other side of the world, and also satirises the obsessive nature of global consumerism. Dream Home takes things a fair bit further than similar ventures such as American Psycho, and is definitely not for the faint hearted.
Josie Ho stars as Cheng Li-sheung, a young professional who has spent more than a decade dreaming about a nice, although not extravagant apartment with a sea view. She works hard and saves money, but no matter how much she has saved, it is never enough to afford the mortgage for her dream home. Every time she gets close, the market changes and the price goes up.
Cheng becomes increasingly desperate to get what she wants for her family, which is simply a home big enough to house them. The apartment in question is the same apartment that she has wanted since childhood, and the dream becomes an obsession. As the obsession spirals out of control, she comes up with an idea to bring down the property value by means of a murderous scheme…
Dream Home is a story that is told by means of a non linear narrative that mostly takes place over one night, with flashbacks to various events in Cheng Li-sheung’s past, which explains her motivations. This makes for interesting viewing, since rather than American Psycho’s very linear narrative, where we see the monster emerge from a human, we instead begin with the monster and are then shown the human side, which allows us to partly identify and understand the character in between the evil and abject deeds. This makes Dream Home far more than an exploitative and empty series of gory set pieces.
This is a character-based film, and its success is based largely around the central performance. Josie Ho, who also produced the movie, is a seasoned Hong Kong actress, and has many titles under her belt. Her performance in Dream Home reinforces the style of storytelling, with a portrayal that is both cold, calculating killer and desperate dreamer.
Fetishism is rampant throughout Dream Home, with frequent close ups on household items, such as vases, cups, glasses and window frames, which linger in the foreground, obscuring the characters and their conversations. There are also a wide range of household items being used as weapons by Cheng Li-sheung, like furniture slats, nails, vacuum cleaners, kitchen knives and cable ties (to name but a few!). The way in which these domestic goods are fetishised delicately emphasises Cheng Li-sheung’s obsession with her dream apartment, and even during flashbacks to her childhood, we are reminded of her omnipresent fixation.
The burden of debt and financial stress is also a constant theme throughout the film. Cheng Li-sheung works for a credit card company, desperately selling cards and loans to people who cannot afford them in order to meet targets and keep her job. She has constant meetings with her bank manager about her mortgage. There are also health bills and insurance claims, personal lending from boyfriends, and the constant pressure to simply maintain repayments.
The other strong thematic point that shines through is that of the family unit. This is something which in China and much of Asia holds far more importance than here in the west. Without giving too much away, Cheng Li-sheung starts out wanting a home for her family. Her main motivation is not personal, but for the greater good of her family unit. She even chooses the apartment based on criteria that will satisfy her parents. By the time she begins to really fixate on the apartment, this overrides her family need, and it gradually becomes an entirely stubborn personal motivation.
Gore and violence are, of course, central to any slasher film, and Dream Home has lots of it on offer. The most difficult scene to watch involves the murder of a pregnant woman and the resulting miscarriage. This is rather extreme, but serves to illustrate the level of the killer’s psychosis and mania. There are some brilliantly choreographed scenes, where you really couldn’t guess the outcome until it has happened, and even then find yourself in a state of disbelief.
Despite the narrative distortion and a little bit of expressionistic Snorricam and rapid montage, the general aesthetic is a very clinical realism. Much of the lighting used is either soft lighting or a slight blue hue, which, at times, is very reminiscent of other Asian slasher classics such as Freezer or Audition. The first few shots of the initial scene in fact trick the viewer into thinking it is set in a morgue rather than a security office. The main effect that this realistic and clinical look has is to give extra gravity to the main feature: the violent acts being carried out by a deranged psychopathic woman.
Dream Home is an extreme thrill ride and satire, with some rare attention being given to character development and explanation that, for many, will make it an instant classic. It has several intricate sequences that unleash buckets of gore in new and original ways, and will put the frighteners into any respectable property owner, so be warned! DOB
Film: Buried
Release date: 14th February 2011
Certificate: 15
Running time: 95 mins
Director: Rodrigo Cortes
Starring: Ryan Reynolds, Robert Paterson, Jose Luis Garcia Perez, Stephen Tobolowsky, Samantha Mathis
Genre: Drama/Mystery/Thriller
Studio: Icon
Format: DVD & Blu-ray
Country: Spain/USA/France
This is an English-language release.
A new take on an old concept, Buried is set entirely in the confined space of a coffin. Such a restrictive concept is a bold challenge to undertake for any film maker and similar concept movies have been tackled in the past by legends such as Hitchcock with Lifeboat and Rope, Sidney Lumet with 12 Angry Men and, of course, the relatively recent Phone Booth by Joel Schumacher. The trailers for Buried might even remind you of The Blair Witch Project, but what can a film in a dark enclosed space possibly offer us in this age of thrills and unlimited spectacle?
The story follows Paul Conroy (played by Ryan Reynolds), a truck driver working in Iraq who wakes up to find he has been buried alive. With the oxygen supply quickly running out, Paul has only a couple of hours to find a way out of his tomb. Luckily, Paul’s captors buried him with a mobile phone and a lighter.
The film follows Paul as he uses the limited resources to discover why he is there, who put him there and, most importantly, how to escape before time runs out...
The very first thing the audience see is complete darkness, which continues for a few minutes. In the absence of light, one finds oneself focusing on the other senses available, and listening intently to the heavy breathing which gradually grows in intensity. This provides immediate suspense and mystery, and creates a suffocating claustrophobic atmosphere. This is followed by Paul flicking the Zippo lighter, the sound of which resonates through the movie theatre threateningly, and the subsequent bursts of light.
A difficult role for any actor, from the moment the film starts, until its incredible finale, Reynolds delivers a powerful and emotive performance that really keeps the audience on the edge of their seats. The range of emotions as the story progresses is undeniably impressive. Reportedly, by the end of the filming Reynolds was a physical wreck, having spent so much time in the coffin. This dedication to the role really comes across and draws the viewer in. Reynolds also has an impressive instinct when finding the best position for catching the light, giving some incredibly poignant and striking images.
The overall visual style of Buried creates a really textured mise en scene that we don’t just see - we feel it, smell it and hear it, too. The old cliché that when one sense is removed the other senses become more acute is being demonstrated. We take in every texture, every slight sound, and imagine how the suffocating air tastes and smells. The low key lighting makes a visual that only allows us to see small details and literally highlights things for our attention.
Lighting is something that Buried relies upon hugely throughout. A number of different diegetic light sources give various shades of illumination, from a flickering flame to the constant luminous glow of a glow stick. Not only do these different types of lighting change the tone and atmosphere, but they also they offer a wider variation of visuals.
Far more important is the use of shadow. Buried uses shadow to build an aesthetic that evokes noir-esque moods. In fact, the impending sense of doom and overwhelming pressure for Paul to survive, not only for himself but for his family as well, adds to this aesthetic, and brings it closer thematically to a modern twist on Film Noir (including a femme fatale love triangle). There are also various expressionistic flourishes, where we see Paul’s inner mental state manifest itself within the coffin. We zoom far beyond the range of the coffin to see an unbelievably deep pit with Paul lying at the bottom, overwhelmed by the ‘situation’, and there are also times where the audio will change to reflect Paul’s thoughts and feelings.
Director, Rodrigo Cortes, willingly acknowledges Hitchcock as the main influence for much of the film. This is evident from the opening titles, which are presented in a very similar style to many of Hitchcock’s movies, such as North By Northwest and Psycho. The title music is even reminiscent of Bernard Herrmann. Buried has, in a sense, used many of the techniques Hitchcock used to create suspense and drama, as well as the classic playful narrative restrictions and challenges that he was also known for. Buried also has a Hitchcockian sense of humour, and offers some surprising comic relief, at times - although this is always a dark ‘gallows’ humour, it works to great effect, further mixing up the audience’s emotional palette.
Every strategy and technique used through the film combines to give some gripping suspension of disbelief (for instance, the flame from the lighter that Paul uses for much of the film would probably use up all his precious oxygen in reality). The suspense absorbs our thoughts as we ponder everything the film isn’t telling us, either by visuals or narrative. The realism of the editing and cinematography, with lots of lengthy shots taking up several minutes of screen time, and some discrete montages for action, also further enforce this. There are also a lot of point-of-view shots, showing us Paul’s perspective and positioning the viewer in his position. It is therefore impossible to watch Buried as a passive spectator; it is a totally active experience.
This is a film that is as unique and refreshing as The Blair Witch Project was, and is so fundamentally driven by its narrative that it really keeps you watching despite the minimalistic visuals. In a sense, the restrictions of its concept are what make Buried such gripping and compelling viewing. DOB
Film: Ghosts Of War
Release date: 17th January 2011
Certificate: 15
Running time: 101 mins
Director: Kong Su-chang
Starring: Kam Woo-Seung, Son Byung-ho, Oh Tae-kyung, Park Won-sang, Lee Seon-gyun
Genre: Action/Drama/Horror/Thriller/War
Studio: Palisades Tartan
Format: DVD
Country: South Korea
It almost sounds like any schoolboys dream: war and horror in one package. However, watching this supernatural Vietnam War movie is much more of a nightmare than a dream, but in the best possible way. The movie was released in Korea in 2004, with the title R-Point, and is the fourth highest grossing Korean horror film of all time. It is now being released here on DVD as Ghosts Of War, exclusively available from Sainsbury’s.
After a mysterious radio message is received, a group of nine South Korean soldiers are sent in search of a patrol that went missing six months earlier at a remote outpost known as R-Point.
The soldiers are told during their briefing that the area is safe and that they shouldn’t encounter any Viet-Cong. Their mission is to stay in the area for five days and look for the missing troops, and in return they will all be allowed to return home to their families.
Upon their arrival on the island, however, strange things start to happen, and the simple mission becomes a terrifying struggle for survival...
At a first glance, Ghosts Of War might seem like any other haunted house movie, but simply set during a war. There is very little in the way of war action, the film instead playing more with suspense and atmosphere. Also, being a ghost story, there are hardly any guts and gore on show. However, Ghosts Of War manages to maintain a strong sense of intrigue and fear throughout. Unlike many haunted house style movies, they don’t just have to stay there for one night, which gives the atmosphere and intensity much more room to develop.
Many people have been surprised to discover a South Korean Vietnam War movie, although South Korea did play quite an important role in the Vietnam War, fighting alongside the American troops and against communism. In a way, it is great to see a Vietnam movie that is not just about America vs. Communism. Being a modern film, Ghosts Of War keeps its hands fairly clean of any propaganda or political viewpoints about the reasons behind the war.
However, R-Point is far from being positive about war. The soldiers are very much tired of being soldiers and only volunteer for the mission because it will be a ticket home. Most of them are only in the army due to being drafted or to feed their families. Without giving too much away, there is also a strong thematic emphasis on ideas like the sins of the past. Even during war, evil deeds don’t go unpunished, and, in the army, nobody is innocent regardless of their motivations.
Unlike its western counterparts, such as Deathwatch, the setting and locations used for Ghosts Of War are absolutely breathtaking - although everything looks terrifying at night. There are some beautiful bamboo forests, ancient statues, and the outpost building itself, which really make you wish you had travelled more, as well as making the movie incredibly visually striking. At times, these beautiful surroundings act as an offset to the atmosphere of dread that dominates the soldiers, making the natural beauty foreboding as if tainted with the evils of war. Unlike American soldiers, the Korean forces are much more comfortable in the terrain and climate of Vietnam, and the way the surroundings are shot without the gloomy jungles, leaches and mud reflects this.
In addition to the sets, there is some excellent cinematography on display. The lighting, particularly on the night scenes, is really well done. There are some shots at night with heavy rain that look absolutely amazing. Director, Wong Su-chang, and his crew certainly have a good eye for style and flair, and it is perhaps this artistic direction that makes the film so successful at holding the audience on the edge of their seats, since there is so much more on offer than thrills and chills.
For any fan of Asian horror, Ghosts Of War is an absolute must - and sure to please. It has had huge success in its native country of South Korea, and when you see it, you can see why. It has enough suspense, tension, fear and paranoia to keep anyone awake for days. After watching Ghosts Of War, you will be left with no doubt in your mind that war is indeed hell, albeit good, scary fun! DOB
Film: Women On The Verge Of A Nervous Breakdown
Release date: 4th December 2006
Certificate: 15
Running time: 85 mins
Director: Pedro Almodóvar
Starring: Carmen Maura, Antonio Banderas, Julieta Serrano, Rossy de Palma, María Barranco
Genre: Comedy/Drama
Studio: Optimum
Format: DVD
Country: Spain
Director Pedro Almodovar shot to international fame in 1988 when Women On The Verge Of A Nervous Breakdown was released. It was nominated for an Oscar and won numerous other awards, as well as smashing box office records in Spain. It is a stylish black comedy that oozes visual flair and a sharp sense of humour from start to finish.
Women On The Verge Of A Nervous Breakdown tells the story of Pepa and her desperate attempts to contact her former lover Ivan, who has recently left her for an unknown woman.
The plot thickens when Pepa crosses paths with Lucia, Ivan’s ex-wife, who was recently released from a mental hospital and is convinced that he has vanished with Pepa. Then Pepa’s friend Candela arrives to announce that she is on the run after realising that her lover is a Shiite terrorist.
Things get very unhinged as the hysterical hunt closes in on the womanising Ivan…
Right from the very start, Women On The Verge Of A Nervous Breakdown really fetishises femininity. The opening titles are a collage of old photos of female eyes, mouths, shoes and handbags. Throughout the movie, there are frequent close ups of various details of the female form. In many ways, the film creates an exaggerated identity of femininity on the edge, which shows both weakness and strength. The main male character is barely seen on screen, and his son, played by Antonio Banderas, is very much a mother’s boy. As the title suggests, this is very much a film about women.
Almodovar really puts his cast through their paces, and derives some very strong performances. Despite being a comedy, the acting is solemn and emotive, and there are some moments which are very dramatic rather than funny. Pepa constantly looks on the verge of tears, as do most of the characters. We might be having fun, but the characters certainly aren’t! The direction makes the story much more believable and gripping, whilst at the same time funny and entertaining. This is a tough mixture to get right, but its Almodovar’s forte.
The audience is never told when to laugh; this is high comedy, where the strength of the script generates the humour without the aid of canned laughter and comedic reactions. If you have seen any of Almodovar’s other films then you will be familiar with this dry, dark satirical style. Many of his more recent films have several strands of narrative, whereas Women On The Verge Of A Nervous Breakdown is more conventional and linear by comparison.
However conventional it may be, there is a still strong sense of style, which is thematically inherent and distances the film from the mainstream. There is a striking mise-en-scène which bombards us with vibrant, bold colours in almost every shot. There are many conversations where the camera isn’t facing the characters faces, but is set behind them, placing shot composition above narrative norms. Towards the end of the movie, Lucia is framed from the side, above and behind. Every angle but head on! She is framed with scenery in the foreground, obscuring her body, and leaving us with an image of her apparently floating head. This sequence inspires laughter whilst at the same time building upon Lucia’s insanity, but it is very unorthodox.
Further to the vibrant colours and unconventional angles, there is an almost obsessive attention given to fashion and dressing up. We see Lucia don a wig, Pepa changing her outfit, Candela changes her dress, and each item of clothing we see is striking and bold. Just as we saw in the opening titles, femininity itself is being fetishised. The only problem with such a focus on fashion is that fashions constantly change. At the time the film was made, the fashions were very audacious, and the style appears completely outrageous by today’s standards. This makes the film look a bit dated now, but in a strange way, it also makes it funnier - and gives it a certain nostalgic charm.
Women On The Verge Of A Nervous Breakdown also features several of references to sexuality, as with most Almodovar films. There is even a scene where a woman has an orgasm in her sleep! Once again, this sexual exploration is from the female perspective, and serves to construct an identity of modern femininity, particularly in Spain, which was subjected to heavy censorship during the regime of General Franco.
Another prevailing theme is communication breakdown. Pepa and Ivan barely talk face to face and yet the film is all about their relationship. The phone is frequently broken and then repaired. At the start of the film, we see Ivan recording the dubbing for a scene in a movie, but Pepa, who is doing the voice of the woman in the scene, isn’t there - it is almost like what he is saying isn’t getting through. Later on, we see Pepa recording the lines for the same scene, having her half of the conversation separately.
One thing that really makes the comedy work around the drama is the abundance of personality and quirkiness in just about every character. There is a taxi driver who drives ‘mambo taxi’, a receptionist with a loudspeaker, a Jevoha’s Witness concierge, and an elderly news reader who is actually played by the director’s mother. There is colour not only in the visuals but also in every character, and they will keep you laughing whenever the situational comedy wanes.
It is easy to see why this film was so successful and why Pedro Almodovar has become such a cult icon. Women On The Verge Of A Nervous Breakdown, although slightly dated, has an incredible amount of charm, a great sense of visual style and a quirky wit that makes it a very enjoyable movie. If you are new to Almodovar, then this is the best film to introduce you to him. Women On The Verge Of A Nervous Breakdown is undeniably a grand landmark in Spanish film. DOB
Film: Nosferatu
Release date: 19th November 2007
Certificate: PG
Running time: 93 mins
Director: F.W. Murnau
Starring: Max Schreck, Alexander Granach, Gustav Von Wangenheim, Greta Schroeder
Genre: Fantasy/Horror/Mystery/Romance
Studio: Eureka!
Format: DVD
Country: Germany
Despite being released 90 years ago, Nosferatu remains one of the most iconic and infamous horror films of all time. Back in 1922, critics described Nosferatu as a masterpiece and it continues to find new audiences with every passing year. It has been remade, parodied and even gained its own mythos with Shadow Of The Vampire. So what, exactly, makes this movie stand the test of time?
The story is quite closely based upon Dracula by Bram Stoker, with a few slight changes. Thomas Hutter, a young estate agent from Wisbourg, travels to Transylvania to negotiate the sale of a property to the wealthy Count Orlok.
Upon arriving in Transylvania, Hutter is faced by local superstitions but is quick to dismiss them. He continues to the castle and ends up staying there for some time due to a peculiar malady. Meanwhile, Orlok falls in love with a photo of the young Mrs Hutter and sneaks off to Wisbourg to practice the vampiric art of seduction.
Can Hutter make it back to save his beloved wife and Wisbourg from the plague of Count Orlok?
Unfortunately, if you’ve only seen a clip of Nosferatu, then it was probably a clip of the film’s ending. Nosferatu does, however, offer a very different ending to Bram Stokers story. In fact, it was the first film ever to portray vampires being hurt by sunlight, rather than just disliking it. No matter how familiar one is with the story, there is still much on offer in the form of style, terror and pure cinematic history.
The reason for the characters names being changed, the setting being moved to Germany, and numerous other differences from Stoker’s novel, is that Prana Film had not been able to acquire the rights to adapt the novel from Bram Stoker’s Estate. Shortly after Nosferatu was released, Prana were sued and all copies of the film were ordered to be destroyed. Luckily, the film had already been distributed by this point, and a few duplicated copies survived. Prana Film was not so fortunate and declared themselves bankrupt as a result of the lawsuit, making Nosferatu their one and only production.
Being a rather uncharacteristic example of German Expressionism, Nosferatu makes varied use of distorted sets and giant shadows. In fact, Murnau is reported to have gone to great lengths to create a sense of realism, with many shots being done on location rather than in a studio. Despite this, there are still many noticeable expressionistic aspects which are used during the scary bits. There are a few objects which at a glance appear to be normal, but on closer inspection are faintly warped. There are chairs and tables with slightly crooked angles, sometimes too tall and sometimes too small. However, the expressionism in play here is infinitely more discreet than other contemporary pieces, such as The Cabinet Of Dr Caligari.
Shadows and lighting also play a big role, with many scenes being lit so as to cast huge monstrous shadows from even the most innocent of objects. The most famous sequences from Nosferatu feature the shadow of Orlok moving up the stairs, brilliantly lit to disfigure and elongate his form and build the fear. There are also many shots which are brilliantly lit and feature almost no shadow at all, almost acting as a counterweight to increase the effect of the intense shadows.
Contrary to many vampire films, the hideous Count Orlok is portrayed as a disgusting, freakish figure, rather than the glamorous and seductive modern vampire. He brings with him a plague of rats and has a visual dirtiness about him, reinforced by his dishevelled outfit. Max Schreck plays the role brilliantly, as he slithers and glides across the eerie sets.
Of course, the style of acting used in the silent era was quite different to the way it is done now. Far from a realistic portrayal, silent actors emphasised their movements and facial expressions, making up for the absence of voice. By modern standards, this can appear amusing at first, but really helps to blend the mix of realism and subtle expressionism. Murnau draws out some fantastic performances from his cast, although Schreck really steals the limelight. Strangely enough, the word schreck is German for scare or frighten.
The technical inventiveness of Murnau and F. A. Wagner, the cinematographer, shines through and really makes Nosferatu stand out that bit more. In one scene, we see Orlok load some crates onto a wagon, and as he climbs in to the final crate, the lid magically levitates. This is a great early example of stop motion editing, although the horses ruin it a bit by moving! There is also a bit where Orlok rises from a coffin, impressively stiff and straight. Plus, the rest of the movie is crammed with varying focuses and dissolves, which, at times, plunge us into a dreamlike ether.
Putting Nosferatu into an historical context reveals an even darker side to this timeless classic when we consider that it was made during the years where anti-semitism was growing in popularity, particularly in Germany. Count Orlok resembles many of the caricatures of the Jewish people which emerged in various pieces of anti-Semitic propaganda. The film also portrays a strong xenonphobic fear of cultural and racial difference, although, to be fair, Orlok isn’t the best tourist to have in town. It is hard to say whether this was something that was deliberate or not, although it is easy to see how rumour and stereotypes can work their way into popular culture.
As with many silent era classics, the whole movie is now available to enjoy on YouTube, without committing an act of piracy since Nosferatu is now a public domain film. There are also countless (excuse the pun!) versions and restorations available, some of which even have new inter-titles which have changed the characters names to Dracula and Harker. So really, it has never been easier to see this incredible film – a film which changed the vampire legend and shaped the future of horror. DOB
Film: Opstandelsen
Running time: 50 mins
Director: Casper Haugegaard
Starring: Marie Frohmé Vanglund, Mads Althoff, Jonas Bjørn-Andersen, Roxanne Tirkov, Hans Maaløe
Genre: Action/Drama/Horror
Country: Denmark
This film was screened at the Grimm Up North Film Festival in October 2010.
Not many people these days will say ‘no’ to a zombie movie. This is partly because they are now so popularised and watered down that anyone can handle them. It would seem everyone is jumping on the zombie bandwagon, as Hollywood studios churn out countless identical zombie films, a cinematic parody of zombies themselves: vacant husks of films that never truly live, but still continue to play and spread like a disease through video stores and cinemas everywhere. Opstandelsen (or The Resurrection) is different. It is a new breed of fast paced, purebred modern zombie film that has much to offer the jaded viewer. So, no surprise to discover that it won the award for Best Low Budget Film at the Grimm Up North Festival this Halloween.
The story starts with a family who have gathered in church for the funeral of Simon. However, it isn't long before the dead are rising from their graves - and feasting upon the mourners.
Simon’s two brothers, Peter and Johannes, fight for survival, trying to escape the horde of living dead that chase them through the churches catacombs, whilst, at the same time, facing up to the issues they have with each other…
Only a country as liberal as Denmark could produce a zombie film that’s shot on location in a real church - and have the real life church’s vicar play himself! This film, being set in a church, features tons of religious symbolism, which will no doubt anger church groups around the world. For some, the very idea that such evil could penetrate holy ground is blasphemy. However, there is a bit where a cross is picked up and used, axe fashion, to fight off zombies. Surely this holy weapon’s effectiveness is a testament if anything to the power of divinity and faith?
Although I think any such discussion is a moot point, since this is very much a postmodern movie, which isn’t trying to be clever beyond the point of its face value and aesthetics. It simply presents genre fans with a great premise, which they are usually denied: ZOMBIES IN A CHURCH!
As you can imagine, this leads on to lots of gory moments which are pulled off brilliantly. The initial kick off during the funeral is very intense and nothing less than a bloodbath. One particular gory highlight is when a man gets trapped under a door that is barged down by a crowd of the undead. This is perhaps a reference to Romero’s original Day Of The Dead, where a very similar scenario arises, although, impressively, this particular sequence manages to top even Romero by conjuring a horrific yet prolonged death.
Being only fifty minutes in duration and full of action, there is little time for a complex plot in Opstandelsen. However, characterisation is still present, and develops through the back story of the two brothers. One is a drug addict, who has caused the family much grief in the past, and being thrust into this heavily confining situation forces them to settle their feud, which proves to be too great to be put aside. Mads Althoff and Jonas Bjørn-Andersen both manage the action and the family drama capably, with some truly touching moments of fraternal bonding.
When asked why the film was only fifty minutes in length, director Casper Haugegaard explained, “We didn’t plan it that way, we just had a script to shoot and we shot it. Fifty minutes is what came out.” This unusual running time has caused the film some issues when being shown at festivals, since it is neither a short nor a feature. However, the relentless pace of the movie would be difficult to maintain for a full feature without it becoming tedious, and there is too much to cover to fit in to a shorter movie. Fifty minutes really is the happy medium in this case.
The film achieves the rapid pace and claustrophobic atmosphere by several means. Some may compare Opstandelsen to The Blair Witch Project, due to its heavy use of hand-held camera. In fact, the camera is constantly in motion throughout the film. As much a stylistic choice as a result of shooting entirely on location, there are few long shots. Most of the footage is very close and restrictive, giving rise to a rational fear of that which is off camera. Every sound makes us want to look around and check for danger - we feel we are watching from our own POV as the suspension of disbelief takes hold.
Unlike most zombie films, the editing style is almost entirely montage. At times, the edits fly thick and fast, particularly when the action warrants it. When our heroes are at rest (as much as they can be given the situation), the edits are more sparse, leaving us with lingering ‘calm before the storm’ moments. The editing almost replicates the heartbeats of the characters on screen, drawing us in to share their state of mind.
The other element at play is the lighting, which varies greatly from brightly lit white walled rooms to dark dingy tunnels with very minimal lighting. The terror is either perfectly illuminated, or left to our imaginations to fill in the gaps. With these two, approaches working in tandem, as well as the rapid editing and tight, claustrophobic camerawork, there is little rest for the viewer.
If you like your zombie films to be true horror films that scare, excite, thrill and disgust then this is the film for you. If you feel that mainstream horror lets you down time and time again, always falling short of the adventure you sat down for, and sitting on the fence instead of getting in your face and challenging you, then Opstandelsen is your saviour. If you’re not that bothered about such things, then it’s pretty cool because it has zombies in a church! DOB
28th – 31st October 2010.
Manchester’s premier horror and sci-fi film festival returned this Halloween for its second year with another selection of the best movies the genre has to offer. This year, the festival moved to Manchester’s Dancehouse Theatre, which the festival director Simeon Halligan explained was originally built as a cinema in the 1940s. Grimmfest had so much to offer that they also had to make use of another smaller auditorium, where they showed even more movies that were previously unseen on these shores, since most of the films being shown were premieres in some way.
There was a lot going on outside of the cinema, with stalls selling all things horror, a display of special effects and prosthetics, academic seminars, and an endless sea of people in zombie makeup and Stormtrooper uniforms. However, the main attractions were the films, so let’s have a look at the subtitled highlights.
The festival opened with Mario Bava’s definitive version of I Am Legend by Richard Mattheson, The Last Man On Earth. This was a rare opportunity to see this classic on the big screen, and it was accompanied by electionica duo Animat. Animat’s replacement score added a new, tongue-in-cheek aspect to the camp, yet atmospheric ambience of the original, by mixing in pieces of Michael Jacksons Thriller and Human by Goldfrapp, as well as their own blend of creepy vibes. There was also a screening of the digitally remastered version of the classic Dario Argento giallo, Deep Red. Once again something a lot of us have seen before, but not on the big screen.
From Hong Kong, there was Dream Home, a powerful piece of Asian extreme cinema. Dream Home is the story of a lady who has been trying to buy a flat for most of her life and eventually finds herself going to great lengths to get it. It’s almost clinical style and mundane realism makes the dark deeds all the more effective. Dream Home is akin to films like American Psycho and Audition but much more extreme and graphic in its depiction of violence.
Chased By Satan was another highlight, although not entirely original. In many ways it works as an Indonesian version of Ring or Ju-On, this time with a haunted video camera rather than a tape. Many of the same themes prevail, although the story has nicely encompassed a lot of Indonesian folklore and offers several bits that will make you jump off your seat (and pretend you didn’t to the person sat next to you)! All in all, it is light on gore and a good fun ghost story.
Evil In The Time Of Heroes was a splatterfest of epic proportions. This Greek zombie movie is as visually stunning as Nightwatch and Shaun Of The Dead, and also mixes in a lot of comedy moments. The story is a little hard to follow, and is set in both ancient and modern day Greece, however, with the stunning comedic gore and visceral pace, being lost in the story doesn’t seem to matter so much. This was definitely one of the most enjoyable movies of the festival, making the audience gasp and laugh throughout. Oddly enough, it also features Billy Zane as a mystical warrior, although his Greek is flawless so one could be forgiven for missing him altogether.
The most artistic movie of Grimmfest was Amer, a French/Belgian homage to the gialli of the ‘60s and ‘70s. As you can imagine, it features all the usual iconography of giallo, from monstrous mothers to lace gloved hands and heavy breathing. The most impressive thing about Amer is its visual style, which creates a very raw exploration of sexuality. The narrative follows a woman at three stages of her life, almost echoing the life span of giallo itself. Although the almost avant garde visuals do overwhelm the story (and the viewer), Amer is undoubtedly an impressive piece of filmmaking. Not to be missed.
The only way to describe Alien Vs Ninja is fun. However, as one audience member kept shouting: “This is the worst film I’ve ever seen” - I guess it is not for everyone. Most of the audience did seem to laugh at this crazy Japanese comedy/action/sci-fi romp. As you can imagine, it involves a clan of ninja who come across a dangerous alien threat in the style of a Power Rangers version of H.R. Gigers Xenomorphs from the Alien franchise. There are lots of laughs, lots of coolnessm, and if you want anything more you are watching the wrong film! This is a bit of a spoof, and much of the comedy is farcical and slapstick.
Opstandelsen (The Resurrection) was a real gem of a zombie film. At only fifty minutes long, it moves quickly and utilises a raw realistic aesthetic with a lot of hand-held shots, which may remind many of The Blair Witch Project. The story follows two brothers who come up against a whole horde of zombies at their brother’s funeral. The whole movie is shot in a real church. In fact, the priest conducting the funeral is played by the actual vicar who runs the church in real life! The gore is layered on thick, and the pace of the camera and edits leave you feeling like you just ran a marathon in under an hour. An awesome debut from director Casper Haugegaard, and a must for any zombie fan.
Already making a big splash with critics, We Are What We Are was one of the top films at the festival. Pitched as “doing for cannibals what Let the Right One In did for vampires,” this instant classic does just that. The debut feature from Mexican director Jorge Michael Grau explores the ideas behind family unit and sexuality as danger, with a dark tragic tale which leaves us identifying sympathetically with a group of people whose lifestyle breaches one of the most ancient of taboos. We Are What We Are is powerful, moving and sensitive - and manages to avoid being exploitative like almost all other cannibal movies. A real genre film.
The most powerful and impressive film of the Grimmfest was Korean movie Bedevilled. Loosely speaking, it is a rape-revenge film, although completely avoids presenting the topic in any sort of exploitative context. More powerful and relevant than films like I Spit On Your Grave, due to the social context of Korea and its treatment of women, Bedevilled is more than rape-revenge, it is about a lifetime of suffering and turning-the-other-cheek, and the almost entirely justified grisly revenge that ensues. This is a film that set a whole audience to tears, and I’m not sure anyone who sees it will ever forget it. It was easily the film of the festival, not just because of its immense power, but also because of its hidden charm and wit that punctuates the underlying darkness that it presents. Bedevilled is a pure cinematic force, and something to be watched and cherished for its sensitive treatment of such a difficult subject matter.
On the whole, Grimmfest featured an incredible line-up of films spanning the entire spectrum of horror. It made us laugh, it made us jump and it even made us cry like children. A first class event for any genre aficionado. DOB
