grotesque

All posts tagged grotesque

Prepare Yourself for the Brutal We Are The Flesh: A Shudder Exclusive

Published April 21, 2017 by rmpixie

 

We Are The Flesh (2016, 1 hr, 19 mins)

 

Extreme cinema has its purpose, usually to tell a story in the most shocking manner in order to get a visceral response as we watch. While some directors use it for pure shock value, others use it as a rejection of the formulaic films cranked out of the incessant Hollywood machine, and some feel that extreme representation of brutality, sexuality and gore is the only way they can express themselves and their subject matter artistically.  In We Are The Flesh (Tenemos la carne), a film that played many festivals including Cannes in 2016 and is now a Shudder Exclusive, Mexican director Emiliano Rocha Minter gives us all of the above and more in order to tell a meandering story about death, rebirth and god complexes.

Lucio (Diego Gamaliel) and Fauna (Maria Evoli) stumble upon an abandoned building and its sole inhabitant, an elf-like man named Marciano (Noé Hernández). He is strange and extremely volatile, spouting cryptic words about his way of life. Fauna bargains for her and her brother to stay with him in exchange for any sort of arrangement since they seek refuge from a harsh environment on the outside. That arrangement turns out to be labour in order to create a womb-like labyrinth of a cave with bits of wood, cardboard, broken furniture and endless rolls of tape. As he gets to know his two young captives locked in the building with him, he is taken with Fauna and takes to bullying her brother. In a series of extremely strange and increasingly cruel events, he forces them do his darkly incestuous bidding, and once they cross the line, they enter an infernal world of raw emotion and mysticism.

We Are The Flesh wins hands down for the title of extreme cinema. Viewers beware as this film is chockfull of writhing nudity, incest, rape, cannibalism, orgies, and even a dash of menstrual blood; letting it all hang out to tell a strange story with creationist undertones in an absurdist and grotesque manner. Adam and Eve, the devil, a God/Jesus/resurrection theme, and Mexico’s nationalistic unrest are explored but goes off the rails just as you think you can make sense of the startling action. Hernández gave a truly arresting performance as the demonic Marciano and Evoli reached deep for her portrayal of Fauna.  From his interviews, Minter sounded very supportive of his cast, but I’m not sure how he got these performances out of his actors.  If the process was anything like Isabelle Adjani’s motivation in Possession, I hope they had a therapist on set.

Only in his mid-twenties, Minter, lauded and backed by Oscar-winning director Alejandro G. Iñárritu, has been compared to French director Gaspar Noé. While films like Noé’s Love also used extreme sexuality to tell a story, once you get past the sex, it reveals itself to be a sensitive film about a vulnerable young man searching for lost love. I actually found We Are The Flesh had more in common with Michael Rowe’s 2010 film Leap Year (Año bisiesto). This too was filled with stark and graphic sex, but like Minter Rowe uses sex, sadism and isolation as a way to convey a connection, in this instance humanity and heartache as a lonely young woman finds solace in a sadistic relationship. Leap Year is also similar to We Are The Flesh in that there is a brother and sister relationship and an overbearing older male that dictates to, or has the potential to lord over, a young woman, but that’s where the similarities end.

Where Rowe creates a quiet intensity, Minter juxtaposes poetic dialogue with brutally animalistic actions that come at you full force. The characters are unfettered and wild; giving into impulse after impulse in a womb-like setting, punctuated with a barrage of sound. Actions like breathing, stirring, and sporadic and aggressive drumming pulls the viewer’s focus, making each scene that much more uncomfortable as you wince from both the visual and aural assault. There were also nods to Samuel Beckett along with colourful psychedelic and supernatural elements. Those connections still didn’t make it more accessible to me, perhaps only helping in categorizing familiar scenes.

I appreciate some extreme cinema for what it attempts to overcome in this age of banal cookie cutter genre films (as long as living creatures-human and animal- remain unharmed in real life) but ultimately I can’t say I liked We Are The Flesh. Perhaps I’m not intellectual enough to grasp the abundance of allegorical notions presented here, but there are some things that become too much of a stretch for me to consider them above their shock value.

One viewer’s interpretation of art is another viewer’s headache. Are Lucio and Fauna a new hope in a barren land? Is Marciano their god or a demon? Does an abducted soldier represent a violently dying motherland or an attempt to rid the country of political overseers? Is this an ultimately extreme art film instead of a horror?  Who’s to say, but those questions and more will come to mind as you watch Emiliano Rocha Minter’s chaotic, poetic and ultimately confusing first feature film We Are The Flesh. After this experience, he’s certainly on my radar, and I’m curious to see what he does next. Make up your own mind and see it exclusively on Shudder Canada.

Thanatomorphose: BITS 2013

Published December 9, 2013 by rmpixie

thanatomorphose_xlg

Thanatomorphose (2012, 1hr 40 mins)

The second screening on the first night of BITS Fest was probably, from what I gathered, the most talked about.  Why, you may ask?  Well, because it had to be the most stomach-churning, grotesque, cringe inducing body horror I have seen in a long, long time.  Everyone that I spoke to would ask “Did you see Than..na..mo.., you know which one I’m talking about?”  It left a lot of people grossed out, not impressed or loving it.

 Thanatomorphose  (the French word for “the visible signs of decomposition of an organism caused by death”) is about a woman who is slowly decaying, mentally and physically.  Sounds pretty straightforward, but the progression of events in the film made it a grueling study of her deteriorating life, relationships, and body at an excruciating slow pace so we could see every minute detail.

There were 3 acts:  Despair, Another and Oneself, where we see the main character, Laura (Kayden Rose), attempt to create a relationship with her prick of a boyfriend (David Tousignant), have a half-hearted affair, and create a half-finished sculpture.  Nothing seems to come to fruition as she suffers from some sort of decaying disease and a grand ennui, if you will.  She refuses to get help, and is preoccupied with sex.  Basically naked for most of the film, Laura’s hands are constantly groping herself, seemingly for pleasure, and then for necessity as she tries to keep her bits from falling off.  Duct tape, jars for fingers and ears, and photos are all enlisted to keep some semblance of her former self, until her actions are done in vain as Laura soon becomes a puddle of gore, maggots and a memory.

As the credits started to roll, I was set on dismissing it as a “WTF?” type of film, which on first impulse, it is.  But the more I thought about it, the more intrigued I was because I could relate to Laura’s general discontent and stagnation.  I think it’s a commentary on life and society these days.  Some of us are so desensitized and dead inside that we lose our self-awareness, alienating ourselves and those around us.  Her apartment served as a type of tomb as she isolated herself from “normal life”.  She also maintained her solitude by disposing of anyone who wanted her to get help or found her repulsive.  You only need one person to do some crazy navel gazing, or watch as it rots…

The vagina-shaped crack in the wall above her bed morphed as she did, changing from a mere crevice to a dark sickly looking wound.  Did it symbolize a way out, a rebirth, that was just beyond her reach, the progression of her physical and mental demise, or the perversion of her sexual preoccupation?  And what about the sex and desire aspect of the film?  Laura gave in to her boyfriend’s constant need for her sexually.  She also gave in to her auto-erotic urges with mechanical regularity. It was as if she was trying to feel something, to connect through sex with herself or any willing takers despite her repulsive appearance. When the decay started to change her, she still offered herself up out of habit, even attempting to apply makeup to her rotting face, only to be rejected by all her suitors.  A punishing illustration of how she tried to maintain her former self even though she was already lost.

The sound design for this film was really interesting.  Creaking floorboards, buzzing flies, and Laura’s labored breathing were front and centre, punctuated with a gut wrenching violin score that made the film feel like we were watching through a peephole.

Director Éric Falardeau gave us some insight after the screening.  He said the film was an homage to Cronenberg (The Fly), Polanski (Repulsion) and Buttgereit (Necromantik 2).  This was Kayden Rose’s first lead role, and to help with the character development, the movie was filmed in chronological order, which also helped with the extensive special makeup effects.  David Scherer and Quebec’s own Rémy Couture did the makeup for this film, and they really outdid themselves.  Graphic and grotesque, they took decomposition to another level.  Falardeau also described the use of maggots during the filming and how Rose learned to deal with the ickiness of it all.  The film also walked away with Bloodies Awards for best special effects and best actress.

I’m still not sure of my own feelings about Thanatamorphose.  It was definitely though provoking and unique; an art house film buff’s playground, but the pacing killed me.  If you are going to watch it, prepare yourself for some drawn out scenes, and do not eat while viewing.  Trust me on this.  Not a good choice. What I do know is that I find French horror to be one of the most extreme out there.  From High Tension, to Inside and Martyrs, Thanatomorphose will be added to this list as a stomach-turning study of the fragile human condition

Eden Royce - The Dark Geisha

A reclusive writer ventures out into the world.

Allison Granted

Feminist Programmer Extraordinaire

Jeff Halmos: Brand strategy and identity design

Memorable and effective brand strategy and identity design for small to mid-sized companies, products, and services.

Cinema Axis

Where All Things Film Converge

timwburke

burke –verb (used with object), burked, burk·ing. to murder, as by suffocation, so as to sell the corpse to medical science

The Daily Post

The Art and Craft of Blogging

grotesque ground

Promoting the grotesque in cinema and literature.

CURNBLOG

Movies, thoughts, thoughts about movies.

crazynonsensetalk

A ranting woman's mind

Rock 'N' Roll Central

Showcasing rare, unusual, limited edition & signature series musical gear

The Tyranny of Tradition

Lamentations and Jeremiads 25 Years After The End Of History

What Are You Doing Here?

A Black Woman's Life and Liberation in Heavy Metal

The WordPress.com Blog

The latest news on WordPress.com and the WordPress community.