* (restored)
______________
Quentin Dupieux Rubber (2010)
‘Rubber tells the simple and often humorously demented tale of an ordinary car tire that magically comes to life in a junkyard, only to roll its way into a nearby populated desert town and kill various people who confront it through what seems to be a kind of telekinetic power.
‘This very simple yet fascinating and funny concept is played out in a fairly realistic, deadpan way but with a heightened sense of theatricality for its most violent moments. The tire kills several policeman in a similar way that Rutger Hauer’s nameless character in The Hitcher manages to rampage through the landscape with no remorse.
‘But while Hauer is clearly a human being who acts like a soul-less killing machine, the tire, on the other hand, is obviously not human, yet strangely enough when it uses its telekinetic powers to kill the viewer’s impulse is to somehow project an idea of human emotion onto it. Is it angry? Does it seek revenge for being dumped in a junkyard? No real explanation is given.’ — Michael Okum
Trailer
Opening scene
________________
James Quinn Flesh of the Void (2017)
‘Flesh of the Void is a terribly disturbing experimental horror film about what it could feel like if the act of dying truly were the most horrible thing one could ever experience, instead of the peaceful fading many think of. It is intended as a trip through the deepest fears of human beings, exploring its subject in a highly grotesque, violent and extreme manner. Shot entirely on 16mm and Super 8, including an entire segment (Act I) that was shot on Kodachrome. Written and directed by James Quinn.’ — Sodom & Chimera Productions
Trailer
________________
John Parker Dementia (1955)
‘Dementia is the only film of obscure director John Parker. The shooting ended in 1953 but the premiere did not take place until 1955. In order to skip censorship they made four different versions of the film.
‘For several reasons, this little jewel has become a cult film. There is not need to take present day indie cinema seriouly, Dementia was produced with the director’s mum’s savings and most of the cast were amateur actors or just non-actors, as is the case of protagonist Adrienne Barrett who allegedly was the director’s secretary and did not perform in any further films. The film is fascinating and upsetting with a photography that takes us to Edgar G. Ulmer’s low cost noir cinema, German expressionism and Buñuel and Dali’s surrealism.
‘Bruno VeSota seemed Ordon Welles’s doppelganger and was the most experienced member of the cast. Allegedly, he even had a deep influence in the final result of the film. In 1955 he directed a noir, Female Jungle, with Lawrence Tierney, Jayne Mansfield and John Carradine. Later on, he used to work for Roger Corman and directed The Brain Eaters (1958) and Invasion of the Star Creatures (1962), two essential works for psychotronics film lovers.’ — Molins Film Festival
Trailer
The full film
________________
Jon Rafman Mainsqueeze (2014)
‘Honestly, I could not recommend that you watch Mainsqueeze, a short film made out of collaged YouTube-Instagram-et-cetera videos and screenshots by the hip and genuinely talented Jon Rafman. I can say that it remains one of the purest and most visceral expressions of a very modern —standing in for Reddit-savvy — kind of horror that I’ve ever seen. I should admit, too: there are parts of it I’ve never seen, due to the fact that Rafman cuts in clips from online fetish videos for “crush” fans, in which crayfish are unkindly and unethically destroyed by high heels. That you can’t “unsee” is, for a horror fan, an occupational hazard. Faked-up pseudo-violence, I can take; real violence — even on crustaceans fated to be eaten — I refuse to.
‘Otherwise, this is a cruel and clever sewer-slew of web memes, ugly images, and deep web junk. It makes a broken washer-dryer into something out of hell. It adds a drone to passed-out sharpie pranks, and makes the prankees look like casualties of war. A fat man in a frog suit, hogtied in Shibari style, is seen to writhe against a sound-scape of dogs barking, ticking clocks, and car alarms, which would be funny if it were not so unsettling and I-should-not-be-seeing-this surreal. “Do you ever wonder,” asks a dreamy, electronic voice, “if rocks are actually soft, and tense up when we touch them?” This sounds existential — actually, it comes from Tumblr. Maybe both things are not, per this artist, mutually exclusive.’ — Horror Bakers Dozen
The full film
________________
Graham Reznick I Can See You (2008)
‘While I Can See You is a challenging experience due to its lack of a clearly defined narrative or any palpable sense of clear motivation for many of the characters’ actions, there is still a healthy measure of mischievous fun and playfulness to what little story it does engage the viewer in.
‘It seems that many indie filmmakers see the vague plot template of “bad things happen in the woods” laid down by so many slasher films from the 80s as a blank canvas for them to unleash their unbridled creativity and I Can See You is no exception. Little explanation is given for the spiral into hallucinatory madness that the viewer is privy to here, but Reznick and his game cast and crew certainly are willing to boldly experiment with the horror genre.
‘Wild psychedelic visuals, creative lighting, sound design and editing choices as well as a generous bit of theft from David Lynch’s bag of strange cinematic tricks set this film apart from your average “no frills” indie horror exercise which makes I Can See You even more of an exceptional viewing experience to be had.’ — Taste of Cinema
Trailer
Excerpt
_________________
Peter Tscherkassky Outer Space (1999)
‘Using scenes from Sidney J. Furie’s infamously nasty 1982 film The Entity as a starting off point, Tcherkassky uses film as a screen, re-projecting the fragment over itself in stark overlays. The Entity (based on the factual Doris Bither case that is every bit as disturbing as the film) presents the story of a sexually abusive apparition in a woman’s home in 1980s America in the mode of other slick phantasmagorical thrillers of the time and, perhaps unsurprisingly, plays out like Poltergeist manifested at a back street porn cinema: grimily smutty, arguably exploitative, and genuinely nasty in its presentation of violence (sexual and other) — a point that’s only exaggerated in the polish of its relatively high production values.
‘Passing through into Tscherkassky’s non-space of obsessive reflection, actress Barbara Hershey re-enters a house that’s been turned into a weapon against her — supposedly a familiar and safe space that is benign in its domesticity — only to find it expand around her, casting off an infinite mirror-world of generational decay. Through his process, Tscherkassy doubles-down on the feelings of everyday isolation and fear, and frees the film from any diegetic sense of meaning, insisting the viewer confronts both its dissolution and ultimately its integral parts with a stunning force, and moving the source material into the purism of the avant-garde.’ — Thogdin Ripley and Philippa Snow
Trailer
The full film
_________________
Bill Gunn Ganja & Hess (1973)
‘The opening scenes of most films intended for commercial distribution tend to ease viewers into their fictional worlds, introducing protagonists, defining the context in which these protagonists exist, hinting at experiences they will subsequently undergo. Bill Gunn’s Ganja and Hess (1973) does precisely the opposite. By the time its opening credits finish playing, we will already have read a series of onscreen texts referring in the past tense to events which have not yet occurred, heard a voiceover narration from a minor character (which also evokes future situations retrospectively), listened to a ballad which outlines the film’s supernatural mythology, encountered novelistic chapter headings, seen close-ups of paintings, watched documentary-style footage of a church service, and been subjected to a barrage of disjointed editing techniques which obscure rather than clarify – at least, that is, if we believe the clear exposition of narrative to be a sine qua non for works ostensibly outside the experimental or avant-garde traditions.’ — BFI
Trailer
The full film
_________________
Adam Wingard Pop Skull (2007)
‘Pop Skull takes the general shape of a revenge thriller but filters it through the drug-distorted point of view of its main protagonist Daniel. Inevitably we’re given an up close and personal view of Daniel’s descent into madness while he pops all manner of that help to distort his already crumbling reality. Along the way he also seems to be influenced by ghostly visions of prior violence and murder that happened near his home.
‘Pop Skull is a film that again demands a certain amount of open-mindedness from the viewer. But anyone willing to let its dark brooding mood seep in will be rewarded with an experience that really does get under the skin and feel like an authentic downward spiral into insanity. Plus the film boasts some impressive camera work and psychedelic visual distortions while Daniel trips out on drugs. And there’s also some really great music tracks from the experimental noise-punk group “The Liars” filling out the background.’ — Parasite
Trailer
The full film
________________
Shin’ya Tsukamoto Tetsuo: The Iron Man (1989)
‘Before addressing Shinya Tsukamoto’s fierce cyberpunk horror Tetsuo: The Iron Man (1989) in detail, a warning. Despite its family-friendly title, parents should take great care not to confuse this modern Japanese classic with the similarly titled Marvel superhero film. Almost every scene of Tsukamoto’s 67-minute lunacy involves graphic depravity completely unsuitable for children. And more power to it for that.
‘Tsukamoto wastes few seconds of his greyhound-lean runtime before showing us the ‘metal fetishist’ (played by Tsukamoto himself) inserting lengthy iron rods of substantial girth into his body. When maggots congregate around the noxious wounds, he goes insane and sprints from his grim industrial hovel along a desolate road, where he’s run over by the ‘salaryman’ (Tomoro Taguchi) out driving with his girlfriend (Kei Fujiwara). The pair hide the corpse, but the salaryman is soon tormented by demented dreams and, far more seriously, a gradual metamorphosis into a living heap of scrap metal.’ — Lou Thomas
Trailer
The full film
_______________
Ronny Carlsson Regissören (2011)
‘Shot mostly as a first person shooter film, we come into the story as the director is trying desperately to get his low budget film made. Actors keep flaking and dropping out, and he gets more angry and frustrated as time goes on. The director so wants to finish what he feels will be his last project.
‘This is Mr. Carlsson’s first feature length film and is described by the director as an experimental film. That it is, to be certain. It’s hard to grasp at first. To be honest, I was halfway through it before I finally realized what I was watching.
‘It took me a while to figure it out, but there are actually three stories going on here. Each vignette relates to something in the previous vignette, creating a connected story. Then of course, there are the in-betweeners following the director’s story in trying to get this thing made. Then there is an overall story being told by both the vignettes and the video diaries together that follows the themes of the prequel short films. It’s really genius, and amazingly clever.
‘I don’t see this as a horror film as much as it might be a phsychological exploration of some sort. Yes, there are horror elements in it. But viewers should be prepared for some really uncomfortable and disturbing scenes. I don’t think this film is for everybody.’ — HNN
The full film
_______________
Jordan Harris, Andrew Schrader Fever Night aka Band of Satanic Outsiders (2009)
‘I have not seen Band of Outsiders, the Godard film from which Fever Night obviously derives its subtitle, and thus it would be very difficult for me to compare and contrast the two. And yet what I know of Godard films definitely strikes a chord when I watch Fever Night; there’s the same general plotlessness, the same overacting, the same feeling of discontinuity from scene to scene. And I have to say that I like it better here than I do in Godard, but not much.
‘I think there’s a plot, kind of, and I think it goes like this: three Satanists, Elliot (Peter Tullio in his first screen appearance), Warren (Doilie’s Diner’s Philip Marlatt), and Terry (Poker Run’s Melanie Wilson, also debuting), head out into the woods to conduct some sort of ritual. (The director’s synopsis on IMDB says they actually go through with it; if so, it’s a very subtle ritual, because I didn’t even notice.) Then Terry disappears. While Elliot and Warren are trying to figure that out, they see a dim light through the trees and pursue it, hoping to find some help (or Terry, maybe).
‘…and the majority of the movie is Elliot and Warren following this light and arguing with one another. If that’s not Godardian, I don’t know what is. Horrid memories of forcing myself to sit through Pierrot le Fou, but if both of the main actors were male. And not in a car. Wilson is cute, though for obvious reasons she doesn’t get a great deal of screen time, and there are some mildly amusing bits (which is better than I can say for Godard), but overall, this one will confuse you while boring you senseless at the same time.’ — Robert Beveridge
Trailer
_________________
Karim Hussain Subconscious Cruelty (2000)
‘A couple of days ago, the censorship did not allow the exhibition of “A Serbian Film” in Rio Fan Festival 2011 in Rio de Janeiro. A friend of mine mentioned that “Subconscious Cruelty” was another polemic film and I decided to watch it.
‘”Subconscious Cruelty” is indeed gruesome, gory, sick and disturbing, and one of the nastiest and pointless films I have ever seen. The film is divided is segments and it seems that the only intention of the director is to shock the audiences with a confused narrative and disconcerting impressive images. Paradoxically, the music score is very tender and beautiful.
‘Ovarian Eyeball – In the first segment, a naked woman is sliced by a sharp blade and an eyeball is removed from her belly. This surrealistic short is absolutely senseless. Human Larvae – in this second segment, a deranged man that hates his sister that is pregnant kills her newborn offspring and she during the delivery. This short is one of the sickliest films I have ever seen. Rebirth – in this third segment, a group of naked people rolls around mud and blood in another pointless segment. Right Brain/Martyrdom – in this last incomprehensible segment, there are the visible intention to offend the Christians with religious symbolism associated with gore and sex.’ — claudio_carvalho
Trailer
_______________
Ivan Zulueta Frank Stein (1972)
‘Zulueta’s peculiar singularity of vision points ultimately toward the digital dream of instant access to all components, as he doubly reconfigures James Whale’s 1931 classic Frankenstein by playing it at speed — reducing the runtime to under 4 minutes — and crossing the boundary between the televised and the filmed. In demolishing both form and narrative in such a well-known film, Zulueta transforms it, transposing the lumbering creature feature into an exploration of time and the authenticity of the camera’s gaze.’ — The Quietus
The full film
_______________
Calvin Lee Reeder The Oregonian (2011)
‘This is an unheralded masterpiece that came and went sadly enough and is as anonymous as any other surreal experimental film. But I imagine the director Calvin Reeder not expecting to get rave reviews anytime soon. Sure, like many reviewers point out here on Letterboxd you can make reasonable comparisons between “The Oregonian” and the works of Brakhage and Lynch but Reeder still manages to chisel out a movie that is perhaps better described as a surreal essay with its own artistic merits.
‘”The Oregonian” is decidedly unconventional, impressionistic (I’m using the more apt literary term here) and drenched with unpleasant, buzzing and squeaking sounds and unsettling, hypnotic visuals. In other words: elements that are perhaps not uncommon in art-films but rarely utilized in horror movies. “The Oregonian” doesn’t shy away from being inaccessible and bewildering. I must admit though that the lo-fi soundtrack greatly explains my affection for this weird little movie. I just love the music.
‘It’s hard to summarize this movie plot-wise but a woman is introduced early on that presumably has been the victim of a horrible car accident. (I’m recounting this from memory) The woman that I suppose is the titular Oregonian staggers out of her demolished car with a large wound on her forehead. She sees two bodies lying on the ground, in front of the wrecked car giving indication that she might be responsible for the accident. Moving further into the isolated landscape she finds herself in she encounters a bizarre old lady, all sorts of menacing individuals and a man dressed in a furry green monster costume. Yes I know, this all sounds ridiculous but it works.’ — Nicolas @ letterboxd
Trailer
Watch ‘The Oregonian’ VOD here
*
p.s. Hey. ** Adem Berbic, Italicizing is my only godlike option. Conquering the ‘great penis novel’ is a noble goal. I’m rooting for you. ** Carsten, Hi. Paul Bowles’s work is just being recalibrated, which is natural. He’ll be fine. ‘Landscape Suicide’ is highly worth seeing, for sure. It must suck being an actor who lands an amazing, dream role and then the director botches it. Must happen all the time. ** _Black_Acrylic, I miss the days when the Turner Prize dominated water-cooler talk. ** Larst, It’s actually rather difficult to find ass-centric art that isn’t just obvious and predicable. My honor on the steering, of course, sir. Big weekend I trust. ** jay, Hi. Haha, yeah, I almost didn’t put Anna Uddenberg in there because I feared obviousness, but she eventually won me over. I guess even 20% stranger is a victory these days? Hence the ‘Backrooms’ and ‘Obsession’ phenomenons. The heat didn’t end up breaking yesterday miserably enough, but I do detect a wee bit of coolness seeping through my windows this morning. I hope your weekend provides the option of hopping, skipping and jumping. ** Bill, Oh, it’s online. How did I miss that? Thanks! Everyone, if you want to see Cheryl Donegan’s butt piece from yesterday in motion, Bill found a way for you to do that. And it’s here. Someone posted a very nice photo of you performing at that event on Facebook yesterday. It looked terrific. ** James Bennett, The fog sculpture is fantastic. It’s still up at Pinault for a while longer if you want to see for yourself. No storms last night, obviously, but maybe just maybe it’s just a little more liveable today? Have fun with your pals irregardless. ** Ferdinand, Hi. Well, then they should sue her, goodness knows. I do intend to start living somewhat normally again this weekend if it takes pity on me. Do yours up. ** Steve, Hm, I would think John would have jumped at the chance to direct the final ‘Jackass’. Huh. Signs are that the heat is possibly going to faint later today or at least show signs a la Rod Stewart and Lionel Ritchie. Thank you whatever happens. ** Shea, Hi, Shea! Wow, that’s crazy, thank you. I’m honored. I’ll go blast that when I finish these ‘duties’ here this morning. Okay if I share? Hope so. Everyone, Shea who makes beautiful music under the rubric MAKESHIFT KINK recorded a song a couple years ago after reading my novel ‘Try’, and you can listen to it right here. Amazing, thank you! I think preparing for the worst has to become second nature, you know? I think we’re about to ease up here. But I wish I was in Portland. Seriously. ** Laura, I do have and treasure Charalampos’ book, of course. Your disfavoring of J Bowles is duly noted. I wonder if any work of fiction could survive that kind of fact checking? The meet up with Matt Wolf was very nice. I hadn’t realised until I met him that he directed that interesting documentary about the Biosphere. I would rather make films with my iPhone for the rest of my life than make a film that got me invited to show myself off at Fashion Week. Funny and great how a novel in progress will just eat everything. ** HaRpEr //, You could probably find those videos on one of the edgier porn sharing sites like motherless or ThisVid. Luck galore, pal. Do you want to share where you submitted, or, wait, maybe that would be bad luck? Amazing about the centrepiece. Dude, you don’t sound pretentious. Ambition above all. I think … I hope we might both get a weekend that doesn’t intend to commit a felony, but let’s see. ** Thom, Hey, Thom! Oh, shit, about the vomiting, although I suspect I’d feel a lot better over here if I did. Awesome that you like ‘Malina’ so much. Yeah, right? I think today is still going to suck heat-wise, but slightly less, and that tomorrow might just might occasion a certain liveliness. Max out your weekend on Parsians’ behalf. ** laura w, Yesterday Instagram suddenly decided that I am ravenous to see as many posts about Clavicular as humanly possible. Why? Their illogic is almost fascinating. Gary and I were friends when ‘Rent Boy’ came out, so I was touched. Later when we weren’t really friends anymore, he got very drunk one night and called me at 3 am and said he was going to make his publisher pull that book off the market so he could delete the reference to me. Quite a character. The weekend is now here in Paris, but I hesitate to get too excited yet for the obvious reason. ** Okay. Some years ago a blog reader who called themself TheNeanderthalSkull helped the blog miss Halloween a little less by guest-curating a Halloween post in June, and it’s June yet again, and the missing is still operable, so there you go, folks. See you on Monday.
Now available in North America 
Leave a Reply