Matthew Saliba's EROTICIDE: Dirty Little Secrets

Eroticide (2013)
Director: Matthew Saliba
Writer: Matthew Saliba, Andrée-Anne Saliba (French adaptation)
Featuring: Jocelin Haas, Stephanie van Rijn, Lisa Di Capa
Website: The Celery Stalks at Midnight

In the throes of desire, Yan (Haas), the male protagonist in Matthew Saliba's latest film Eroticide, recites mantras on command that throw around pointed words like "loser" and "pathetic"; each phrase - aimed at himself - indulges in self-abuse that affects not only his relationships, but engenders his entire being. Yan craves humiliation, and though he tries to bury these tendencies, he can't even get an erection without the assistance of an insult.

Yan and his girlfriend Elise (van Rijn) are prematurely celebrating an anniversary (they've only been together nine months) with a romantic dinner. They are rudely interrupted by Yan's imposing, foul-mouthed ex-girlfriend Kendra (Di Capa) who bullies both Yan and Elise on their special night. Elise, patient and forgiving, gives Yan another shot; soon, however, Yan is fantasizing about the brutal kind of affection he's only ever received from the unmerciful Kendra.

 
Eroticide is a deeply intimate look at the complex inter-relationships between these three characters: Yan is a self-loather who yearns to be dominated, demonstrated by his words ("I am a pathetic loser") and actions (licking Kendra's shoes); Kendra finds great pleasure in humiliating Yan, yet doesn't realize - as a person who gets off on dispensing humiliation -  she needs Yan just as much as he needs her; Elise's concept of love inhabits its own extreme end of the relationship spectrum, manifesting as harm to herself as a demonstration of her devotion to Yan. The exploration of this sado-masochistic threesome benefits from the richness of Saliba's dialogue; rather than sink into cheap exploitation, his command of the material, and respect for the neuroses of his characters, elevates the story to thought-provoking levels.

Yan's story, told through the lens of an empathetic Saliba, explores the definition of "healthy" relationships in a world where damaged souls rely on delicate connections; they may unravel once troubling secrets are brought to light. When deep-seated psychological idiosyncrasies are unearthed, the lines between "healthy" and "unhealthy" become blurred when it comes to love and sex. Despite the short format, Saliba manages to convey the cyclical nature of abusive relationships, as well as the co-dependency wrought from whatever attraction keeps the abused coming back for more. Better yet, Saliba is not passing judgement on any of these characters; he's merely portraying them in their rawest, most vulnerable state - for better or worse.

Two things stand out in Saliba's film: The first is the refreshing lack of a music score; each scene thrives on genuine emotion without the manipulation of musical cues to coerce viewer experience; The second is Saliba's gimmick free cinematography that utilizes mostly static shots with a focus on body language, as well as the spoken (French and English) and unspoken (passive aggression) languages passing between the characters. Sometimes the language encourages; other times it berates; but throughout it's always the language of desire, no matter how twisted it might become.

It's always a treat to witness a new Sinema Saliba film; with each production, director Matthew Saliba (Vampyros Lesbos, Amy's in the Attic) pushes the envelope of genre cinema with genuinely provocative ideas; he and his small troupe of fearless actors - here with Haas, van Rijn, and Di Capa respectively - transcend the challenges of micro-budget efforts while defying the cliche-ridden landscape of cinema. With every production, it's clear that Saliba establishes trust with his players; he's able to coerce engaging, yet uncomfortable interactions between them. These moments subsequently position the viewer face to face with his or her own inner demons; the result can be therapeutic if we're able to embrace the truths about our own psyches.

EROTICIDE Trailer

WHERE THE DEAD GO TO DIE: Animate and Devastate

Where the Dead Go to Die (2012) 
Director: Jimmy ScreamerClauz 
Writer: Jimmy ScreamerClauz 
Cast: Ruby Larocca, Joey Smack, Linnea Quigley, Trent Haaga, Devanny Pinn 
Website: http://www.deadlyproductionsrecords.com/wtd.html

Animated films possess the ability to push boundaries like no other artform; the limitations exist only in the imaginations of the creators. From Émile Cohl's ghostly chalk-line images in 1908’s Phantasmagoria, to the grotesque works of stop-motion animator Robert Morgan (Bobby Yeah!, The Cat with Hands), horrific animated films exist to provoke and startle in a medium that transcends notions of being made "just for kids". Adults will find plenty of provocative material to mine in the realms of stop-motion, hand-drawn, or in the case of this review's subject, shaky computer generated animation.

Animation may have been the only viable forum for Jimmy ScreamerClauz (The Bunnyman) to tackle the miserable themes he’s chosen to examine in his crudely animated, but deeply disturbing feature Where the Dead Go to Die. Curiously, the aesthetic of WTDGTD is akin to the primitive block 3D style of 90's video game “cinema” scenes, an artistic choice that may, at the outset, incite more laughter than screams. It's unclear if this is a deliberate choice by ScreamerClauz, or if he's still familiarizing himself with digital tools; this facet of the film will undoubtedly receive the toughest criticism. It can be argued, however, that the occasionally inane look was an effective way of rendering the massively depressing material more palatable, and succeeds in providing an unnervingly surreal quality to the film. It’s only partially a joke to say that the crude format may be the only way this kind of material – elements of child prostitution, bestiality, and unfettered bloodshed – can legally exist at all.

ScreamerClauz’s film is fashioned from three interconnected stories (Tainted Milk, Liquid Memories, The Masks That Monsters Wear) set in a ramshackle neighborhood on the outskirts of town. It’s a place that exists everywhere, one where addiction, poverty, and abuse prevail, and moments of lucidity are fleeting for those trapped in the clutches of despair. Dark evil not only pervades, it radiates, infecting those on the fringe. As one character explains, it’s a place that serves to “balance” the world of light and dark, life and death. Darkness and death are, indeed, omnipresent, and the monsters dwelling here are very real.

Child characters are the focal point of the film, the structure woven from their horrible stories, and intertwined by visits from a demonic dog named Labby. Tommy is a young boy driven to committing vile acts against his parents, persuaded by Labby that his pregnant mother is carrying Satan’s child. Ralph, a boy born with a horrible deformity, harbors an adolescent crush somewhere between lust and obsession that makes him susceptible to Labby’s sadistic whims. Sophie, the only victim not given a choice by Labby, lives a life of cruel exploitation, prostituted by her twisted father in a child porn operation. Each child's suffering connects them in a heartbreaking union of inescapable misery, one that transcends space and time. ScreamerClauz’s storytelling here, consequently, manages to massacre a familiar slice of comforting Americana – a boy (or girl) and his (her) dog.

ScreamerClauz overcomes the obstacles one might attribute to the “primitive” technological tools by going full tilt with the imagery; no one can accuse him of not going far enough in the graphic depictions of carnage. Torture, rape, and other atrocities litter an overwhelmingly sadistic environment replete with vicious and visceral imagery. It’s twisted, gory, subversive stuff, yet profound in its ability to seep beneath the skin of the viewer despite technical flaws that should dilute the content. Better yet, it isn’t completely nihilistic; there are fleeting moments of sublime joy shared temporarily between the characters. For example, Ralph spends time with his crush Sophie in a beautiful garden, a moment shattered by Sophie’s realization that she must get home before her father "misses" her.

It’s difficult to recommend a film comprised of such wretched, painful material, especially considering the unsophisticated aesthetic employed by ScreamerClauz. It would, however, be a mistake to dismiss Where the Dead Go to Die on those grounds. It’s a film that at its core is one of the most purely horrific films released in some time. By pushing the limits on what is acceptable in film and animation, it opens up new and relevant avenues of discussion for confrontational cinema. It’s certainly not for everyone. It may not be for anyone. Yet it’s a film that absolutely shouldn’t be ignored by those open to the challenges of ScreamClauz’s literal and figurative demons.

Where the Dead Go to Die Trailer

BUFF Recap - Opening Night, Night 2 (I Declare War, The Manson Family, A Band Called Death, Guilty of Romance)

A Band Called Death

Though it's already spring, the start of my year truly begins with the Boston Underground Film Festival. Each year since I've lived in the Boston area, at least two or three BUFF selections invariably make my year-end top ten list. Some have gone beyond as all time favorites including last year's offering John Dies at the End or Amer from a few years back.

Opening Night: I Declare War (2013), The Manson Family (2003)

I Declare War

Opening night of BUFF featured Jason Lapeyre and Robert Wilson's I Declare War, a deconstruction of the war film using a cast composed entirely of children. It's a commentary on the horror of war, as well as an affecting coming-of-age story. The film is sure to provoke controversy as the characters' fantasy play using sticks as weapons crosses over into a harrowing imaginative landscape where real guns rule the woods. Read my Full Review over at Paracinema Magazine's Website.

Following up was the re-release of James Van Bebber's shocking  The Manson Family, marking its 10th anniversary. The Manson Family is part fictional narrative, part documentary, and a savage imagining told through the eyes of Manson's most recognized cult members. Van Bebber's dizzying grindhouse-era aesthetic is one for which Rob Zombie reaches, but never quite grasps. This film - particularly the third act - will haunt you.  


Night 2: A Band Called Death (2012), Guilty of Romance (2011)

Guilty of Romance

Sadly, I missed out on Blue Dream. I was, however, able to find myself among an enthusiastic crowd for the stellar documentary A Band Called Death. Mark Christopher Covino and Jeff Howlett trace the history of unknown proto-punk band Death, formed by three brothers in Detroit in 1971. Inspired by the music of Alice Cooper and The Who, this passionate trio was lost to obscurity (including the death of one brother) until record collectors discovered them three decades later which prompted a re-release of their album once relegated to an attic shelf.

Sion Sono concludes his "Trilogy of Hate" with Guilty of Romance, a provocative examination of Japanese culture and the roles of women within a constrictive society. As usual, Sono's film is brazen and beautiful, but requires the viewer crack the codes of his lyrical delivery of challenging themes. You can read my Full Review over at Diabolique Magazine's website.

Recaps of the remainder of BUFF's programming on the way including Cheap Thrills, See You Next Tuesday, White Reindeer, Saturday Morning Cartoons, Jug Face, and BIG ASS SPIDER!

Help Genre Icon Karen Black Battle Cancer

Here's an opportunity to give back to a genre icon who has graced screens both large and small. Karen Black, the incredibly talented star of Day of the Locust, Trilogy of Terror, and Easy Rider, is currently battling a very serious form of cancer. She and her family are raising money to help with expenses associated with cancer treatment. Please consider donating to her campaign to help restore the strong, captivating presence we all adore.

Harmony Korine's SPRING BREAKERS: Party 'til You Die

Spring Breakers (2013)
Director: Harmony Korine
Writer: Harmony Korine
Cast: Ashley Benson, James Franco, Selena Gomez, Vanessa Hudgens, Rachel Korine, Gucci Mane
Website: Spring Breakers Official Website

In Harmony Korine's Spring Breakers, shaman-like OG Alien (James Franco) utters the mantra "spring break forever" in an ethereal tone that echoes throughout the film. His words are the lynchpin between two colliding yet converging worlds. The participants in those worlds are each living a fantasy life with a fast approaching expiration date; the difference is that one group has the ability to escape that world whenever they chose, while the other is trapped by circumstance.

College friends Faith (Gomez), Candy (Hudgens), Brit (Benson), and Cotty (Korine), a group of pretty blondes (and one brunette), are a few dollars short to make it down south to St. Petersburg, Florida for Spring Break. The obvious solution is rob a local restaurant for the loot, one performed with aplomb by the ennui-stricken girls. Each is looking for a life changing experience among the partying crowds of the beaches and clubs, and find a world ready to embrace their pent up emotions and lust for ACTION. When they land in jail after a drug raid, Alien bails them out and takes the enthusiastic crew on a violent voyage into his world of hustling, guns, and drugs.

A superficial look at Korine's multi-layered film would have you believe this is just a Girls Gone Wild video taken to the utmost extremes. That couldn't be more inaccurate. Sure, the film is filled from beginning to end with tanned naked bodies, rampant drug use, and violence, but peeling those layers reveals an affecting examination of intersecting cultural, economic, and existential themes. The film is actually a rather complicated piece of filmmaking once those conversation threads are breached.

College kids descend like a plague upon communities like St. Petersburg, stripping the towns to the bone. Conversely, these communities are dependent upon a tourism trade that requires them to look the other way as privileged young adults yearning for "freedom" or "release" do so under a veil of perceived consequence-free debauchery. On the outskirts lie the people born and raised in those communities whose only chance of survival is in benefiting from the destruction. Like the four horsemen of the apocalypse, our four young protagonists - deemed "special" by Alien - penetrate the fringes where people like Alien and his rival Archie (Gucci Mane) battle for control of the illicit profits and the infinite perpetuation of gangster culture. This subculture is now in danger of succumbing to the same fate that befell the city around it.

Disney star Gomez as the wholesome Faith is the only character given any sort of depth, and for a reason. Her character is the only one with plans for genuine soul-searching. She, however, heads home quickly when things get too uncomfortable. The rest of the characters live in a state of arrested development, opting instead to take Alien literally on his offer to live like it's Spring Break forever. Already having it all, they now want Alien's lifestyle - a house full of guns and money - because nothing else could possibly be fulfilling. As he puts it, "this is the American dream".

The interchangeability of the remaining female characters plays into Korine's challenges to pop culture and its rotating cast of used child stars, co-opted culture (hip-hop in particular), and other forms of throw-away exploitation. His casting of child-stars Gomez and Hudgens, as well as running tributes to Brittney Spears serves to drive his point that innocence is not only lost, but it's been taken out back behind a shed, shot in the head, and buried in an unmarked grave while the next "big thing" is trumpeted just above the freshly buried corpse.

Part of what makes Spring Breakers fascinating is the sumptuous visuals provided by Benoit Debie (Irreversible) who contrasts the frenetic party scenes with periods of wondrous beauty. This can be shots of the setting sun on a beach, or just the image of the four girls playfully contorting their bodies in silhouette against the walls of narrow hallways and breezeways. These are the moments when the characters feel most human with a world truly open to possibility. These moments are also fleeting...

The scenes of violence employed by Korine may seem over-the-top, but it's a clever way to subvert expectations. These girls  commit crimes without remorse or fear, believing that they do, indeed, rule the world. They do so brazenly, right in the faces of their victims, believing every second that they are invincible. In this extreme and satirical way, Korine is contrasting their behavior with that of politicians, corporations, entertainers, and the like that anonymously do the same. These are the children of those so-called leaders who will grow up to replace them in their pursuit of money, money, money. Think of Spring Break as depicted here an internship for the larger crimes surely to characterize their career trajectory.

Spring Breakers Trailer

Cinedelphia disturbs with VIVISECTIONS on April 14

Cinedelphia - the portal to the best cinema in the greater Philadephia area - has launched their own festival to celebrate the rich film history of the City of Brotherly Love. The Cinedelphia Film Festival takes place from April 4 - 27 featuring the best films with a Philadelphia connection.

Part of the event is a special presentation of subversive films entitled Vivisections, programmed by area filmmaker Matt Garrett. Mr. Garrett has collected some of the most challenging, brutal, and brazen films from all over the globe. Each sinister film is hand-picked to startle, disturb, or arouse. All selections are Philadelphia premieres.


Titles include Karen Lam's The Stolen (2012), a fairy tale gone horribly awry when a young girl helps out the wrong fairy princess. Sam Walker's Bite Horse (2012) is a nightmarish music video featuring the unnerving sounds of the band Mississippi Witch. Maude Michaud's RED (2012) is a stunning cinematic crossroads where erotica meets the snuff film. Greg Hanson and Casey Regan's Meat Me in Plainville (2011) blends Soylent Green with the sensibilities of a 50's sitcom. Josh MacDonald's Game (2012) is a satirical take on backwoods hillbilly survivalist fare, and Matt O'Mahoney's Adjust Tracking (2012) puts a neat VHS spin on bloody revenge flicks. These are just a sample of the horrible treats in store for Philadelphia area fans of provocative film.

Below is Cinedelphia's Official Press Release with ticketing info, dates/times, more film descriptions, and a few trailers:


CFF: VIVISECTIONS International Short Horror Films
THE CINEDELPHIA FILM FESTIVAL presents

Sunday, April 14 2013, 9:30 PM
VIVISECTIONS: International Short Horror Films Program

Voyeurism, snuff, cinema and sex collide in Red, a provocative slow-burn shocker from Montreal horror maven, Maude Michaud (Hollywood Skin).  In Rafael De Leon Jr's Birthday Boys, teenaged Riley turns to dark forces in order to bring back her lost love.  Cinematic madman Sam Walker (Tea Break) presents his short film/music video hybrid Bite Horse, the first chapter of a multi-media collaboration with the Southern Gothic band Mississippi Witch.  Next is Doll Parts and Stained director Karen Lam's The Stolen, a dark fairy tale about a young girl with a big heart who is forced to strike a bargain ur program concludes with the stop-motion animated nightmare, Crépuscule, from visionary director Éric Falardeau (Thanatomorphose).  A young woman, bound at the wrists, attempts to escape her demented redneck captors in screenwriter Josh MacDonald's (The Corridor) beautifully photographed and wickedly funny directorial debut, Game.  Aussie director Dave Wade's slick, sick and hilariously crude A Tale of Obsession follows an overweight teen goth as she attempts to curb her hunger to win the heart (and body) of the perpetually shirtless school hunk.  Matt O'Mahoney, director of the Fantastic Fest award-winning Electric Fence, returns with Adjust Tracking, a lovingly meaty homage to the Golden Age of VHS Horror.  And finally, from the delightfully twisted minds of  Greg Hanson & Casey Regan (Thy Kill Be Done) comes the definitive argument against USDA-approved cannibalism, Meat Me in Plainville.  Think Soylent Green meets I Drink Your Blood with a healthy dose of Father Knows Best thrown in for good measure.  Human Meat Is Murder!

Every film in this program is a Philadelphia Premiere, having previously played such festivals as Cannes, Fantasia, PiFan, Sydney Underground,and Fantastic Fest.

Advance tix are $10, no refunds or exchanges.

The Cinedelphia Film Festival is a Philly-centric celebration of Philly film running from April 4-27, 2013.
http://www.cinedelphiafilmfestival.com

Trailers

Game Trailer



The Stolen Trailer



Birthday Boys Trailer 



RED Trailer



Crepuscule Trailer

Park Chan-wook's STOKER: Portrait of a Fractured Family

Stoker (2013)
Director: Park Chan-wook
Writer: Wentworth Miller, Erin Cressida Wilson (contributing writer)
Cast: Mia Wasikowska, Nicole Kidman, Matthew Goode
Website: Stoker Official Site

Alfred Hitchcock's Shadow of a Doubt may be the impetus for Park Chan-wook's first English-language film Stoker, but the film moves about with a dreamy fairy-tale quality that distinguishes itself from the master of suspense's classic. It's the result of Chan-wook's unique ability to imbue poetic lyricism into his stylish thrillers. Once again working with cinematographer Chung-hoon Chung (Oldboy, Lady Vengeance), the two have crafted a stark gothic tale full of strange beauty and sudden violence.

India (Mia Wasikowska) and her mother Evelyn (Nicole Kidman) have just lost their family chieftain Richard Stoker (Dermot Mulroney) to a fiery auto accident. In the midst of coming to terms with the loss of a father and husband, they are visited by his long-lost brother Charlie (Matthew Goode), an uncle India never knew existed. India is captivated by the charming renaissance man, driving further an already existing wedge between India and her mother. India's uncle soon reveals a sinister side, but India has her own darkness brewing, cultivated by the enigmatic Charlie.

Stoker is a psychological thriller with a simple premise, but one operating with spectacular character dynamics. Wasikowska (Alice in Wonderland) portrayal of India is a revelation. She's a young woman whose life - once enriched by her father's nurturing - is now left with a huge void. Evelyn, seduced by Charlie's eccentricities and many talents, will do anything to replace the hole in her own heart with Charlie as surrogate. Charlie is obviously a sociopath, able to inflict great pain and death with as much concern as opening a bottle of fine wine. He sees a chance to adopt his brother's flailing family as his own. Each performer rises above typical melodramatic histrionics by delivering nuanced, offbeat takes on their respective characters.

Class tension factors as a small undercurrent of Stoker. India's family appears to be the only financially stable in her community. Her time spent in activities like playing the piano or target shooting seem superfluous when contrasted with fellow blue collar, underachieving students at her school. This puts a distance between her and her classmates, and bullies taunt her as being "weird" or a "bitch". This gap allows Charlie to insinuate himself in India's life in a profound way. A pivotal scene follows India on a rendezvous with a local boy after his shift at a fast food joint. Their volatile encounter ends in bloodshed at the hands of Charlie in front of Inda, both of whom think little of offing the boy after he attacks India. India's compliance in the act - whether or not deserved by the boy - reveals that she has more in common with Charlie than could be imagined.

The final act culminates in the sort of mayhem most fans have come to expect of Chan-wook. While it may not live up to the expectations of some, it shows a director dedicated to the type of growth displayed in his last feature Thirst (2009). When most revenge thrillers are focused exclusively on the brutality, Chan-wook differentiates himself with complex emotional depth. In India, we see great potential thwarted by corruption and the influence of a terrible man. As Uncle Charlie says "she's of age", and though he never reveals what he means, the viewers knows for certain it won't be good. Perhaps the real cruelty operating here is the callous opportunism that rises from taking advantage of broken, abandoned hearts.

Stoker Trailer

Support the Boston Underground Film Festival in Their 15th Year

The Boston Underground Film Festival (BUFF to their friends) has been carrying the torch for subversive, groundbreaking cinema for the past 15 years. It's an astounding feat considering most of their selections are huge artistic risks taken by some of the most innovative and provocative independent filmmakers out there. Boston audiences starving for original and daring cinema need look no further than a short trek to our very own Brattle Theatre March 27 - March 31.

It's always exciting when BUFF reveals their latest selections, and this year's offerings finds them pushing the envelope to the point of bursting. Their first round of announcements include opening film I Declare War (a favorite at TIFF and Fantastic Fest), BUFF alum Zach Clark's (Modern Love is Automatic) Christmas-themed shocker White Reindeer, and E.L. Katz's thriller Cheap Thrills. 

Other selections include Kristina Buozyte's emotionally-charged romantic sci-fi film Vanishing Waves, the documentary A Band Called Death about little-known Detroit proto-punk band Death, and Kim Ki-duk's crime-laden story of redemption Pieta. This small sample doesn't include all the wonderful short films, music videos, animations and other brazen works of cinematic art trumpeted by the hardworking folks at BUFF.

BUFF is also celebrating the 10 year anniversary of Jim VanBebber's astonishing The Manson Family (along with his new short film Gator Green). The graphic and controversial film was rarely seen during its initial run, and is getting a proper treatment for Boston filmgoers.

Your support is needed for BUFF's final push. Here are a few trailers to convince you, as if you needed it:

I Declare War Trailer



Vanishing Waves Trailer



A Band Called Death Trailer



The Manson Family Trailer

JOHN DIES AT THE END: A Not-So-Dynamic Duo Saves the World

John Dies at the End (2012)
Director: Don Coscarelli
Writer: Don Coscarelli (screenwriter), David Wong (original story)
Cast: Chase Williamson, Rob Mayes, Paul Giamattil, Clancy Brown, Fabianne Therese
Website: John Dies at the End Official Site

No genre filmmaker had a better pedigree to pull off the earnest weirdness of David Wong's John Dies at the End than Don Coscarelli.  The book reads like a hyperactive 80's monster movie mashed up with Buckaroo Banzai if written by Fear & Loathing era Hunter Thompson. Coscarelli, the madman behind Phantasm and Bubba Ho-Tep, is no stranger to bringing bold and bizarre visions to the big screen. His skill lies in keeping the chaos controlled and fluid, yet complimentary to Wong's (in real life Jason Pargin) charming metaphysical disorder.

David Wong (Chase Williamson) sits down in a Chinese joint to chat with journalist Arnie Blondestone (Paul Giamiatti) about his experience with a drug called soy sauce. The oozing black substance - a dose taken accidentally by  David - has given him and his buddy John (Rob Mayes) the phenomenal ability to read thoughts and transcend space and time, which is kind of a big deal for a couple of slacker college drop-outs. The unfortunate side effect is that it opens up doors for inter-dimensional monsters to wreak havoc in this world. David and John - together with the support of a lovely cast of misfits - become unwitting saviors destined to save the world from a monstrous entity called Korrok. That is, if they can get their shit together.

John Dies at the End is a triumph of cohesion over pandemonium. It was quite a feat to wrangle the basic concept of Wong's story while retaining all the offbeat, genre-meshing elements that made it so extraordinary. For all its multi-tentacled reaching, Coscarelli keeps everything grounded with a couple of very likable anti-heroes, and a semblance of a blueprint to keep the mania together and moving with a distinguishable purpose. Coscarelli serves up mutant worms, meat monsters, and parallel worlds as if they are minor inconveniences to John and Dave's (mostly John's) partying, rocking out, and girl-chasing. It's all strung together with an infectious reverence for the material, as well as the desire for the audience to have a shitload of fun.

Coscarelli's film is brazenly humorous and surreal but also serves as an amusing allegory for drug culture. David remarks that the immediate side effects of the soy sauce may wear off, but the effects of the drug will be with him forever. A terrifying scene of the aftermath of the mass overdose of a group of teens downplays the more playful aspects of the film. The film, however, never gets weighed down by some of the heavier elements that could be applied to the narrative. Instead, Coscarelli's work is a trippy funhouse ride punctuated with some genuine moments of dread, plenty of inventive gruesomeness, and quick-witted dialogue that honors Wong's voice from the book.

Coscarelli overcomes limitations in some arenas with genius casting of cult icons, including Clancy Brown as celebrity medium Albert Marconi, Paul Giamatti as the perplexed journalist Arnie, and a wonderful cameo by Angus Scrimm portraying a priest with therapeutic advice for David. Every member of the cast embraces the material, and delivers their roles with aplomb. Their inclusion and solid commitment is a testament to the effort put forth by Coscarelli to make John Dies work for everyone. Acclaimed Special Makeup Effects artist Robert Kurtzman populates the world(s) around them with creepy, slimy, long-limbed and toothsome beasts that would feel right at home alongside some of the 1980's most innovative creatures.

David - though his exterior is that of a skeptic - remarks that the sauce chose him because his mind was open. That's exactly how audiences should approach John Dies at the End. Not everyone will leave understanding what's transpired onscreen, and that's ok. Much like the lovable team of losers portrayed in the film, viewers should just succumb to Coscarelli's kooky apocalyptic vision. Fans trusting in his dose of  cinematic soy sauce will have them clamoring for more mind-shattering adventures with David and John.

John Dies at the End Trailer

Paul Davis' HIM INDOORS: Caught in the Act

Him Indoors (2012)
Director: Paul Davis
Writer: Paul Davis
Cast: Reece Shearsmith, Pollyanna McIntosh
Website: Him Indoors Official Site

I have my friend Matt Garrett to thank for directing me toward Paul Davis'  Him Indoors. It's a hilarious reverse of the Sigourney Weaver serial killer vehicle Copycat (1995). Instead of Weaver's sympathetic phobic, however, we find a psycho afraid to leave his own home. It's a playful, but dark film that is available to watch for free on FearNet.

Reece Shearsmith (Shaun of the Dead) portrays Gregory, a man meek in appearance, but harboring a monster inside that kidnaps and kills hapless victims lured to his apartment. His life confined to his home makes murder a challenge, but alleviates his crushing agoraphobia. Enter Lizzie (Pollyanna McIntosh), Gregory's intrusive neighbor, who unknowingly barges in on his freshest kill. She cavorts around Gregory's pad none-the-wiser despite evidence of foul play.

Pollyanna McIntosh, fresh off a wave of tremendous success with Lucky McKee's The Woman gets to show off her versatility with impressive comedic chops. Her performance is the perfect foil to Shearsmith's squirrely Gregory. The two have tremendous chemistry, and really give the simple premise the punch it needed to overcome any limitations in budget or location.

Paul Davis' screenplay and direction is focused, and every component needed to make an effective short is on display here. The blend of horror and comedic awkwardness is an effective way to capitalize on the success of similarly formatted situation comedies, but with that demented touch horror fans embrace. Him Indoors is an impressive treat, and evidence that this trio should work together again.

Him Indoors Trailer

Michael Haneke's AMOUR: Tragically Enduring Love

Amour (2012)
Director: Michael Haneke
Writer: Michael Haneke
Cast: Emmanuelle Riva, Jean-Louis Trintignant, Isabelle Huppert
Website: Amour Official Site

Austrian filmmaker Michael Haneke (The White Ribbon) loads his films with such crushing despair, it's surprising he hasn't suffocated most of his fans in utter misery. The auteur has been forcing the highbrow art house crowd to face their own mortality throughout his varied career with powerful, bleak films like Cache and Time of the Wolf. He's taken to that task quite literally in his latest offering Amour, a precision-perfect snapshot of love strained in the face of impending death. Haneke, often criticized for a "cold" and "emotionless" body of work removes those descriptors from the conversation by delivering a heartfelt - though no-less-provocative - piece examining the paralyzing frustration of witnessing a loved one suffer. Perhaps in response to his detractors, he handles it with a gentleness uncharacteristic of the man responsible for the desolate Funny Games.

Amour is the story of Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), an aging couple content in their lifelong commitment to one another. Both have led successful lives as music instructors, and have a well-adjusted daughter named Eva (Isabelle Huppert), a professional musician.Their bond is tested when Anne suffers a stroke, and succumbs to degenerative health conditions spurred by her advanced age. The film focuses on Georges' efforts to give Anne dignity in her decline. It's a task that becomes increasingly more challenging as Georges contends with the intervention of doctors, nurses, and his own family, all of whom are very removed from the worst of Anne's daily physical and psychological anguish.

Audiences familiar with Haneke's filmography are aware that he rarely uses a music soundtrack to invoke or manipulate emotional responses to scenes in his films. Never is the exclusion more apparent than in Amour. Though the film revolves around the music rich lives of its central characters, any accompaniment is incidental. Amour is the most emotionally raw and affecting of all his films. This is primarily because Georges and Anne are such sympathetic and relatable characters. Audiences of all ages can identify with Georges' efforts to make Anne more comfortable in her state. Conversely, we're stricken by Anne's struggle to maintain control over her mind and body. Trintignant and Riva are so wholly convincing in their portrayals that viewers will feel they are intruding on profound moments of intimacy shared between genuine people. 

Haneke, always game for subverting convention, keeps his narrative fairly straightforward. There are no excessive long takes or characters breaking the fourth wall, so any accusations of gimmickry aren't applicable here. Instead, Haneke relies solely on the power of his actors, framed beautifully by cinematographer Darius Khondji (Midnight in Paris). As usual, Haneke tells his tale with stunning compositions that squeeze profundity from the most mundane acts. One distressing scene, for example, takes place during an innocuous moment of two people sharing tea. It's a pivotal moment in the film, and the viewer is caught totally off guard.

Though Haneke denies the inclusion of pigeons in the film as holding any symbolic significance, the once domesticated bird pops up in several important scenes. One instance shows Georges helplessly chasing a stray pigeon around the apartment before covering the pigeon with a blanket. His next act can be construed as either cradling or smothering the hapless bird, but Georges' action - much like Haneke's film - remains ambiguous. The same can be said of the climax that leaves itself open to interpretation despite an apparent finality.

From the outset, Georges' efforts to care for Anne, though futile, are powered by his unwavering love. Not one moment is spent in self-pity.  He is steadfast in honoring Anne's request to remain home and out of hospitals. It's a responsibility very few would take on, particularly when Anne reverts to an infant-like state. Georges' outbursts of cruelty - though inexcusable - are at least somewhat justifiable. Even a severe final act elicits not horror, but understanding delivered with Haneke's trademark merciless honesty.

B. Michael Radburn's The Crossing: Cold Isolation

The Crossing (2011)
Author: B. Michael Radburn
Published by Pantera Press
336 pp

Glory’s Crossing in Tasmania is a place where time would normally stand still were it not for “progress” beating at its door. Generations of the town’s inhabitants find themselves displaced to make way for a hydroelectric dam. As a man-made lake encroaches upon them, submerging the town piece by piece, dark secrets are unleashed from beneath the water’s murky surface.

Such is the backdrop of The Crossing, a mystery with a hint of the supernatural. Author B. Michael Radburn weaves a tale of kidnapping, deception, and murder that is peppered with many intersecting themes. The conflicts range from dealing with the loss of a loved one, managing the subsequent unrelenting guilt, to finding oneself a stranger among neighbors. Utilizing the backdrop of the Tasmanian landscape, Radburn plants many disturbing discoveries in the island’s vast wilderness. Glory’s Crossing itself can be seen as a manifestation of the hopes and dreams of the residents, slowly consumed by ever encroaching civilization.

One year after his eight year old daughter Claire has disappeared after a car accident, our protagonist Taylor finds himself in the employ of the Parks & Wildlife office in untamed Tasmania. Plagued by bouts of sleepwalking and estranged from his wife Maggie, mainlander Taylor is now the keeper of the vast wilderness of The Crossing. Even though Taylor lives and works with the townsfolk, they aren’t particularly welcoming toward any they perceive as an outsider. Despite the resistance, Taylor tackles his assignment with a seriousness he hopes will win them over. On the outside looking in, he finds that the townsfolk are very close knit, perhaps to a fault. For Taylor, penetrating the tight ties of the community proves frustrating, and even a bit intimidating.

When a young girl goes missing, Taylor finds a chance at redemption for the overwhelming guilt he feels over his missing daughter. Perhaps by locating her, he can reclaim his life. In order to do so, he must work alongside an assorted cast of strange folks with names like “The Librarian” and “The Raggedy Man”, characters with their own darkened pasts. As the investigation uncovers a connection between several missing children and a potential serial killer, Taylor copes with uncooperative local sheriff O'Brien and the eccentric detective Grady. They race against time to find the girl before a dreadful fate befalls her.

Set in the harsh winter, Radburn creates a bleak environment for tragedy. Once the secrets begin pouring out, it’s clear that there are many guilty consciences in Glory’s Crossing. Taylor discovers that tampering with family secrets can be dangerous, but when an entire town shares such profound kinship, it can be deadly. Deception runs deep, and Taylor finds little to trust in the authorities, and his own sleep-deprived self. When a huge snowstorm hits The Crossing, we can’t help but feel the avalanche of frustration, fatigue, and remorse burying Taylor.

I have a few complaints with the novel, a big culprit being the dialogue. At times it felt a bit forced and unnatural. With a more natural or even minimal flow of conversation, the story may have been a bit more compelling. In a story that relies heavily on ordinary small town folk, it is quite a challenge to avoid having those characters sound scripted and cliche. This is especially important because The Crossing is very dialogue driven. On the other hand, it could be seen as Radburn’s attempt at making the characters feel familiar, like people we may recognize from our own hometowns. Unfortunately, it didn’t work for me if that was his intended tactic.

I was also a bit turned off by some changes in tone after the introduction of Detective Grady, a confident, but oddball character that makes antiquing deals while performing his duties. While I appreciate the attempts at some quirky comic relief, it somewhat undermined the bleak atmosphere Radburn so expertly crafted. Considering the dark subject matter, perhaps he was trying to ward off despair in the audience. However, it took me completely out of the mood established in the first third of the book or so.

All that aside, mystery and crime fans should find something to latch onto while reading The Crossing. It's a quick read that tackles some heady themes. As one part character study, and another brutal crime mystery, it mostly succeeds in creating a sense of isolation and despair. The book showcases the threats of insular communities quite well. It also tackles the unresolved grief parents feel when a child goes missing. Once Taylor begins edging toward the frightening truth, we hope he's able to attain some form of closure in his personal life.

127 Hours: Gorgeous and Harrowing Triumph of the Will

127 Hours (2010)
Directed by Danny Boyle
Written by Danny Boyle and Simon Beaufoy (based on the book by Aron Ralston)

While I'm not totally in love with all his work, I'm a huge fan of Danny Boyle as a person and artist. In countless interviews he comes across as one of the most positive and forward thinking filmmakers working today. His enthusiasm for his work and life is contagious, and I'm often left feeling giddy after listening to him. If there is one common theme in most of Boyle's work, it is the triumph of regular people over extreme adversity. If that's true, then 127 Hours is the pentultimate example in a varied career that ranges from the post-apocalyptic horror of 28 Days Later to the morality play of Millions. Each of his unique films are linked by this one common element, but 127 Hours is the one that shouts it loudest and clearest.

Based on a true story, 127 Hours chronicles the frightening yet uplifting story of Aron Ralston, an adventurous but self-centered canyoneer who was trapped in a canyon for over five days when his arm became lodged between a rock wall and a fallen boulder. To  pass time and spare his sanity, Aron videotapes messages to his friends and family while attempting formerly simple, but now challenging tasks with the use of only one arm. As he exhausts himself with futile efforts, he realizes with horror that there's only one way to get free. Ralston narrowly escapes starvation and the elements by amputating his right arm.

Boyle's challenge was to recreate the event in what amounts to 90 minutes of one actor standing in the same narrow space for the duration of the film. Luckily, he cleverly keeps things moving in ways that only Boyle can, with stunning photography, moving performances, and the ability to experiment to enhance the film experience. As with his other films, there is truly a feeling of being transported to this particular place at this particular time, suffering along with our hero. We are aware of his physical body, and at the same time, allowed into his wandering and fragmenting mind.

Despite some major limitations, Boyle keeps things interesting by interspersing moments of hallucinations, dreams, and other filmic embodiments of the inner turmoil within Aron's mind. He is slowly losing grasp, and in his lucid moments, feels great regret for some decisions he's made in his life. He relives key moments in which taking a different path may have led him to a better place. Here, Boyle flirts a little with the idea of fate, whether we are at the mercy of our own personal choices, or merely the influence of outside forces. Ultimately, Aron figures out that he's in control of his own destiny and must face the fact that no one, not a rescue team or a god, is going to save him.

Perhaps the biggest reason for success is found in the casting of James Franco who was the perfect choice to play Aron. The underrated actor is certainly up to the task. Appearing in virtually every scene, he commands your attention and brings real pathos to the role. Franco has a charisma that was evident from his beginnings as bad boy Daniel Desario on Freaks and Geeks, but more fully utilized here in what will most likely be an award-winning role. Every grimace of pain, tear of anquish, and cry of joy feels genuine. It's evident that Franco spent a lot of time getting in the right frame of mind by conversing with the real Ralston, as well as reaching within himself to bring out raw feelings.

You probably want to know about the amputation scene: I will let you know that the amputation scene is every bit excruciating as you might imagine. The special effects, brought to us by Tony Gardner at Alterian Studios, have been exhaustively rendered. It almost looks like one is watching a documentary on rudimentary surgery. Another reason why the scene is so harrowing is the addition of effective sound design that penetrates in such a way as to cause additional stress in the viewer. As if we weren't already on edge.

One final note: There's a bit of conflict between a key realization in the film and the theme of individual triumph. I believe one of the overall messages of the film is that it's ok to ask for help. However, it is solely by individual effort that Aron gets out of his terrifying situation. Perhaps Boyle was exorcising his own demons and owning up to past mistakes. Maybe asking for help before you get stuck in the canyon is the overarching theme. In that regard, the film may actually be about trusting in others whether it's making a movie, exploring canyons, or solving a family problem. That would reconcile the two, in my opinion.

127 Hours is certainly one of the best films of the year and more than worth your time in the theater to fully experience the sheer power and beauty. Go see it if you have the chance!

127 Hours Trailer

Roger Corman's The Intruder: The Culture of Fear Now vs. Then

The Intruder (aka Shame) (1962)
Directed by: Roger Corman
Written by: Charles Beaumont (from his novel)

After a few annoying mishaps with a scratched DVD, I was finally able to watch Roger Corman's excellent film The Intruder for the first time. Corman is obviously recognized for his important contributions to independent and especially super low budget filmmaking as a successful producer of over 300 films. He is also an accomplished director, helming 50 of his own films, including his gorgeous takes on Edgar Allen Poe classic tales like The Masque of Red Death and The Pit and the Pendulum. Lesser known is The Intruder, an intense social commentary on the turbulent fight for the equal treatment of black citizens. The backdrop of Corman's film is the struggle for integration in America's schools in the 60's. The Intruder has the unfortunate distinction of being the only Corman film to lose money, though it ranks as one of his best efforts. Shot in crisp black and white, it surpasses most films of a similar theme with its stunning cinematography and uncompromising take on the subject.

I was surprised by what an intense film experience The Intruder turned out to be. Even being a seasoned viewer of some very brutal films, I winced a few times at just how provocatively Corman's film displayed ignorance, racism, and senseless violence. This is no watered down, sappy ending Oscar hopeful by any means. It was clearly made to show the shocking and depressing reality of bigotry and racism in our country, as well as the violence seething underneath. The film is as timely as ever, and while we may have shifted our bigotry to accomodate the needs of the time, it is quite clear that the seeds of hate are easily planted and nurtured with heaping helpings of fear with a sly smile.

William Shatner shines as opportunistic racist Adam Cramer, newly arrived via bus to a small town in Missouri. A likeable fellow, he introduces himself to various folks as a "reformist". From the get go, he prods the townsfolk to gauge their feelings about integration, equal rights, and the black citizens in general. To his delight, he finds that most of the population harbor prejudice of some sort, and are strictly against the integration about to take place in their own town. Cramer, full of polish and confidence, quickly seduces the daughter of local press man Tom McDaniel (Frank Maxwell), as well as Vi, the wife of travelling salesman Sam Griffin. Cramer's charisma carries him to incite mob violence in a town torn between their own inherint racism and the law of the land. He positions himself in the ranks of those in power, and finds it very easy to manipulate the entire town to get what he wants. Once the wheels are set in motion, Cramer receives resistance from McDaniel who proves a constant thorn in Cramer's side. McDaniel is rewarded for his outspokeness with a terrible beating at the hands of some of the more mean-spirited good ole boys. Cramer employs the help of the KKK to push the town over into chaos, culminating in a near lynching of an innocent black student.

It's a crime that The Intruder isn't more recognized and respected in the film world. Corman put up his own money to make this serious and thoughtful political film only to have it relegated as an afterthought in his career. It's quite a potent piece of work and is certainly due for a revival, especially as our country is stirred into a frenzy by any number of nutjobs out preaching hate against immigrants, the gay community, or anyone else deemed "different" or "scary".

The Intruder Trailer

THE INTRUDER: Movie Trailer. Watch more top selected videos about: William Shatner, Jeanne Cooper

Nightjack: The Advantages of Multiple Personality Disorder in Fighting Off Assassins

Nightjack (2010)
Author: Tom Piccirilli
Publisher: Crossroad Press
Tom Piccirilli Official Site
188 pp

Review Author: Chris Hallock

Like the chameleon altering its paint job to deal with stress or to fool predators, humans are equipped with their own coping camouflage. Each of us is capable of adapting to most reasonable situations by simply adjusting our personality to suit the moment. It's a survival technique that allows us to shape ourselves in response to a variety of people and environments. But what if we had the ability to summon from within a completely disparate personality to deal with a seemingly insurmountable challenge or trauma? Say it was a challenge we’d normally be ill-equipped or even totally incapable of tackling. Yet, this deep-seeded personality, almost an alter-ego, somehow possessed all the skill to deal with it swiftly and effectively.

This is the concept explored by Tom Piccirilli (Shadow Season, The Night Class) in his latest novel Nightjack, a sort of film noir influenced crime thriller by way of some mind-bending Matt Ruff or Philip K. Dick notions of multiple personality, the effects of mind altering drugs, and how those factors might help or hinder you in battling would-be assassins. Piccirilli has crafted a page turner that satisfies those looking for a little cerebral workout with their violent action. At a very trim 188 pages, there is never a dull moment, but there is also enough depth to keep one intellectually engaged.

William Pacella is a patient at the Garden Falls Psychiatric Facility in New York. His memory is in tatters due to the unorthodox treatments and drugs he's received under the care of Dr. Maureen Brandt. He suffers from multiple personality disorder, ending up in the hospital on his own accord, though he has no recollection of admitting himself. He receives flashes of memory revealing that his wife, Jane, was killed in a fire, possibly murdered by a gang of thugs under the direction of crime boss Joe Ganucci. Now driven by revenge, further complications arise when Pacella discovers he houses numerous personalities, referred to on occasion as “alternatives”. The more volatile alternatives may be responsible for his recent violent outbursts in the hospital. His "split" is theorized to be caused by the extreme stress and grief of witnessing his wife's death. Everything is exacerbated by the alternative’s desire for autonomy and Pacella’s own personal vendetta.

The problem faced by our protagonist is that while he does harbor a number of useful split personalities, he doesn't have much control once one has been activated. In fact, the bulk of the narrative focuses more on Pace, one of Pacella's more dominant personalities. Pace’s role is akin to something like a custodian of Pacella’s body while Pacella himself has retreated somewhere within. Pacella regresses to an almost dream state of flashbacks and memories when a personality is called up, becoming disassociated and depersonalized while the alternative takes over. Pace, on the other hand, seems to act as caretaker, an “In-Between Man”, keeping the more dangerous ones at bay and generally keeping things from crashing. He somehow has the unique ability to communicate with the alternates, cooperating with the more amiable to piece together the puzzle. Unfortunately, when the full power of an alternative is unleashed, Pace/Pacella has little power to stop the machine in motion. They are often unaware a change has taken place until presented with evidence of the aftermath. In those moments of fugue, the personalities have a tendency to deal in sudden violence or worse. The biggest offender is Jack, also known as "Nightjack", a bloodthirsty and impetuous killer with a passion for knives. Keeping Jack under control has proven the most difficult task for Pace, and one getting increasingly more difficult.

With hesitation on the part of Dr. Brandt, we find Pacella about to be released from her care to live a "normal" life on the outside. The hospital has a home and job lined up for him at a nearby fish cannery. Boredom, loneliness, television, and strict prohibitions are his only forseeable future. That is until he and Dr. Brandt are taken by a group of former Garden Falls patients. They have plans for Pace, and hope he can shed light on harassment from Alexander Kaltzas, a vengeful shipping tycoon. Kaltzas believes the group is responsible for the brutal rape of his daughter Cassandra while she, too, was a patient at the hospital. The group look toward Pace as leader or father figure to guide them. They make it no secret that they wish to utilize Jack and a number of Pace's other personalities to survive the ordeal. Once a chain of events are set in motion, they travel together to Greece for a confrontation with the mysterious and deadly Kaltzas.

It would be impossible for me to spell out much more in a simple synopsis, and I don't want to give much more away than I have already. The story gets increasingly layered and complex as we are introduced to a myriad of characters, most of whom also have multiple personalities. There's the intelligent and ruthless Hayden; Pia, who uses her sexual allure like a spider trapping its prey; and Faust, the spiritual one with the angels Rimmen and Sariel balancing on his shoulders. Dr. Brandt may be harboring her own secret agenda. Then there is the cast of Pacella's personalities, including the psychotic Jack, Sam the resourceful private dick, and Irish boxer Jimmy Boyd, to name but a few. Fortunately, each character is quite distinct, and it never feels frustrating to keep up with them all.

I enjoyed Nightjack quite a bit. It’s a tightly wound, perfectly paced, and fascinating story that explores the effects of trauma and how it can be channeled into something constructive, destructive, or both. Piccirilli never lets things get confusing in terms of timelines. When he jumps from reality to memory flashbacks, it is very clear where we are in the moment. The same can be said for alternating between the personalities of each character. It would have been very easy to let the story get bogged down by these frequent changes, but Piccirilli allows us to adapt in our own way to the ever tightening evolution of the book. What at first appears as a straightforward narrative about sanity vs. insanity soon turns into a treatise on the power and fragility of the mind.

My Double Feature for this Weekend: The Intruder and Eating Raoul

I'll be spending a little time this weekend catching up with some cult favorites that have somehow eluded me in my life. I decided to make a double feature of it, which is always a great way to spend a weekend afternoon or evening. Luckily, my local library is well-stocked in a number of great classics, and I was easily able to locate DVD copies of both films.

First up is Roger Corman's critically acclaimed commentary on racism, 1962's The Intruder. Starring William Shatner, the film follows the expoits of racist "reformer" Adam Cramer as he attempts to thwart de-segretation in schools in a small southern town. I'm a huge fan of Corman's Poe adaptations, and it will be great to see what he does here with something that is completely opposite of those old horror classics.

The Intruder Trailer

THE INTRUDER: Movie Trailer. Watch more top selected videos about: Movie Trailers, The Intruder (1962 film)

Next Up: Riding the coattails of John Waters-inspired outrageous suburban/urban dark comedy is Paul Bartel's 1982 cult hit Eating Raoul. In this bizzare film, a couple discover a way to raise money to increase their social "status" by killing swingers in their apartment building. The film starts Bartel along with Mary Waronov (Night of the Comet, House of the Devil) as boring, but murderous couple Paul and Mary Bland.

Eating Raoul Trailer

New Jan Svankmajer Film Surviving Life (Theory and Practice)

Surviving Life (Theory and Practice) (2010)
Written and Directed by: Jan Svankmajer

I Just wanted to take a minute to express my excitement for a new Jan Svankmajer film. If I can pinpoint one filmmaker who has inspired me the most over the years, it would be the Czech animator and director. Svankmajer has been responsible for many superbly imaginative films that deftly combine live action with stop-motion animation, offering a surreal look at the oddities of life and the frailty of humanity. All of my cinematic heroes are getting older, and with very few taking their place, I'm more than appreciative to have another effort from Svankmajer even if he claims it'll be his last.

Anyone who hasn't had an opportunity to see wonderful works like Alice, Little Otik, Lunacy, or any number of amazing shorts should be sure to seek those out. Surviving Life (Theory and Practice) will no doubt follow suit as a dark comedy that explores dreams and human nature utilizing a striking mix of cut out animation and live action.

Here's a synopsis of the film from the Czech Film Center:

Eugene leads a double life – one real, the other in his dreams. In real life he has a wife called Milada; in his dreams he has a young girlfriend called Eugenia. Sensing that these dreams have some deeper meaning, he goes to see a psychoanalyst, Dr. Holubova, who interprets them for him. Gradually we learn that Eugene lost his parents at a tender age and was brought up in an orphanage. Apart from the lovely Eugenia and her little boy Peter, another figure appears regularly in his dreams – a filthy old woman who keeps warning him not to harm Eugenia. In another he is confronted by a man called Milan, who claims to be Eugenia’s husband and little Peter’s father, and tries to extort money from him. By now Eugenia is expecting Eugene’s child – to the dismay of Dr. Holubova, who believes Eugenia is in fact his anima. And getting your anima pregnant is worse than incest. Meanwhile Milada suspects Eugene is having an affair and starts following him. She confronts Holubova, assuming she is the other woman, and instead learns all about her husband’s double life. In another dream, Eugene accidentally causes Milan’s death during an argument. Milada spies on Eugene’s ritual in the studio, then copies it to gain access to his dream-world. Finding Eugenia, she tells her of Eugene’s bigamy. Both women are devastated. In his studio Eugene is amazed to find an old photograph of Eugenia with little Peter and Milan. He tracks down the photographer who used to work there, who sheds light on what really happened to his parents…

Surviving Life (Theory and Practice) Trailer