Discover Top Posts Tagged with #transgressive cinema

You Killed Me First (1985) dir. Richard Kern

#You killed me first #Richard Kern #Lung Leg #transgressive cinema #sov #movies #movie stills #David Wojnarowicz

SUBLIME CINEMA #470 - FUNNY GAMES

Why Haneke would want to do a shot-by-shot remake in English of this movie except to make sure as many markets as possible could be horrified by this sadistic, tongue in cheek portrayal of pure evil, is beyond me. Or maybe that’s why. Still one of the most disturbing movies I’ve ever seen, no matter the version, as cheeky as it is.

Lung Leg in Richard Kern's Submit to Me Now.

#Lung Leg #Richard Kern #Submit To Me Now #Transgressive Cinema

IAC Reviews #001: Fine Housekeep (2015)

So I just finished Trevor Bather’s SOV film Fine Housekeep and I still have no idea what to make of it.

It’s a truly bizarre piece of low budget horror, clocking in at just under an hour and having an estimated budget of at least $100. So finding an oddity like this, both with the budget and its format in this day and age is always a treasure to come across.

Fine Housekeep (2015) in One Gif:

The premise of the film, as stated on the IMDb page, centers on a married couple who are daydreaming on a normal day.

Now, what they mean by “normal”, I have no idea. The daydream sequences don’t so much feel like such, but more like bizarre acid trips or fantasies. The sequences with the husband involve war, death, and religious obsession - including possibly sacrilegious moments involving a crucifix or where he believes he’s Jesus...maybe. The wife is more focused on, with hers involving glamorous Hollywood actresses, being pined over by a football player, and their subsequent affair. We also eventually follow him and his daydreams/fantasies as well down the line.

There’s no dialogue at any point, and the music adds to the surreal nature of the film - which soon feels like an unhinged fever dream. It ends up reminding me of other SOV horror movies with similar elements or sequences, like Andreas Schnaas’ Violent Shit and Ron Atkins’ Schizophreniac trilogy.

I’ve only ever seen one other review about the film, and the user says that with these traits (the lack of dialogue, the droning electronic soundtrack, and the shaky camera movements and edits) it could be considered Transgressive Cinema, which starts to make sense. However, much like the reviewer, I don’t know if this is a work of true genius that I can’t wrap my head around, or it’s awful with no real underlying message or symbolism at all - just being chaos for the sake of being, well, chaos. I want to say that there is something hidden within the intention of a lot of the scenes, but I’m not sure if I’m digging for gold in a dumpster and there genuinely is nothing to be had; and I’m just another critic blindly throwing symbolism at the screen until I see if something sticks.

Going into this, I wasn’t sure what to expect. I was close to turning it off to go see what else I could find in one of Youtube’s many lengthy SOV playlists - and now I’m kind of glad I stuck around to finish it. If you have an hour to kill and you enjoy weird, bizarre filmmaking, then take a look at it and judge for yourself. I’d like to think we can eventually start a discussion about this and what it all means.

Rating: ?/10

#fine housekeep #fine housekeep 2015 #trashmonger #trashmonger films #trashmonger video #film #horror #horror film #horror movies #horror review #2010s horror #2010's horror #transgressive cinema #sov #shot on video #shot on video horror #sov horror #iac reviews

War Is Menstrual Envy (1992) dir. Nick Zedd

#movies #movie stills #nick zedd #war is menstrual envy #transgressive cinema

Where Evil Dwells (1985)

#no wave #no wave new york #transgression #transgressive cinema #tommy turner #david wojnarowicz #lung leg #where evil dwells

Recently Viewed: Female Trouble

[The following review contains MINOR SPOILERS; YOU HAVE BEEN WARNED!]

Obscene. Perverse. Profane. Depraved. Grotesque.

These adjectives accurately describe nearly all of John Waters’ early work, but they’re especially applicable to Female Trouble, the filmmaker’s ultimate refutation of Sixties nostalgia—his definitive thesis statement on the grit and grime lurking beneath the era’s superficially wholesome, pristine, squeaky-clean façade. It is not, however, intended as a condemnation of "immoral" or "abnormal" behavior; on the contrary, the movie embraces the bizarre, revels in the raunchy, celebrates the sleazy and unconventional. Sure, every character—from the highbrow hustlers to the low-born louts—is some manner of criminal or ne’er-do-well; that’s only natural, considering the world that they inhabit is inherently corrupt, hypocritical, and unjust. This theme is reinforced by Divine’s gender-blending dual role, which features the drag performer portraying exaggerated caricatures of the most negative qualities commonly associated with both femininity (vanity, self-obsession) and masculinity (violence, chauvinism).

And yes, there is a scene in which the actor literally fucks himself.

Female Trouble is, in short, the epitome of counterculture cinema, quintessentially transgressive in its style and substance, comfortably residing in the vacant lot between the arthouse and the outhouse—a manure-drenched magnum opus, a treasure atop the trash heap, and a defiant middle finger to the delicate sensibilities of so-called “polite society” and the "ordinary people" that populate it. Avoid watching it if you’re a square; this one’s for the proud freaks!