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My wife chose to watch Jessica Hausner's Hotel last night. A DVD that has one of the coolest images on it's cover: Anyway my missus ended up regretting choosing it as it scared her witless. The comparisons on the box to ere fellow countryman Michael Haneke are not unfounded, and neither are the comparisons to Lynch and Hitchcock, but Hausner has definitely got her own style and like her previous film that I've seen (Lovely Rita), there is a real sense of dread and isolation attached to the central character and her surroundings. And the languid pace definitely adds to the nightmarish aura that surrounds the strange goings on. In fact I think the best film to compare this to would be Nicolas Winding Refn's Fear X. It shares the same kind of intrigue and mystery and is exquisitely lit, making incredible use of shadows (a huge stylistic leap from the hand held digital video aesthetic of Lovely Rita). But it also has that unusual detached from reality feel that Lucille Hadzihalilovic's Innocence had too (another superb film). It's a wonderfully ambiguous film, punctuated with leering black humour and the myster; in fact, the who, whats and hows are never really revealed, it's really down to the viewer to put the pieces together and come up with their own mystery. An absolute gem of a film - highly, highly recommended.
__________________ My podcasts: http://www.midnight-video.com/ and http://c90sessions.blogspot.com/ Midnight Video 26: The Great Silence, My Favourite Year and Brain Damage |
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Ooh, that sounds right up my street. That Hotel Harabiti film I bought the other week sounds a similar kind of deal, not watched it yet though. Before I scrolled down, thought you meant Hotel, the Mike Figgis film - that's an odd one, all arty farty pretentious experimentalism (from what I can remember - had a very brief Figgis phase years ago when I got Timecode on dvd) . . .
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My Winnipeg Still great swathes of brilliance here, but it did lose some of its impact on this repeat watch. Think it’s the more heartfelt (or is that an act too?) moments that really work, like the rant at the demolition of his beloved Hockey stadium. Some of the campy fantasy bits had less of an impact this time around, carrying a vague feeling of smugness somehow. That said, a lot of it still works a treat – the Winnipeg law about having to invite sleepwalkers into your home, Ledge Man on tv, the frozen lake of horses – more than enough here enjoy. Obviously has a festive feel with the snow in every shot – I’m adding it to my list of unconventional Xmas films for this year…
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How's this for a double bill - Begotten and The Lavender Hill Mob. The first easily leapfrogs Eraserhead, Even Dwarfs Started Small and Singapore Sling as the weirdest film I've ever seen. It's like found camcorder footage from the Dark Ages, I thought I'd switch it off after 5 minutes but I was hypnotised to the end. Truly unbelievable. The LHM was an attempt to return to reality. Was a bit disappointed, nowhere near as good as Kind Hearts and Coronets, just seemed a bit meh, with no satirical edge. Maybe I'm missing the point but I like a little vinegar in my comedies.
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It's far from action packed, but it's got fantastic atmosphere. Really hope you enjoy it (it's only 70 mins long).
__________________ My podcasts: http://www.midnight-video.com/ and http://c90sessions.blogspot.com/ Midnight Video 26: The Great Silence, My Favourite Year and Brain Damage |
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You may not like Vamp so much, but I think it's pretty clear that its use of colour was influenced by Suspiria and it in turn was a big influence upon From Dusk Till Dawn. |
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Suspiria: 1977 Vamp! : 1986 From Dusk Till Dawn: 1996 They're possibly remotely connected (if you're looking for connections, that is), but that's it. Sorry if my last post sounded a bit rough - of course you're entitled to your opinion. Greetings! |
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