Showing posts with label Elina Löwensohn. Show all posts
Showing posts with label Elina Löwensohn. Show all posts

Wednesday, June 1, 2022

Kate Bush

After Blue (Dirty Paradise) (2021) - Mandico Screen Shot 2022-05-23 at 8.42.10 AM Screen Shot 2022-05-23 at 8.48.32 AM Screen Shot 2022-05-23 at 9.01.36 AM Screen Shot 2022-05-23 at 10.38.11 AM Screen Shot 2022-05-23 at 10.53.17 AM Screen Shot 2022-05-23 at 8.22.19 AM Named after a settlement somewhere in the universe after the (wo)mankind escaped our uninhabitable, post-apocalypse planet, Dirty Paradise is an extremely queer planet with oozing flora and fauna. All the men have died out and the new planet is only inhabited by female and proliferated only by insemination. Roxy (Paula Luna), a young blonde kid who relentlessly gets bullied by her peers because she is different, lives with her town's hairdresser mom Zora (Elina Löwensohn). Because of hormon imbalance the settlers of the new planet grows tufts of hair on their necks and this gives submissive Zora plenty of work.

Roxy accidentally digs up a notorious killer/agitator named Kate Bush(!!)(Agata Buzek) on the beach who grants her three wishes. This turns into the death of Roxy's tormentors and Kate Bush escaping, running up the hills. The town's elders orders Zora and Roxy out of the confines of their cozy settlement and hunt for Kate Bush. This sets up After Blue as a sloggy western, where the mother and daughter pair needs to survive in an unforgiving and weird environs while tracking down to kill Kate Bush. The psycho-erotic telepathy that Roxy and Kate Bush shares keeps the film going forward, providing the its slight tension in the film.

Bertrand Mandico, known for his dreamy, neon colored queer fantasy films (Prehistoric Cabaret, Wild Boys), treads lightly in After Blue, rather uncharacteristically. It's a coming of age tale with sexual awakening themed sci-fi. There is no discernable message or strong metaphor or anything. But Mandico still knows how to have fun. But it's a tad bit long to sustain any kind of momentum. After the initial kitchy retro vibe of the production design, glow-in-the-dark paints and glitter wear off, there is nothing much to do for the cast, other than looking like being stranded in a darkly lit muppet show episode. I wish Mandico went all out and created over-the-top camp touching upon our desire and curiosity and gender politics.

Friday, November 16, 2018

Tresor Island

Les garçons sauvages/Wild Boys (2017) - Mandico *reviewed at Rendez-vous with French Cinema 2018 in April. It plays at Anthology Film Archive starting 11/16 - 11/21
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Five handsome boys from an exclusive boarding school go a little too far with their sexual desire with their literature teacher, reaching a state called 'Tresór,' symbolized by a jewel-crusted skull. As a punishment, they are cast away by a greasy, bearded ship captain (Sam Louwick) with a gigantic tattooed penis. Chained and fed only a fruit that resembles hairy balls, the boys go through a harrowing sea voyage under the ruthless captain. The ship is headed toward a mysterious island where men turn into the fairer sex. The idea is, taking a short trip to the island might make these wild lusty boys a little more even tempered, a little less testosterone filled.

Bertrand Mandico makes a feature debut after many fantastical, colorful, playful shorts with the crazy beautiful The Wild Boys. He flips gender roles, having the roles of the boys played by female actors (Vimala Pons, Pauline Lorillard, Diane Rouxel, Anaël Snoek and Mathilde Warnier) in ties and suspenders with short hair. After they get to the seemingly wild and unkempt island full of weird vegetation that resembles secreting penises and hairy balls (their only means of sustenance), they meet Dr. Séverin(e) (Mandico's muse Elina Löwensohn), a zoologist who became a woman after he landed on the island. One of the boys, Hubert (Rouxel) gets left behind with Séverine and the rest go back to the ship due to the captain's urging. But soon the boys revolt against the captain because they want to go back to the weirdly seductive island. The boat capsizes in the storm, and the boys end back up on the island.

A gaudy, sensual, daring and inventive take on both Goto: Island of Love by Polish master Animator/filmmaker Walerian Borowczyk and Lord of the Flies, The Wild Boys is a lot of fun. It plays out like a prettier, sexier Guy Maddin film. And its pan-sexual theme is not without a dash of humor. The beach fight/orgy scene complete with flying feathers and sand alone is worth the price of admission.

Monday, May 28, 2018

Unapologetic Visual Feast

Let the Corpses Tan/Laissez bronzer les cadavres (2017) - Cattet, Forzani
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As usual, Belgian visual stylists duo, Hélèn Cattet and Bruno Forzani, creates unapologetic visual feast. Good to see Elina Löwensohn becoming a European arthouse queen in recent years as she plays an aging matron of a group of criminals hiding in some sunny Island here. It seems she has been wielding some cult like sexual power over these men and a writer (Marc Barbé), as she struts around with very little clothing. Things get a little crazy after the gang's gold heist and unexpected visit from the writer's wife, kid and a pretty nanny.

But really, story has little importance here. It's all to do with ultra stylized assault on the senses. Sex and violence mingles. Rapid editing, colors, shadows, sound design... Cattet and Forzani know what they are doing. Their craft pushes its giallo trappings on to another level, elevating it to an art form.