Showing posts with label France. Show all posts
Showing posts with label France. Show all posts

Thursday, October 29, 2009

Fantastic Planet Sydney Science Fiction and Fantasy Film Festival, Diary #1

Last Saturday was a good day for sci fi. We kicked off the day with Moon (Duncan Jones, 2009), which I’ve been meaning to see for the last few weeks. I’ll put off writing a review for that one, since this post is about the first – of, we hope, many to come – Fantastic Planet Sydney Science Fiction and Fantasy Film Festival. Organised by the masterminds of A Night of Horror Film Festival, Dean Bertram (PhD) and Lisa Mitchell, Fantastic Planet promises a wide range of sf&f features and shorts, forums and parties. What a great occasion for yet another Macabresque diary!


We found out about the pre-festival event before we went in to see Moon. Upon learning it was taking place in the inimitable Mu Meson Archives, we decided to go and immerse ourselves in more indie sci-fi goodness. The night’s program included screenings of La Crème (Reynald Bertrand, 2007) and 1 and 0 nly (Martyn Park, 2008) as well as a Q&A with director Martyn Park and producer/star Christopher Baker.


The French film La Crème is a fantasy/comedy about an unemployed salesman, François Mangin, who receives a mysterious jar of facial cream, which seems to have magical qualities, as a Christmas present. Whenever he uses the cream, people seem to think that he is a celebrity and he starts to use this as an advantage. There are side effects of course, like being accused of rape during sex when the effect of the cream wears off, and the danger of losing his wife because of the attention he gets from women.


An obvious satire on the celebrity culture, this indie French film had the feel of a rather light-hearted early Godard film. The performances of the actors were quite successful, especially those of Nicolas Abraham and Laurent Legeay, who had a nice chemistry as two rival, unemployed, almost nihilistic characters. I believe La Crème would work better as a short film, as it seems like the point is to make a commentary about the superficiality of celebrity culture, rather than telling a story. It was enjoyable enough, but you won’t miss anything if you don’t see it. That being said, we haven’t actually been able to see the end of the film because the dvd jammed, but Dean Bertram and Jack Sargeant (writer of many wonderful books such as Deathtripping and Naked Lens) mimed and narrated the last two minutes of the film for us, which I think, was better than the whole film.











The second film was the much more interesting Australian indie feature 1 and 0 nly by Martyn Park. It is one of the smallest feature films I have seen, with a crew of four – the director, the actor, the composer and the production designer (and a bird named Sir William Wallace). It tells the story of genius scientist and environmentalist Frank James Morley, who develops a way to eradicate all humanity off the face of the earth (by targeting their DNA codes only), deciding that human beings are no longer a part of the biodiversity of earth. As the 1 and 0 in the title suggests, there is a cyberpunk aspect to it as well – man converging with the machine, the rise of the digital flesh!




I must admit I was kind of annoyed and irritated by this, kind of ‘artsy’ sci fi film at first, mostly because of the constant banging of the electronic beats of the soundtrack in my eardrums, and there being no dialogues, or monologues for that matter. Sometimes there is a very thin line between a quiet, contemplative film and pretentious wankiness, and I think this film zigzags on that line. The influence of such genre films as 2001 and Solaris are obvious, but it’s not in the same caliber as they. Still, I enjoyed watching it, and I wasn’t bored despite the elements I just mentioned. The film managed to draw me in

itself in the end.


During the Q & A, the director Martyn Park talked about how he wanted the audience to think about what’s going on with the world and the environment, as it is something not everybody takes as seriously as they should. He also talked about other influences, such as Ghost in the Shell and other animes. Christopher Baker said they were making two different films in 1 and 0 nly – Christopher and the production designer Ray Rotton thought they were making a sci fi film whereas Martyn Park thought

he was making a more psychological film with the implication that Frank James Morley could actually be crazy, rather than a genius scientist and could be imagining that he killed the entire human race. I think I like the latter version better.

The Fantastic Planet is starting tonight at Dendy Newtown. You can find all the information you need at http://www.fantasticplanetfilmfestival.com/ The macabresque diary will continue!



Sunday, April 5, 2009

A Night of Horror International Film Festival Diary, Entry # 3

I know I have been quite lazy about writing this entry, but I haven’t had any time until now to continue sharing my ramblings with my ‘devoted readers’ (Yes, they exist!)

As I had stated in my previous entry, the second event I attended on march 29th, Sunday was the horror themed party held at the “notorious” Club 77 of King’s Cross. The programme informed me that the party would be the world premiere of the French film Burn Paris Burn, and it would also feature some short films and horror themed music videos, as well as “live Surgical Side-show”. This, the programme said, would be a party to end all parties!

Now this all sounds very exciting, but frankly, the party turned out to be not quite what I expected it to be. A world premiere! At a “notorious” club! In King’s Cross! And a surgical side-show!? Horror themed music videos! A party to end all parties!!! I may be a bit over-imaginative but I had an image of a night club, which wasn’t much different from the one in the opening scene of Blade, with countless Goths dancing under flashing lights to some techno-industrial music. I was even hoping we would be sprayed with blood! (No, not really)

Instead, I went into a sparsely populated underground club, showing some trippy short films on the screen, which was otherwise really quiet. Not that I didn’t like the atmosphere in there, but it was hardly as apocalyptic as the programme promised it to be. In fact, it was hardly a party – just a bunch of really enthusiastic horror fans gathered to watch obscure stuff that they probably won’t have a chance to see again.

Here’s the party’s programme:

Short films:
Anyone There? - 10 Min Holger Frick (Germany)
Kagimiko - 13 Min Mathieu Arsenault (Canada)
The Flies - 5 Min Josh Collier (UK)
Stygian Horizon - 5 Min Evan Chan (Canada)

With horror themed music videos:
More Control - 6 Min Steve Daniels (USA)
The Beauty - 4 Min Luca Vecchi (Italy)
Hunt - 2 Min Yohei Ito (Japan)
Francois Martin By The Tenth Stage - 4 Min John Von Ahlen (AU)
The Man Who Made Monsters - 6 Min Onethirtyeight (UK)
Haunted By The Thought Of You - 6 Min Terran Schackor (USA)
Karaoke Show - 5 Min Karl Tebbe (Germany)
Crystal - 4 Min Jason Lapeyre (Canada)

Of the short films, Anyone There? and The Flies were my favourites. Anyone There? is a slasher with a twist ending – watch the teaser trailer here. The Flies is a black and white surrealist piece that draws its texture from the stuff nightmares are made, and wasn’t unlike something David Lynch would make. To watch the film, click here.

One of the best music videos shown at the party was The Heist and The Accomplice’s More Control directed by Steve Daniels. The video opened with a quote from Kenneth Anger: “Cinema is an evil force. Its point is to exert control over people and events” and continued with five minutes of the band playing in an old cinema theatre and being attacked by the said evil force. I quite liked the retro feel of the video, which fit the indie style of the band nicely. Watch the video here.

Oh, I almost forgot! In between the short films and videos, there was another trivia quiz, and this time I won a DVD (The Descent by Neil Marshall) by answering the question “Who was Videodrome written and directed by?” Thanks A Night of Horror!

After the music videos, it was time for the Surgical Side-show. Well, no, it wasn’t a carnivale act featuring live surgery, but it was a performance piece by two mascots wearing skull masks, and a woman dressed alternatively as a receptionist and a policewoman. And it was quite enjoyable, in fact, surprisingly much more so than live surgery! Find out more about the Surgical Side-show here.

The final treat of the night was the bizarre French film Burn Paris Burn, with its world premiere (this almost made me look around for a red carpet inside the club). Check the trailer here.

In an attempt to define Burn Paris Burn, I will call it a surrealist-goth-fantasy rock video meets Japanese giant monster film. Romarik de Malkhange (co-director Laurent Sebelin) is a student who is into computer games, collectible toys, and rock music. One day, he meets Venus Flytrap (Elodie Briet), who happens to be a young witch. Venus takes a peek into Romarik’s mind, and sees his alter ego, with raven black hair, goth make-up, and a constant joker smile on his face, shows great potential as a rock star who can take over the world with his music, which he makes with a bone flute. So she casts a spell on the album Romarik records with his band Satan System, and a series of events that lead to the destruction of the entire city of Paris transpire. Visually, the film was no different from a music video, and it wasn’t going for a realistic imagery, either. It was highly entertaining, and Club 77 was definitely the right place to see it with its Goth club feel.

The night was still young for vampires and other children of the night, but I was quite tired after the “party”, so I headed home.

Next on the diary: The Dead Outside!

Sunday, March 15, 2009

Le Sang D’un Poéte (Blood of a Poet) – Jean Cocteau (1930)

A surrealist movie from the French poet Jean Cocteau. It starts with a painter getting shocked to see one of his paintings start talking. When he erases the mouth in the painting with his hand, the mouth passes onto his hand and start talking from there. The movie continues with fifty more minutes of strange, meaningless (not in a bad sense) images from the subconscious. André Breton, in his “Manifesto of Surrealism” emphasizes the importance of subconscious in art and describes surrealism as: “I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality.” So applies Cocteau this notion in his film successfully. (Surrealism dwells in images rather than words.) Very much in the vein of An Andalusian Dog by Luis Buñuel (co-written by Dali) this movie is full of that excitement, enthusiasm and the spirit of experimentation that you can only gather from the early examples of cinema. Some people might find it incomprehensible, but there is really nothing to understand. Just watch it and get high.

From Sonic Splendour #4