Mar 10, 2014
Posted by Soiled Sinema at 10:18 PM
Mar 9, 2014
Posted by Soiled Sinema at 9:36 PM
Mar 8, 2014
Posted by Soiled Sinema at 10:10 PM
Mar 6, 2014
For whatever reason, Belgium—the country responsible for the infamous scat-covered apocalyptic arthouse flick Vase de Noces (1974) aka Wedding Trough aka The Pig Fucking Movie and underrated aberrant-garde filmmakers like Roland Lethem (La Fée sanguinaire aka The Bloodthirsty Fairy, The Red Cunt aka Le sexe enrage) is king when it comes to the most warped European arthouse flicks, yet very few of these works get seen anywhere outside of Europe, with a work like the Flemish production Ex Drummer (2007) directed by Koen Mortier being a rather rare exception. Of course, decidedly demented Belgian horror flicks like Johan Vandewoestijne’s Lucker the Necrophagous (1986) are not exactly cherished among American horror fans either. Luckily one Belgium horror flick that certainly deserves praise for its artful perversity, Calvaire (2004) aka The Ordeal directed by Fabrice Du Welz (Vinyan, Cold 45), actually managed to rise out of the ghetto that is the European independent horror underground and become a cult hit of sorts that people either seem to love or love to hate. Technically a Belgian-French-Luxembourgian co-production, Calvaire is not only artsploitation cinema at its most atmospheric and ethereal, but—whether intentional or not on the director’s part—an aberrant allegory for the racial and cultural senility of Belgium and the death of the west in general. Described by many of its detractors as a ‘derivative’ work (what film isn’t?), director Du Welz has referenced films ranging from Alfred Hitchcock’s Psycho (1960) André Delvaux’s Un soir, un train (1968) aka One Night… A Train, thus demonstrating the filmmaker’s curious combination of Hollywood horror and European arthouse influences. A sort of curious combination of Claude Chabrol, Harry Kümel, Tobe Hooper’s The Texas Chain Saw Massacre (1974), pre-junky Harmony Korine, and a little bit of The Pig Fucking Movie thrown in for good measure, Calvaire is a uniquely unsettling and semi-surreal tale of a young traveling entertainer who makes the timeless mistake of heading down south and ultimately becoming the involuntary quasi-tranny sex object of a bitter and equally demented old innkeeper who seems to be pretty lenient when it comes to finding someone to replace his wife. The story of a seemingly arrogant hack singer who somehow manages to have everyone he comes into contact with—be they male or female and/or young or old—fall in love with him, Calvaire is ultimately one of the most bizarre tales about a Christ-like figure, especially since said character is sodomized by a pig-porking redneck.
Posted by Soiled Sinema at 10:26 PM
Mar 5, 2014
Posted by Soiled Sinema at 8:17 PM
Mar 4, 2014
cramped home, Hermann convinces Vera to let him move in and on the same night she reveals that she has been impregnated by another man, and since she is 33 and is afraid she might not ever again get the chance to have kids due to her age, she decides to keep the kid. Taking an underpaying job as a delivery driver, Hermann ironically ends up working with his enemy Larry Chalupa again, but they both agree that when it comes to working that an “Aryan calm is called for” and that there should be “no Jewish hassle.” When Vera jokes about getting a divorce despite the fact she is not married, Hermann states, “let’s first get married and then divorced.” Indeed, Hermann and Vera end up getting married despite the fact that bride is pregnant with the child of another man. Since they do not have enough witnesses for the marriage (neither Hermann’s father nor brother bother to attend the wedding), Hermann pays an unwitting Canadian who does not speak German a couple bucks to act as witness at the wedding, which takes place at a sterile court house. In the end, Hermann’s female boss Frau Gretl (Johanna Froidl) congratulates the newlyweds after the wedding with a bouquet of flowers, but she ultimately fills the lovers with a bit of unease after discussing her own failed marriage. Vera tells Hermann’s boss that when it comes to money that, “We’ll manage, somehow,” to which Gretl soundly replies, “Well, you must. If only for the child’s sake.” In the final scene, Hermann stands outside all by his lonesome while surrounded my beers. Undoubtedly, the viewer gets a foreboding feeling while thinking about Hermann and his wife’s future.
Posted by Soiled Sinema at 8:45 PM
Mar 3, 2014
Posted by Soiled Sinema at 9:50 PM