HORRIBLE MUTATION IN ONE EASY-TO-TAKE SUPPLEMENT!
In the Melbourne suburb of Homesville, the residents of the Pebbles Court cul-de-sac enjoy their middle-class comforts unaware that they participate in experimental testing of a “dietary supplement” called Vimuville. Suspicions are raised by a mysterious man who crashes his car into their small community but no one sees the unearthly tentacles that erupt from the man’s gaping neck wound and force their way down his throat. Soon after, the folks in Pebbles Court quickly find themselves deforming, mutating, and exploding in hilariously frightening ways that involve living mucous, rib removals, killer placentas, giant tongues, exploding erections, collapsing craniums, cannibalism, and BODY MELT!
Co-written and directed by Philip Brophy of the experimental rock group → ↑ → and featuring the gory special effects magic of Braindead‘s Bob McCarron, Body Melt is a splatstick classic in the spirit of early Peter Jackson, hailed by Quentin Tarantino as “the best movie of its kind since Re-Animator” and “the best Australian film of the ’90s.”
SPECIAL EDITION CONTENTS:
- 2K Remastered High Definition Blu-ray (1080p) presentation
- DTS-HD Master Audio 5.1
- Audio commentary with writer-director Philip Brophy, writer-producer Rod Bishop, and producer Daniel Scharf
- Audio commentary with Brophy discussing his score for the film
- Making Bodies Melt, the making of Body Melt
- Salt, Saliva, Sperm and Sweat, Brophy’s 1988 experimental short film
- Behind-the-scenes featurette
- Complete storyboards
- Stills gallery
- Original trailer
- FIRST PRESSING ONLY: Collector’s booklet featuring new writing on the film by Australian film critic Adrian Martin and Philip Brophy’s 2004 article on the film’s making
The Criterion Collection, a continuing series of important classic and contemporary films presents The Temple of Wild Geese.
Ayako Wakao stars as Satoko, mistress to an accomplished artist who passes her along on his death to the lascivious head priest of a prominent Buddhist temple famous for its paintings of wild geese. She is drawn to a melancholy young disciple who also resides at the temple in similar dependence to the priest and who is treated cruelly for his efforts. Fascinated by the pitiable young man and aware of their similarly impoverished upbringings, Satoko seeks him out, slowly drawing him closer to her and unwittingly placing further strain on his tortured soul. Yuzo Kawashima’s film, exquisitely shot by cinematographer Hiroshi Murai, is a sharply observed exploration of moral weakness and a darkly ironic adaptation of Tsutomu Minakami’s 1961 semi-autobiographical novel.
- New 4K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
- New interview with critic, filmmaker, and festival programmer Tony Rayns
- New program with Eric Nyari on the film and its restoration
- New English subtitle translation
- PLUS: An essay by film scholar Irene González-López and Tsutomu Minakami’s original story
The Saskatoon Fantastic Film Festival’s final day was even more massive than expected. With a packed program and an extra short film (moved from the previous day due to a technical issue), there was little downtime between screenings and the Festival’s final midnight show started late and wrapped well past 2:30 a.m. Those that saw the marathon day of screenings to its bleary end enjoyed without question the SFFF’s best block of films (plus some welcome giveaways for lucky attendees).
Even before I arrived in Saskatoon, I felt like Fantastic Film Festival-action was meeting me like a herald of things to come. It had something to do with the man waiting at my flight’s gate conspicuously wearing a black eyepatch that threatened spy movie villainy. It also had something to do with the man behind me in security and his laptop that tested positive for “explosive residue.” Fortunately for me, action-thrillers weren’t slated until Day 2 of the Saskatoon Fantastic Film Festival and my flight proceeded without complication, bringing me to Day 1 of SFFF and a block of films featuring some disturbed title characters.
The packaged summary for Kevin Kopacka’s HADES (2015) reads:
A woman is caught in an endless cycle of dreams where she has to cross the 5 rivers of Hades, each representing different stages of her relationship.
The short film, based on the short story “Statusbezogen” by H.K. DeWitt, shows a young woman (Anna Heidegger) navigating in space the emotional trauma of a troubled relationship. HADES is heavily symbolic, abstractly experimental, and colourfully metatextual, feeling like Maya Deren while looking like Dario Argento. MMC! loves its dream cinema and Kopacka provides an entry worthy to cap another spooky October.
Rein Raamat’s Hell (1983) adapts the engravings of Estonian graphic artist Eduard Wiiralt into a surreal, grotesque, and heavily sexual animated short. Wiiralt’s three source works, “The Preacher,” “Cabaret,” and “Hell,” date back to the early 1930s and portray a cacophony of bacchanalia, hysteria, and violence in the final years of Estonian independence amid the unrest of the Great Depression and European instability. Raamat’s Hell (Põrgu) was created in the comparably uncertain time of Soviet dismantling and collapse. The short is unsettling in its physical fluidity, like an Eastern European, art film prediction of the climax to Brian Yuzna’s Society (1989).