Alan Clarke’s Elephant (1989) is a short film made for television and produced by Danny Boyle and BBC Northern Ireland. Set amid the Troubles in Northern Ireland, the short presents 18 matter-of-fact murders with a coldly observational approach, providing limited dialogue and utilizing the predatory look of steadicam follow shots. The film takes its title from Irish writer Bernard MacLaverty’s description of the Troubles as “the elephant in our living room,” and it served as an inspiration to Gus Van Sant’s Elephant (2003), a film that likewise attended to the broader social problems that underlie American school-shootings and gun violence.
Clarke’s short is overdetermined in its intentions, being full of intense men and purposeful walks, yet it is also disturbing empty. Despite its apparent single-mindedness, there are no explanations of the hows and whys of its killings and there are nearly no sounds of surprise or panic, yet there is always the banality of violence and death, a lifeless body in a drab room and a getaway that rarely strays from the same purposeful walk. For more on Elephant and the psychology it embodies (or withholds) in its particular cinematography, MMC! offers Jordan Schonig’s impressive and insightful video essay, The Follow Shot: A Tale of Two Elephants (2018). Schonig’s essay provides a concise exploration of what may be contemporary cinema’s most ubiquitous and conspicuous shot and perfectly unpacks the themes and tensions at work in Clarke and Van Sant’s respective films.
A MODERN SCREWBALL GIALLO
Family man Reed (Christopher Abbott) is going on a business trip but in lieu of a suitcase filled with clothes, he’s packed a toothbrush, a murder kit, and a plan to kill a prostitute so can rid himself of his homicidal impulses and continue to be a good husband and father. That call girl, an alluring but unusual woman named Jackie (Mia Wasikowska), is more than he bargained for and the balance of control over their fraught meeting begins to sway back and forth between the two. Before the night is over, a feverish nightmare unfolds, and Reed and Jackie seal their strange bond in blood.
Based on the critically acclaimed cult novel by Ryu Murakami (Audition), director Nicolas Pesce (The Eyes of My Mother) blends psychological horror with screwball comedy and sets it against an iconic giallo score, resulting in a sly take on the fantasy of escape and the hazards of modern romance.
Special Edition Contents:
- High Definition Blu-ray (1080p) presentation
- 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
- Optional English subtitles for the deaf and hard of hearing
- Feature-length audio commentary with writer/director Nicolas Pesce
- Making-of documentary
- Piercing Murakami: Japanese film scholar Tom Mes on the source novel
- Knowing the Score: Giallo music expert Jon Dobyns on the music of Piercing
- According to Plan: New interviews with actors Christopher Abbott, Mia Wasikowska, and Laia Costa
- Original theatrical trailer
- Reversible sleeve featuring two artwork choices
FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by critic Wendy Ide Continue reading
The Buried Alive Film Festival’s program for Saturday, November 17, is STACKED with three new feature films, one rep-pick, two supporting features, the Eyeslicer short film program, nine more short films in the “It’s Never Too Early to Start Digging Graves” block, and one burlesque show compliments of Blast Off Burlesque. Now that’s a full day of entertainment!
Overwhelmed with a bounty of goodness, MMC!‘s previews can only be more important, pointing the path from mere goodness and toward greatness. Here, dear readers, are five MMC!-approved reasons (that are actually nine reasons) to BAFF this Saturday:
Designed for the film lover in mind, SHOUT SELECT shines a light on films that deserve a spot on your shelf. From acknowledged classics to cult favorites to unheralded gems, SHOUT SELECT celebrates the best in filmmaking, giving these movies the love and attention they deserve.
YOU’RE LYLE FROM DALLAS, RIGHT?
Dead tired and flat broke after driving 1,200 miles, Michael Williams (Nicolas Cage) walks into a local tavern in the dusty town of Red Rock, Wyoming, and is immediately offered a job. There’s only one problem: the bar owner (J. T. Walsh) thinks Michael is a hitman and the “job” is murdering his wife (Lara Flynn Boyle). And just as Michael decides to take the money and skip town without killing anyone, the real hitman (Dennis Hopper) arrives ready to do the job right. Recalling Blood Simple and other classic thrillers of the ’80s and ’90s, Red Rock West is a stylish and cutthroat neonoir full of jealousy, murder, greed, and corruption and where your best friend is a loaded gun.
- NEW HD Film Transfer
- Audio Commentary With Director And Co-Writer John Dahl
- In Conversation: Nicolas Cage And John Dahl
- Lyle From Dallas: Remembering Dennis Hopper
- In Conversation: Dwight Yoakam On The Soundtrack
- Original Theatrical Trailer
- Image Gallery
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).
The Saskatoon Fantastic Film Festival went globe-trotting to start Day 2. The “Drawn from Around the World” block of animated shorts offered some enthralling works. Many conveyed a sad or lamenting poignancy. Keiro (Tatiana Jusewycz, Benoît Leloup, Franck Menigoz, Zoé Nérot, and Charlotte Poncin, 2016) traced a girl’s journey to adulthood and its effect on the giant creature that accompanies her, Beyond the Books (Jérôme Battistelli, Mathilde Cartigny, Nicolas Evain, Maéna Paillet, Robin Pelissier, and Judith Wahler, 2017) envisioned the highly detailed collapse of an impossibly immense library, the Spanish short Dead Horses (Marc Riba and Anna Solanas, 2016) revealed the brutality of war from a child’s perspective and amid fabric devastation, and the Indian film Schirkoa (Asian Shukla, 2017) imagined political strife in a world where citizens wear bags and boxes on their heads. Others brought the funny, like Daniel Sterlin-Altman’s Hi, It’s Your Mother (2017), about motherhood, blood loss, and middle class living told in crude claymation, and Deuspi (Megacomputer, 2017), a very short work about a pair of astonishingly inept stick-up men and their hilarious fates.