FIRST FLOOR: WOMEN’S FASHION, ACCESSORIES, TERROR
Writer-director Peter Strickland’s latest effort is his most demented vision to date, a bizarrely terrifying combination of Suspiria and Phantom Thread that is awash in blood (and other bodily fluids). Set in the world of 1970s fashion, In Fabric is a psychosexual phantasmagoria initiated by a murderous dress that is sold by an unusual department store and the hypnotic coven that runs it. Recently divorced bank clerk Sheila is the garment’s first victim, completely unaware that her purchase at Dentley & Soper’s will unleash the frock’s curse and set in motion an absurdly brutal chain of fashion related brutality.
With In Fabric, Peter Strickland blends Italian supernatural horror and Europudding erotica with corporate micromanagement and baroque customer service-speak, producing an incisive parody of consumer culture that still manages to feel legitimately unsettling and truly terrifying. In Fabric is a must sees for surreal fashion addicts and kinky horror fans alike!
Special Edition Comments:
FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by horror film journalist Mark Kermode and excerpts from the Dentley & Soper store catalogue
The Criterion Collection, a continuing series of important classic and contemporary films presents Shura.
Experimental filmmaker and critic Toshio Matsumoto followed up his queer opus, Funeral Parade of Roses, with a “mere” samurai film, yet underneath its seemingly traditional surface lurks just as many subversions. In Shura, a samurai poised to join the famous 47 ronin and avenge the death of his master becomes distracted from his duties by his love for a lowly geisha, who in turn betrays him. Driven mad by his desire for vengeance, the samurai embarks on a bloody path of revenge marked by riveting intensity, a nightmarishly black aesthetic, and an uncertain blurring of fantasy and reality. A Borgesian satire in the guise of samurai horror, this nocturnal masterpiece is one of the darkest films of its era, both visually and politically.
- New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
- New interview with critic, filmmaker, and festival programmer Tony Rayns
- Security Treaty, a 1959 short film by Toshio Matsumoto
- For My Crushed Right Eye, a 1969 installation piece by Matsumoto
- PLUS: A booklet featuring essays on the film by Matsumoto and Nagisa Oshima, director’s notes, and an essay by Japanese film scholar Hirofumi Sakamoto
A STYLISH AND DEMONIC DEBUT
On a dark and stormy night in an unnamed German city, a young taxi driver named Luz (Luana Velis) arrives at a police station in a state of shock. Meanwhile, at a nearby bar, the mysterious psychiatrist Dr. Rossini (Jan Bluthardt) is approached by Nora (Julia Riedler), a woman with a disconcerting manner and an unexpected connection to Luz. They strike up a conversation over drinks and before it’s too late, Rossini falls into the thrall of a malevolent force intent on finding Luz. When Dr. Rossini arrives at the station to hypnotize Luz and assist in taking her statement, a claustrophobic journey into anxiety-inducing horror reaches a terrible crossroads.
Shot on 16mm with impeccable visuals, Tilman Singer’s audacious art school thesis project is an unexpected horror revelation. An experimental shocker with an irresistible retro vibe, this first feature fluidly assembles elements from the horror and art house cinema of the 1970s and ’80s, deftly deconstructing the demonic possession narrative and turning a simple police station into an intersection for the occult.
Special Edition Contents:
- High Definition Blu-ray (1080p) presentation
- 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
- Newly translated English subtitles
- Optional English subtitles for the deaf and hard of hearing
- Feature-length audio commentary with writer/director Tilman Singer
- Under the Influence, new interviews with actors Luana Velis, Jan Bluthardt, Julia Reidler, Nora Vanderkurt, and Johannes Benecke
- New interviews with Singer, director of photography Paul Faltz, production designer Dario Mendez Acosta, composer Simon Waskow, and sound designers Jonas Lux, Henning Hein, and Steffen Pfauth
- Original theatrical trailer
- Reversible sleeve featuring two artwork choices
FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by horror film journalist Heather Wixson
The Criterion Collection, a continuing series of important classic and contemporary films presents Knife + Heart.
In the neon glow of 1979 Paris, Anne (Vanessa Paradis) makes her living producing low-budget gay pornography and struggles with the heartbreaking rejection of her longtime lover and current film editor Loïs (Kate Moran). She aims to inspire Loïs back into loving her with increasingly ambitious productions, even using the murders of her actors by a leather clad killer as inspiration, but as the killings continue and her troupe becomes increasingly cautious, Anne assumes the role of amateur sleuth investigating the secret of the mysterious figure that stalks her company. Deftly blending Parisian porn silliness and Italian slasher conventions with a pulsing score by electronic music group M83 and a perfect period production design, Knife + Heart is an affectionately queer tribute to cinema’s body genres and to love in its many forms.
- 4K digital master, approved by director Yann Gonzalez and director of photography Simon Beaufils, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
- Two audio commentaries, one featuring Gonzalez and actors Vanessa Paradis, Kate Moran, and Nicolas Maury, and the other featuring Gonzalez, Beaufils, co-writer Cristiano Mangione, and production designer Sidney Dubois
- New interview on the film’s soundtrack with Yann Gonzalez and his brother Anthony Gonzalez
- New interview with historical advisor Hervé Joseph Lebrun on the 1970s Parisian porn scene
- Mondo Homo: A Study of Gay French Porn in the ’70s, Lebrun’s 2009 feature-length documentary
- New English subtitle translation
- PLUS: An essay by Anthony Nocera
The Saskatoon Fantastic Film Festival’s second day was unusually specific in its program, devoting itself to short films that explored “innocence being encroached upon by outside forces” and a pair of horror-thriller features set around the sex industry. It was an impressive night of screenings, but also one that certainly made demands of its audience.
The “Paradise Lost” block of shorts was long on atmosphere and scares but slim on explication. Most films chose to grab their shocks and get out rather than flesh out their worlds. Faye Jackson’s The Old Woman Who Hid Her Fear Under the Stairs (2018) recalled Bobby Miller’s The Master Cleanse (part of SFFF’s program from 2016 and now titled simply The Cleanse). The short considers the situation of its title character who extracts her sense of anxiety out of herself, hides it in a tin, and faces down some dark, ominous threat that stalks her outside her home. Jackson’s film is wonderfully constructed, full of humour and dreadful tension, and its quality therefore demands more of itself, needing to unpack its conflict and its resolution before letting its credits roll. And the same could be said of other shorts in the block. Milk (Santiago Menghini, 2018) is a chilling tale of a boy trapped between two unsettling maternal figures and choses aesthetics over explanation. Wild (Morgana McKenzie, 2018) is a pastoral fantasy about a girl’s encounter with a magical, deadly, and ultimately unresolved female figure in her uncle’s cornfield. Saturn Through the Telescope (Dídac Gimeno, 2018) follows a boy’s efforts to watch a scary movie at home and is a slickly made and energetic short, while Make a Stand (Camille Aigloz, Lucy Vallin, Michiru Baudet, Simon Anding Malandin, Diane Tran Duc, and Margo Roguelaure, 2017) is a gorgeously animated film set in pre-Columbian Mexico and that seems to tease a supernatural spectacle that never arrives. Uncertainty is a great tool of the macabre, but it’s best used as a lacuna where meaningful questions spring forth. These shorts are uniformly affective and expertly fashioned, sure to be enjoyed by viewers. My only wish is that these films more fully met their narrative challenges as well as the aesthetic ones.
Ali Khamraev’s sleek, stylish film, a modernist political melodrama that earned prizes abroad but official disapproval at home, interconnects the stories of three women struggling with traditional social constraints in post-World War II Uzbekistan. One is an illiterate but very determined young woman committed to building a house even though local custom does not permit it without the approval of her absent husband. Another is a school teacher seeking to bring progressive ideas to a village long subjugated by strict old-fashioned practices. The last is an elderly woman who was kidnapped by a poor peasant in her youth and forced into marriage. A dreamy and impressionistic remembrance set in a hardscrabble world, Khamraev’s Triptych is an underseen achievement in international art house cinema.