Welcome to the 9th annual Fantastic fest film festival here in Austin, TX. This is my daily recap which over the next week will primarily recap the film experiences I have as well as touch on the mental and physical status of the Festival going folk, myself included. My entertainment is guaranteed but please, pray for my well being. To the fest!
Day 3, some slight weariness begins to kick in, be it the result of a constant stream of movies fed into your brain, the discussions about said movies, or perhaps the beer intake. But, we sally onward, but you can’t help but feed on some of the excitement and throw yourself into things.
NIGHTBREED: THE CABAL CUT
Enthusiasm is all well and good but then you go and run into a brick wall of a movie like Nightbreed: The Cabal Cut. I have never seen Nightbreed, in any form. I am somewhat familiar with Clive Barker’s work, both written and cinematic, and while often interesting I would not consider myself a big fan. Nightbreed is a movie about a man Aaron Boone (Craig Sheffer) who is manipulated by his Doctor (David Cronenbery) into believing he is a serial killer. Recurring dreams about a city of ‘monsters’ lead him to a abandoned cemetery called Midian where he finds these outcasts hiding from society and joins them. What follows is the Doctor’s continued descent into insanity and mission to destroy these creatures haven as well as the initiation of a witchhunt from a nearby town to exterminate this ‘threat’ which they do not understand.
This ‘cut’ features 70% new material, the theatrical release being butchered beyond recognition by the studios. Two ‘workprint’ VHS tapes were found and using original storyboards cut together with the final movie to give a ‘complete version’. As such we switch from the final to workprint throughout the movie, it was described as ‘quality of a VHS porno that has been copied too many times’ and that is true, at times images were unrecognizable. I cannot compare the original and this cut but will say it was a slog to get through, ironically the film was severely in need of an edit to cut out some fat. It was fascinating to watch and see these workprint portions intercut, it poses a question over who got it right; Barker or the studio, I guess its down to personal taste. I think some movie makers can benefit from someone to reign them in at times whereas others have a vision and skill they need to be cut loose (see my notes on Jodorowsky’s Dune further down). Clive Barker is probably one of the former categories.
R100
I missed out on the premiere of Man of Tai Chi, no ticket allocated, so I ended up seeing R100. Chance is a fine thing, I missed a screening and Q&A with Director/star Keanu Reeves, but ended up seeing what will probably be my favorite film of the entire Festival. Any movie that opens with a man sipping a coffee in a cafe, while extolling the virtues of Beethoven’s ‘Ode to Joy’ to a female companion before she rises and delivers a swift roundhouse kick to his head is going to grab your attention.
R100 tells of a man, dealing with a comatose wife and raising his son alone. To satisfy his sexual needs, specifically a penchant for S&M, he joins a mysterious club where he will receive, over the course of a year, random masochistic encounters. When he doesn’t expect it, on the street, in a restaurant, at work. So essentially a kinky version of Kato from the Pink Panther movies then, ‘where will they spring from next’. There is one rule in this cub, ‘no cancellation under any circumstances’ which becomes an issue of serious concern as the encounters get more and more extreme.
If that description doesn’t intrigue you, then fuck it I don’t know what will. These encounters are interspersed throughout the character’s everyday life during which we see the monotony of his days, struggles to deal with his sick wife and bond with his young son. It is deftly handled, sweet and melancholic which only serves to enhance the severity and hilarity of his encounters with leather clad women. Aside from the opening it is a slight slow burn until a encounter in a sushi restaurant which lets you know the direction this film will take. There is a more critical turning point, something I shall only refer to as the ‘Flavor scene’ where the film moves up to another level and the ‘attacks’ upon their client take on a more dramatic and personal intent. The R100 of the title refers to the rating scheme in Japan for releases and there is a clever play on this within the movie as the crazy ratchets up and the film cuts to censors basically asking ‘WTF’ about what is unfolding onscreen. Iy only serves to underline the abstract and absurd nature of what happens in the second half of the film.
Hitoshi Matsumoto likely gave me the defining scene of this entire festival within a superbly bizarre and hilarious film. It has been picked up for distribution by Drafthouse pictures and this makes me wonderfully happy. I cannot extol the virtues of R100 enough. Watch. It.
JODOROWSKY’S DUNE:
After much ticket wrangling I got into what was one of my most anticipated films of the festival. If you know anything about film you will know the reverence to which this film, that doesn’t actually exist is given. Jodorowsky is a director, writer, actor, musician, simply a visionary who shook up the film making establishment in his native Chile before moving on to show his talent overseas. With El Topo and Holy Mountain he showed off a aggressive and visually stunning style of film making. Often clashing with studios and fighting against anyone seeking to constrain or control his work, he achieved success and appreciation from these films and was offered the chance to pursue a film project of his choosing. He chose Dune.
Dune, the novel by Frank Herbert, is not only one of the greatest works of science fiction it is also one of the greatest works of fiction in American history. It tells of a galactic Empire with feuding ‘houses vying for power. The key to power is control of the planet Arrakis (Dune) where a ‘spice’ called Melange is produced which is key to fueling intergalactic travel as well as higher states of consciousness. This setting allows for the exploration of aspects of politics, ecology, human nature and religion as themes. It is a sprawling epic that offers immense scope for adaptation even today let alone in 1967 when Jodorowsky chose to pursue it.
The story of this aborted attempt is pretty famous, but this documentary interviews the man himself as well as the majority of the talent he recruited at the time to be involved. Jodorowsky sought to recruit ‘spiritual warriors’, people who shared his vision and passion for the project. Amazing artists like Moebius (Jean Giraud) and H.R. Giger, Dan O’Bannon for special effects, Pink Floyd for some of the music and Salvador Dali, David Carradine, Orson Welles and others for the cast.
This man had a vision, a logic and a sense of destiny about his pursuit of these components for his dream project and the stories behind his recruitment alone is amazing to hear. He retells chance encounters, clever tricks to meet wage demands even exploiting the ‘appetite’ of Orson Welles to get him into the movie. He even cast his own son in the film as the lead and eventual messianic figure Paul Atreides, enrolling him in martial arts and spiritual lessons to prepare him for the role. His son is interviewed and comments on the impact upon his life. As Jodorowsky states “If I had to cut off my are for this film, I would cut off my arm”, his son was thrown into the mix with no reservations.
The artists generated a book and storyboard for the film, the resulting ‘book’ resembles a stack of phone books and there are only two left in existence. The documentary feature shots from within that work and animations of the storyboards that offer a insight into how these scenes would have played out. For these animatics alone the film is worth watching. It drives home what could have been. Jodo had a clear idea of what he wanted, giving specific artists and musicians to each house to define them, he charged Giger to define a race long before he created the visuals of the Alien films. Surprisingly, he and many others involved had never read the book before taking on the work however even after he made it his own. A man who charts his own path explains changes he made in the story to make the film more to his own ideals, charging it with a religious remit far beyond the original. He gave for me the quote of the entire film lineup when he said “I was raping Frank Herbert…but with love.”. Devotees may have recoiled at some of the changes he had in mind but he had his vision and as this documentary cements, that is what matters above all else even to the detriment of the production. Financing and likely fear in the studio executives of this man on a mission dissuading them from funding the film in spite of so much talent and pre-production work. It really is a insight into the artistc failings of the film studio system that are even more prevalent today than they were back then.
While the insight into the production and planning aspects of this film that never was are fascinating enough, what really compels here are the interviews with Jodorowsky himself. If you looked at his words alone, you would label the man as arrogant, but to hear him speak them, to see the passion in his eyes even after so long and the steely conviction in his tone he comes across as more of a humble visionary just trying to achieve a mission. At times he comes across as a hypnotic cult leader, recruiting and inspiring his followers his passion and determination being so evident. But you listen and feel in awe even now of what her aspired to, challenged people to do and wanted to give to people. His ultimate aim was to create a film at such a level as to inspire people and change the world. Indirectly he has done that with this powerful documentary, I left feeling so charged and inspired it was simply incredible. If someone asked me that age old question, ‘if you had a dinner party and could invite anyone from history who would it be?’ my first answer would now be, Jodorowsky.
While Jodorowsky’s Dune faltered, it’s ambition and vision ushered in a change in cinema. People working on the projects took on concepts and ideas to new projects and his resolve hardened them to attempt dreams of their own. The legacy of Jodorowsky’s Dune is felt by all of us who have watched a film in the last 30 years whether we know and appreciate this or not. This documentary highlights the ambitions, the efforts, the downfalls of the studio system and the legacy of a true visionary. Mesmerizing and energizing. A triumphant insight into both a fascinating subject and man.
FANTASTIC DEBATES!:
For the uninitiated, Fantastic Fest is not just a film festival, there are also are little things known as ‘events’. These range from Rap battles to massive themed parties to my personal favorite, The Debates. Two men enter the ring to argue for and against a question or topic, this year consisting of;
1. Is Sylvester Stallone the greatest action hero ever?
2. Is 28 Days Later a zombie movie? 3. Are good looking, well-adjusted people ruining nerd culture?
4. Tai Chi is a martial art relegated to elderly Chinese women and is inferior in every way to Tae Kwon Do.
At the conclusion of the debate, logical discourse is discarded and the men (or women) fight to decide who has truth on their side. A gym and boxing ring full of pumped beer infused fans picking their champion and it is hilarious. This years in particular hit spectacular highs.
Our emcee, local author and comedian Owen Egerton did a spectacular job hosting and commentating as per usual and all participants threw themselves into the arguments and fights with gusto. The Alamo Drafthouse’s own Greg MacLennan opened up procees=dings championing Stallone as the one true action hero, some video is linked below, click to view on instagram if you like.
Stallone Debate:
Stallone Fight:
All the fights this year were, to use a word, fantastic but the grand finale promised much. The illustrious Tim League, Alamo Drafthouse and Fantastic Fest founder, always bravely headlines the final debate. These debates were sponsored by the Man of Tai Chi and as such Tim decided to ‘call out’ the integrity of a martial art only performed by ‘little old ladies’.
Sportingly, star and director Keanu Reeves engaged in the actual debate however when it came time to fight he handed over responsibilities to the star of the film and Tai Chi expert, Tiger Chen. And who did Tim have in his corner, only Alex Winter. Yes, Bill and Ted in opposing corners, minds were blown. Tim was quick off the blocks and landed a few blows, sadly all this did was enlighten Mr Chen to this being a actual fight and Tim was down 3 seconds later. Thankfully he bounced back and went the full 2 rounds… footage below!
The crowd decided Tai Chi really is a martial art for little old ladies and League prevailed, victory and a bloodied nose being his reward. Every attendee I spoke to said it was one of the best debates ever and I won’t disagree. A great evening and a solid reminder of how fantastic Fantastic Fest is.
