6/27/15 (Part One): The Unreality of Modern Life

Tags

absurdist, Adaptation, Alain Chabat, art films, auteur theory, Élodie Bouchez, breaking the fourth wall, Charlie Kaufman, cinema, confusing films, dark comedies, dream-like, electronic score, Eric Wareheim, experimental film, Film auteurs, film reviews, films, hogs, Hollywood producer, Hollywood satire, husband-wife relationship, insanity, John Gallagher Jr., John Glover, John Heder, Jonathan Lambert, kooky psychiatrist, Kyla Kenedy, life imitating art, Lola Delon, loss of identity, Matt Battaglia, meta-films, Movies, Mr. Oizo, Patrick Bristow, producer-director relationships, Quentin Dupieux, Reality, Rubber, surrealism, Susan Diol, Synecdoche New York, Thomas Bangalter, videotapes, writer-director-cinematographer-editor, Wrong, Wrong Cops

Many filmmakers merely flirt with the weird and “out there,” toeing a carefully demarcated line in the sand between material that genuinely challenges viewers and material that upholds our own, personal status quos. These films may seem impossibly strange, from the outside, but cracking them open, as it were, tends to reveal their decidedly mundane inner workings. Gussying up a traditional narrative with stylistic tics and quirks, complex timelines and pseudo-philosophical meanderings doesn’t make it genuinely challenging any more than slapping a suit on a dog makes it the chairman of the board.

Standing on the fringes of these “politely difficult” films, however, are another batch of filmmakers: the agitators, the genuinely strange and the patently difficult. These are the filmmakers, artists like Charlie Kaufman, Yorgos Lanthimos, György Pálfi, Guy Maddin and Gaspar Noé, who possess singular visions that sit so far outside the mainstream as to seem almost alien. From films like Adaptation (2002) and Synedoche, New York (2008) to movies like Taxidermia (2006), Enter the Void (2009), Dogtooth (2009) and Tales From the Gimli Hospital (1988), these headscratchers are as far from popcorn multiplex features as one can get, immersing audiences into bizarre worlds that look strangely like our own, albeit twisted through a fractured mirror.

And, just to the left of that particular group, stands French auteur Quentin Dupieux. With a body of work that includes some of the most genuinely bizarre, out-there films I’ve ever seen, Dupieux has quickly become one of my very favorite modern filmmakers. As a firm believer in the auteur theory, Dupieux is sort of my gold standard in this day and age: not only does he write and direct his films, he also shoots, edits and performs the electronic scores (Dupieux is also a world-renowned electro-musician who goes by the name Mr. Oizo)…talk about a one-man band! Any new Dupieux film is cause for celebration, which leads us to the subject of our current discussion: his newest oddball creation, Reality (2014). Did I expect the unexpected? But of course. Did Dupieux deliver? Between my aching cranium and over-stimulated imagination, I’m gonna have to answer in the affirmative.

Coming across as a bizarro-world take on Adaptation, threaded through with elements of The Truman Show (1998) and left to melt in the noonday sun, Reality deals with three separate individuals and the ways in which their lives eventually crisscross each other, leading to no small amount of pandemonium, confusion and inner turmoil. Reality (Kyla Kenedy) is an inquisitive young girl whose hunter father (Matt Battaglia, bearing an uncanny resemblance to a young Paul Newman) has just killed a wild boar in the woods and pulled a blue videotape from its carcass. She also seems to be the star of some sort of film being shot in her room, while she sleeps, by a kooky director named Zog (the always-kooky John Glover)…you know, your basic kid stuff.

The next corner of our triangle is inhabited by Dennis (John Heder), the mopey, downtrodden host of a TV cooking show who wears a moth-eaten rat costume and scratches his (possibly imaginary) eczema like it was going out of style. All that Dennis wants is a little relief from his constant irritation but a trip to outrageously obnoxious Dr. Klaus (Patrick Bristow) makes him out to be either a liar, an idiot or both.

The final point of the triangle, preternaturally nice cameraman Jason (Alain Chabat, who featured prominently in several Gondry films, among many others), also ends up being our defacto protagonist. After working his way up from receptionist to cameraman on Dennis’ show, Jason now wants to take the next step and secure funding for his own film, a strange little sci-fi movie about evil, sentient televisions called Waves. When Jason goes to pitch his idea to mega-producer Bob Marshall (Jonathan Lambert), however, the Hollywood exec is only interested in one, single aspect of the proposed production: if Jason can come with the best, most “Oscar-worthy” groan of all time, Marshall will fund his film, sight unseen.

From this point, it becomes a madcap dash as our three corners all attempt to achieve their goals: Reality needs to find out what’s on the videotape, Dennis needs to cure his skin condition and Jason needs to find the ultimate expression of pain and present it to his increasingly unhinged producer. Did I also mention Henri (Eric Wareheim), Reality’s school superintendent, whose cross-dressing dreams appear to be bleeding into reality? How about Jason’s wife, Alice (Élodie Bouchez), the shrink who’s treating Henri in between disparaging virtually every aspect of her husband’s life? Somehow, all of these disparate elements come together to form a real tsunami of the strange, culminating in a truly mind-melting meta-commentary on the nature of authorship, the terror of identity and the inherent insanity of the Hollywood movie machine. In other words: par for the course for Dupieux, the crown-prince of impish cinematic provocateurs.

As an unabashed fan of anything and everything Dupieux (last year’s Wrong Cops was my pick for best film of the year), approaching any new film of his is always a bracing mixture of anticipation and nervous optimism: I haven’t been let down, yet, but I’m the kind of gloomy gus who always expects disappointment around every potential corner. As luck would have it, however, Reality isn’t the film to break Dupieux’s hot-streak, although it definitely doesn’t rank as high as Wrong Cops or Wrong (2012) in my personal metrics. Despite being a much more baffling, confounding experience than any of his prior films, Reality handily displays an outsider filmmaker in full control of his faculties, bound and determined to submerge us in his particular flavor of “reality,” whether or not our poor minds are equipped to handle the experience.

One of the most notable differences, right off the bat, is the more austere, “realistic” vibe of Dupieux’s newest film. In fact, it isn’t until nearly 30 minutes in where it really “feels” like a Dupieux: the scene where Wareheim is introduced, driving a jeep down the street while wearing a gray dress and red scarf, all scored by that subtle “Oizoian” brand of simmering electronica, is quintessential Dupieux and one of his most striking scenes yet. While the film goes on to blend the more serious vibe with some of the goofier elements of his past films (Klaus is the kind of character that can pretty much only exist in a Dupieux universe), there’s a much different vibe here than either Wrong Cops or Wrong. If anything, Reality plays like a more under-stated, low-key take on the existential insanity of Wrong.

As befits Dupieux’s films, he gets some extraordinarily great work out of his cast. While Heder doesn’t get quite as much screentime as I would have liked, he gives the role his all: at times, his performance reminded me of Michael Keaton’s outstanding work in Birdman (2014), albeit without many of Keaton’s subtle shadings. Kenedy does a great job as Reality, disproving the old adage that child actors can’t hold their own amongst the grownups. Glover is predictably odd as Zog, while Lambert has an obscene amount of fun as the batshit crazy producer: whether he’s forcing cigarettes on poor, non-smoking Jason or sniping surfers with a high-powered rifle (complete with scope), Marshall is an absolute force of nature.

For his part, Wareheim turns in my second favorite performance of his ever, the first being his role in Wrong Cops. I never actually liked anything Wareheim was a part of until he got involved with Dupieux’s films: needless to say, I still don’t care for any of his other roles but I’ll be damned if he’s not an integral, necessary part of this particular world. Any and all of Wareheim’s scenes here are easy highlights (the dream sequence where he yells at an old man is, hands-down, one of the funniest sequences of the entire year) and he fits the overall ethos like a glove: as strange as it seems, Wareheim just might be Dupieux’s muse.

While the ensemble cast does remarkable work, however, Alain Chabat’s performance as Jason Tantra is the beating heart of the film. Reality would frequently collapse into chaos if we weren’t so invested in poor Jason’s quest: as he tries to satisfy not only his work and home commitments but his inner, artistic ones, it’s easy to see Jason as a kind of “Everyman” (albeit one focused on the entertainment industry), an avatar for a modern world lost in the clang and bustle of its own progress. The scenes where Jason fights to retain not only his sanity but his very identity are so fundamentally powerful because Chabat cuts through the inherent absurdity and shows us the real, scared and confused individual beneath.

As befits the rest of Dupieux’s oeuvre, Reality looks and sounds amazing: he really has an eye for crisp, colorful cinematography that pops on the screen and that trademark score elevates and enhances everything it comes into contact with. Dupieux may wear an awful lot of hats but he wears them all like a champ, not a chump: he’s a true auteur, in every sense of the term.

While Reality is a typically strong film, I would also be remiss if I didn’t admit that I found the whole thing rather baffling and confounding: this is the kind of film where logic and narrative cohesion mean a great deal less than mood and intention. Although none of Dupieux’s films could ever be called “simplistic,” Reality layers level upon level of meta-commentary until the only natural response for one’s brain is to yell “Stop!” and pull the dead man’s switch. While I’m fairly confident that I understand aspects of the film (the commentary on authorship is pretty difficult to miss and it’s rather easy to see the character of Jason as a surrogate for Dupieux’s own filmmaking experiences), there’s much that remains a complete mystery to me, at least until I’ve managed to watch the film several more times. Suffice to say that Reality is such an experience, I don’t mind doing the heavy-lifting: much better to imperfectly understand a clever film than to be endlessly bored by a dumb one, methinks.

At the end of the day, there’s really not much to say here that I haven’t already said about the rest of Quentin Dupieux’s films: the French filmmaker is a true marvel, one of the freshest, most ingenious voices operating today and just the kind of filmmaker who can help push the industry into a higher plane of existence. If Reality doesn’t rank as my favorite Dupieux (it actually ranks towards the bottom, perhaps tied with Rubber (2010)), it still manages to stand head-and-shoulders above most of what’s out there, proving that the most fascinating things are still coming out of the fringes. Here’s to hoping that if Dupieux ever gets co-opted by the mainstream, he manages to retain more of his identity than Spike Jonze did: I’d love the chance to see him play in a bigger sandbox but only if he got to do it on his terms and his alone.

Advertisements

2/21/15 (Part One): The Mold Knows, Jack

Tags

Adrian DiGiovanni, Alex Mauer, bizarre, Bliss Holloway, breaking the fourth wall, cinema, Danielle Doetsch, dark comedies, Don Thacker, fake commericals, fake TV shows, feature-film debut, film reviews, films, Frank Henenlotter, Hannah Stevenson, horror, horror movies, Ian Folivor, insanity, isolation, Jeffrey Combs, Ken Brown, life coach, loneliness, Meet the Hollowheads, Motivational Growth, Movies, Pete Giovagnoli, Quentin Dupieux, real world, Robert Kramer, self-help, speaking to camera, talking mold, television, The Dark Backward, video games, weird films, writer-director-editor

Many films flirt with the weird: they sidle along the edges, dipping a toe into the bizarre here and there but never fulling committing to go all-in. Sure, we might get a few strange situations, maybe an oddball character or two but the end result is usually much more conventional than the starting destination. For most people, “weird” is a great vacation spot but not quite where they want the mail forwarded. Some films, however, cannonball right into the middle of bizarre, clipping the safety nets, making all the foolhardy moves and taking leaps of faith that make the Grand Canyon look like a sinkhole. For folks that like their films fearless, thought-provoking and original, however, there’s nothing quite like coming across a genuinely weird, legitimately “out there” movie, especially if it burns the rule book in the process.

As a lifelong, devoted follower of the weird in all of its strange, wonderful and disturbing forms, I’ve been lucky enough to see a handful of truly bizarre films over the years. Films like The Dark Backward (1989), Meet the Hollowheads (1989) and pretty much anything by Quentin Dupieux scratch a vital itch for me: the intense, burning need to be surprised, befuddled, confused and disturbed by the magic of moving pictures. I’m always looking for new films to add to this very special short-list but, as can be expected, authentically weird films don’t grow on Hollywood trees: they’re usually found on strange, deserted, creepy little patches of overgrown dirt, tucked away from the prying eyes of the mainstream and left to run riot on their own. Anytime I can uncover one of these strange little treasures, it’s an immediate cause for celebration. The newest reason to fire up the party cannon? Writer-director Don Thacker’s full-length debut Motivational Growth (2013), one of the strangest, most disturbing and flat-out coolest films I’ve seen in ages.

In a strange, deformed, asymmetrical nutshell, Motivational Growth is about Ian Folivor (Adrian DiGiovanni), a reclusive, shut-in loser and what happens after his beloved television, Kent, finally gives up the ghost. Suddenly left with no purpose to his pointless life, our eccentric host does the only sensible thing and decides to off himself, mixing up a big ol’ batch of chlorine gas in his bathtub. Turns out that Ian is as bad at dying as he is at living, however, and manages to muff the suicide attempt something fierce, falling and clocking his head on the bathroom floor, in the process. When he comes to, Ian finds out that he’s no longer alone: the enormous patch of revolting mold in his absolutely disgusting bathroom has gained sentient intelligence. Ian, meet…The Mold (Jeffrey Combs).

The Mold, as it turns out, is a chipper kind of fellow (we suppose?) and functions as sort of a life-coach to the helpless recluse, encouraging him to clean up his life in order to get all the things he desires, like his attractive next-door-neighbor, Leah (Danielle Doetsch). So far, so good: after all, if there’s anything Ian and his grubby life could use, it’s a little self-help spring cleaning. After all, he owes back-rent to his hulking, violent landlord, Box the Ox (Pete Giovagnoli), can’t afford to tip his grocery-delivery person (Hannah Stevenson), hasn’t shaved or bathed in god knows how long and seems to be the only person in the universe without a plasma TV. If bathroom mold can pull him out of rut, hey…more power to it, right?

The problem, of course, is that nothing is ever as straight-forward as it seems. Sure, The Mold is friendly, full of good cheer and knows his way around a pithy quip (“Out-there is running against Reagan in ’84…out-there is a wet T-shirt contest in a nursing home…this isn’t out-there: this is opportunity, Jack!”). On the other hand, The Mold also asks Ian to eat vile-looking “mushrooms” that pop out of it from time to time, punch holes in the walls and stuff them with raw meat and refrain from opening the front door or going outside. Ian also has to call The Mold by its proper name: forget the “The” and prepare for one severe tongue-lashing, Jack: The Mold don’t brook no crap, you hear?

As Ian finds himself more and more in thrall to The Mold, the very fabric of his home, his life and his reality begin to morph and change around him. Sinister repairmen enter the equation, the TV commercials begin to speak directly to him in some very disturbing ways and there appears to be…well…something growing out of the walls. Is Ian going crazy or is this all just part of the grand plan? Is The Mold the most laconic life coach this side of Matthew McC or does his droll personality hide a much darker, more evil side? Will Ian find true love with the equally strange Leah or is true what they say: nothing comes between a boy and his Mold?

Reading through the above synopsis, you might be inclined to imagine exactly what Motivational Growth has in store. You would be dead wrong, of course, regardless of what you initially imagined but that’s totally fine: there really is nothing that can (or should) prepare you for Thacker’s film. In fact, one of the most marvelous aspects of this thoroughly unhinged dark comedy is how radically unpredictable it is. Even when the film seems to give away a huge clue right around the midpoint, it ultimately reveals nothing at all: by the conclusion, it’s still anybody’s guess as to what’s going on, even with the seemingly obvious “clues.”

There really isn’t anything about Motivational Growth that plays out in a logical, predictable manner. Ian addresses the camera directly, although none of the other actors do, yet there’s never a consistent sense of breaking the fourth wall. We get inter-titles that seem to divide the film into chapters, although there’s no sense of organization or meaning to it. The film looks like it takes place in “our world,” yet everything is just off enough to situate us in some far-off, completely alien galaxy: none of the foodstuff resembles anything we’re used to (this aspect really reminded me of Meet the Hollowheads) and we never get a clear look outside the front door. At times, the film swings into inexplicable video-game-influenced images, a stylistic quirk that’s only reinforced by the cheerful, chiptune score…yet there’s never any reason or rational for it…it just happens. All of the acting is extremely broad and theatrical, yet the film never feels over-the-top or silly: if anything, there’s a consistent feeling of dread and encroaching doom that hangs over everything like a shroud, regardless of how manic the action on-screen gets.

Basically, nothing about Motivational Growth should work…yet it all ends up working spectacularly. While I’ll admit that the first 10 minutes was slightly rough going (Ian’s constant monologue takes a little getting used to…he pretty much never shuts up for the length of the film, although it gets much easier to take as it goes along), the film picks up speed frightfully quickly and the final half is an absolute blur of one insane, eye-popping monstrosity after the other. Once all of the elements have a chance to mix together, Thacker’s film becomes virtually unstoppable: it’s no lie to say that the final 30 minutes of the film are some of the most intense, self-assured and bat-shit insane moments that I’ve ever had the pleasure to witness. No lie: for his debut feature, Thacker comes across like a wizened veteran…think Frank Henenlotter at the height of his power and you have a pretty good idea.

At the center of the film, just like he’s at the center of Ian’s life, is genre great Jeffrey Combs’ towering vocal performance as The Mold. From his first line to his last, The Mold is an absolute treasure: I haven’t seen a film so instantly quotable since the first time I watched Pulp Fiction (1994). While the stop-motion on The Mold is excellent, it’s Combs who really brings the talking fungus to life: as weird as it sounds, it really is one of the most interesting characters to emerge in some time. For his part, Adrian DiGiovanni does a great job as Ian: while his verbal diarrhea can be tedious, at times, he fully inhabits every inch of the character like a second skin. He’s filthy, disgusting, strange, unpleasant…but he’s also weirdly sympathetic and, if you squint just right, probably looks more familiar than any of us would like to admit. While the character of Ian may stand for society in modern times, the individual in an increasingly homogeneous world or, quite possible, just folks who love to lick bathroom mold, the actor playing him always manages to keep a foot firmly in “our” reality, even when the rest of the film has leapt into a bottomless void.

On a side note, especially for folks who might be a bit more “sensitive” than most: Motivational Growth is an exceptionally disgusting film. While the movie has no shortage of violent moments (the scene that transitions from Ian “heroically” slicing a lead pipe in a Ginsu commercial to him carving other materials in the “real world” is, to say the least, bracing), there’s a nauseating aroma of body horror (ala early Cronenberg) that wafts through nearly every scene. I’m not too proud to say that I gagged several times during the film (suffice to say that poor Ian eats more rancid, “juicy” things during the course of the movie than any Fear Factor contestant ever did) and there’s one shot of a body that pretty much rewrites the rulebook on that sort of thing: if any of this sounds like it might not be your cup of tea, let me assure you…if you have to ask, it most certainly isn’t.

If you’ve got a strong stomach and a desire to see something completely fresh, invigorating and flat-out amazing, however, look no further than Motivational Growth. For a first time writer-director-editor, I found Don Thacker to be nothing short of a revelation: on the strength of this one entry, I’ve already gone ahead and reserved him a seat at the modern horror Round Table. After all, it’s not every day that you find a filmmaker who can effortlessly mix talking mold, a humorous suicide attempt, self-help gurus, television addicts and creeping, Lovecraftian existentialism into such a tasty treat. By the time you get to Box’s cheerful story about breaking chimp arms (“They won’t let you do it easy, either…they’re dirty fighters”) for fun and profit, one thing should be very clear: for better or worse, there just aren’t a lot of films like this out there. Here’s to hoping Thacker keeps pumping out these filthy jewels like clockwork: for lovers of weird cinema, we just might have found a new patron saint.