filmbore pick of the week - Upstream Colour

Upstream Colour

Director: Shane Carruth
Screenplay: Shane Carruth
Starring: Amy Seimetz, Shane Carruth, Andrew Sensenig, Thiago Martins
Year: 2013
Language: English
UK rental release: December 2013

IMDb
Rotten Tomatoes

I've been waiting for this film for a long time! For those that saw Shane Carruth's first endeavour into feature length film making, Primer (see my review here) will be aware of his innate ability to twist that melon in your head up, down, left, right and even throw it down a wormhole in time. With a level of anticipation, let's take a peek at film number two shall we?

A thief (newcomer Thiago Martins) harvests his crop. He's busy cleaning his blue orchid plants, drawing the soil out to get to the plethora of maggots burrowing around the roots, of which he then painstakingly separates into living and dead ones...but why?

The man's son knows a little about this. By infusing them into fluid he creates a drug-fuelled beverage that can unite souls. Drinking the juice with friends allows him to influence their movement through dance and Kung-Fu, as if they've been practicing their moves for years.

The thief knows the potential such a creature can bring and wants to experiment with someone. For this isn't just a drug but a parasite, able to induce powerful hypnotic states. Instead of using his discovery for scientific purposes, he takes advantage of this power to take advantage of those unaware; from those he wishes to steal from.

Kris (Amy Seimetz, You're Next, The Killing - TV Series) is a graphic designer, stressed in her work. After a hard day's graft she falls victim to the thief's plot. He knocks her out with a Taser, forcing one of his specially procured maggots down her gullet while she's passed out.

While induced and at the mercy of the parasite she is very susceptible to suggestion. He proposes scenarios and feelings to her to illicit certain responses in order to the get the results he wants. Once she is in a state of absolute delirium, he begins to endorse money out of her, including the equity of her own home.

The Sampler (Andrew Sensenig, Pearl, Paradise Rediscovered), a calm, humble pig farmer, extracts the parasite from Kris following her own, bloody attempt at excising the creature. He doesn't just exorcise the invader though, as he has an agenda of his own. Strangely, he connects the creature to one of his pigs. Once the process is complete, a connection between human and pig is birthed.

Kris awakens, completely lost and incomplete. She has no recollection of the events while under the influence of her biological guest. The subliminal link to her farmed companion begins to consumer her. Her life changes at an encounter with Jeff (Shane Carruth, Primer), who sees Kris regularly on a train and feels a deep connection with her. They seem to sense each other's before they make eye contact; they're weirdly compelled to each other. Maybe this is because they have much more in common than they think...

Upstream Colour is an exercise in the understanding of both influence and control; more poignantly what is like to be at the recipient's end of these forces. It makes us question what truly drives us. Are we at the will of a deeper power controlling us? Or are we just that easy to manipulate?

Some of these themes are addressed more directly in the physical realisation of the invader of the story, through delivering the life cycle of this parasite and all those who depend on it, whether infected or not. This is just one entry into the emblematic world of this picture. There are numerous references and quirks of symbolism throughout the whole piece, whether it be The Sampler's connectivity into all the victim's lives, representing the consistent and unpredictable hand of the puppet master that we feel from time-to-time, or the sporadic but mirrored shots of our characters carrying away boxes, as containers of their lives in transition. These allegories are scattered throughout the whole film, yet even if some of them may not be too obvious they won't spoil your enjoyment of the film thanks to Shane Carruth's incredible attention to detail and his poetic approach to way he spins a yarn.

It's also wonderful to see what Carruth is capable of on a bigger budget, if still modest budget of (reputedly) under $100,000 (Primer cost only $7000!). Unfortunately, Upstream Colour took a measly $400,000 at the box office. Yes, it's a profit, but not fitting when considering the sheer amount of creativity involved and the quality of production too.

With quick, direct editing, each shot is deftly produced, compiled together to build a tapestry of gorgeous, artistic visions, while confidently nurtured for an unusually enjoyable tale. There's a whole banquet of lighting techniques used too, including some interesting lens flaring and with a confident handling of the natural light on offer. It's a good film for those who are fans of hi-def. On Blu-ray, it's so bright and vibrant, at points highlighting the most minute of details.

I also particularly like Carruth's regular use of the colour blue, especially when signifying the link between our leads, illustrating their symbiosis. Even through these film making choices you will notice even more allegorical references, adding extra layers. Some of these more metaphoric scenes, like when The Sampler plays god by sensing through his pigs the connections to their human counterparts, sit within the entire piece as solitary vignettes. They have relevance to the entire picture, of course, but could comfortably sit alone as shorts, purely down to their powerful presence and not just their artistic approach.

Speaking of The Sampler, his character is very provocative. It's absorbing when seeing, in a key scene in the movie, how he collects sounds to draw works and parasites, while creating oddly attractive musical pieces, through the methods of foley. There are delicious moments in this scene too, where the recordings that he takes pair up with the surrounding noises that our two lead characters can hear through their daily working lives. These scenes help to illuminate the stunning sound design at play here, thanks to a team of great audio engineers, and the musical talents of, surprise surprise, Shane Carruth. Is there anything he can't do in the film business? Please, someone give him a big budget to mess around with!

Our leads are great too. The multi-faceted Shane Caruth is an alluring presence as Jeff, equally lost as Kris but with a stronger tent-peg into the lawn of life. While Amy Seimitz as our central character is delectably aloof while still carrying an air of confusion and panic with her at all times. Such a calmly fragile performance is tricky to pull off, yet she handles it so exquisitely.

Her plight is so alien. Coming back to her biological intruder, it's not just the conception of the idea which is unfathomable but the way it's existence is portrayed is frighteningly alluring. The shots of the parasite moving within Kris are creepy, if beautifully realised. It's otherworldly, adding a brief hint of the unexplainable to an already mysterious and unique drama.

When at the pure will of the creature inside her, with no instruction from her captor, in her slumber she manoeuvres in conjunction to the parasite's movement. The camera rolls in unison to her hand, mirroring the affiliated actions demonstrated by the young boys at the start of the film. It's a subtle effect, with soft impact delivering a gently absorbing experience.

You'll be consumed from start to finish. The opening shots highlight the incongruous nature of a being that, ironically, specialises in harmonising living hosts. Then, the final shots of Upstream Colour book end the picture by revealing the power of self awareness. Yet, through all its majestic referencing and journeys through symbiotic beauty, if you strip all of this complexity away you're left with a sweet love story of two lost souls, unable to repel their instincts towards needing one another.

It truly is such an original concept. Even though it's still in the realms of the psychological, it's worlds apart from Primer. Where Primer explore the lengths we would go in order to make the right choices in the name of science, Upstream Colour shows what the science of nature can do if these choices are taken away.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

A brief delay...

Please Stand By!

A busy week and numerous other tasks are putting a bit of a delay on this week's pick from filmbore. Normal service will resume shortly. Please be patient and filmbore will endeavour to return you to a world of enthusiastic reviews on unusual films. Please stand by...

And for those of you with no patience at all, you will have to do with this cute picture of a puppy driving car. Seriously...he actually driving a car! Sayeth whaaaat!?!

Sorry...

filmbore 

The Eyelids Of Dawn Issue 2 - BUY NOW!

Round Two of Sheffield's coolest zine, inc. a little bit of filmbore too.

Issue 2 is here! Dave Stockton from Sheffield has pulled out all the stops this time to craft a beautiful looking zine, really excelling himself from the previous publication (which was still awesome in itself!).

With stories, reviews, artwork, poems and more, once again I invite you to take a trip down the wonky rabbit hole of creativity, soak in the soil of originality and bathe in the roots of uniqueness. I urge you to pick this up, and fuel your mind with something a little left field, a little dark and a little exclusive!

  

 

This time around, my contribution comes in the shape of ten reviews of an array documentary features released over the last couple of years, ranging from award winners to unknowns. There are some absolute belters in there (and a couple of rotten ones, if I'm honest) but I've tried to be as fair as I can with my critique of these pictures. Plus, just like last time, they all come tail-ended with filmbore's very own special geek rating, as illustrated here.

So, come and get your limited edition copy right now! It's just £4, which is an absolute steal when you see the quality of the content inside. For those that know me, I have a few copies available myself, so contact me by phone or facebook if you want to book one (I only have a few so act fast!). Otherwise, you can contact Dave directly by email on freq13@gmail.com to order a copy. There are prices for postage confirmed in the flyer above but I'd advise contacting him soon before they're all gone!

Thanks everyone, and continue to spread the word!

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filmbore pick of the week - The Skin I Live In

The Skin I Live In (La Piel Que Habito)

Director: Pedro Almodóvar
Screenplay: Pedor Almodóvar
Starring: Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet, Blanca Suárez, Roberta Álamo
Year: 2011
Language: Spanish
UK rental release: January 2012

IMDb
Rotten Tomatoes

I know. I've already finished my awards themed season. It just so happens that this week's pick, The Skin I Live In, could have easily fitted within the string of incredibly gong-themed films I've pointed your way recently. It was nominated for the Palme d'Or in 2012, while taking the BAFTA for Best Film Not In The English Language in the same year. Let's sift through one of the calmest horror films ever made.

Toledo, 2012. Vera (Elena Anaya, Room In Rome, Talk To Her) is cooped up in her room in a doctor's mansion, spending her time with patch work models and perfecting her yoga. She has a tendency to hurt herself, even attempting suicide at times, which is one reason why she spends her time in a contoured skin suit.

She is the result of experimentation: the mansion's doctor's attempt to make the perfect woman; perhaps in the guise of his wife who died burning in a car crash some years ago. Robert (Antonio Banderas, Desperado, Frida) is a expert in the field of plastic surgery, including the progression and success of face transplants. Yet, this isn't where he's pouring his talents in fully.

Robert is growing synthetic skin, a venture he knows can change the face of medicine forever. The project, named "Gal", involves the use of pig cells to mutant human ones, generating an artificial skin that's hard to burn and impervious to all insect bites. It's a revelation of modern science but controversial in its methods.

In on the secret experiment, on both the skin and Vera, is Robert's house maid Marilla (Marisa Paredes, The Devil's Backbone, All About My Mother). She isn't completely on board with the situation however, no matter how loyal she is, suggesting that Robert gets rid of Vera before it goes too far.

One day, Marilla's son Zeca (Roberto Álamo, Family United, Football Days), a jewel thief on the run, decides to pay a visit to his mother for hopeful sanctuary. Yet, not only is he on the run from the authorities but wants Robert to use some of his abilities to work on his face. Marilla wants her son to leave, but on espying Vera on the security cameras he has other plans...

Six years earlier, and Robert is attending the wedding of one of his clients with his daughter, Norma (Blanca Suárez, I'm So Excited!, Shiver). Here, she meets Vicente (Jan Cornet, Looking For Eimish, Tasting Menu), a young man who works at a vintage clothes shop in the nearby town. Across the hall, they catch each other's wandering glance, making a brief romantic connection.

Norma is undergoing treatment for social phobia. Yet, even though she seemed ready to attend the event, something happens to her that takes her over the edge, starting Robert down a dark path that he can't ever return from. No scalpel can ever fix what he has already damaged.

Many will watch this film and consume it as a uniquely built piece. For those more in the know, especially those of you who are fans of classic cinema, you will easily draw similarities to Georges Franju's Eyes Without A Face, yet this feels like an altogether different film. Yes, besides the obvious captive patient, the plastic surgery element being so closely matched, paired with the sense of claustrophoia and paranoia such a tale would share and carry, this picture does stand alone. The source material adapted for this piece in particular is Thierry Jonquet's Mygale, lending different perspectives and making these resemblances feel more coincidental, even if Almodóvar has admitted being inspired by the Franju's 60's horror-noir.

Some of you know how I feel about remakes (here's a reminder in case you forgot), so I don't say all of this lightly. This is an altogether invigorating and enticing story, comprised of impeccable design and fused with a wonderfully dramatic score by Alberto Iglesias.

Really driving all of this craft is its overall look. As expected from an Almodóvar movie, each shot is painstakingly crafted, also thanks to the breathtaking cinematography of legendary DP José Luis Alcaine, a long time collaborator with the director. Sensationally lit with perfect framing for each scene, whether locked-off, panning or a combination of the two, the visual splendour on show is a masterclass of lens work. There's a kinetic feel to each shot, and with such sharp imagery there's an inherent beauty throughout.

You cannot mention beauty without considering our female lead. There's no doubt that Banderas, as consummate as ever, doesn't own his moments, but there's something intrinsically magical about Elena Anaya here. Vera is a great role for Anaya to play, which she executes so well she clearly deserves the Goya Award she won for her performance. Child like but strangely wise, she also has an endearing quality to match her allure.

It's important to feel such attraction to her character in this, as it mirrors the desire that Robert feels towards her as the story unravels. There's a subtlety in some of the voyeurism, where your unsure of his intentions, considering his profession as well as his yearning for her. The fact that he has sculpted her in the same vein as his wife opens deeper inclinations of his needs which, when some of the twists raise their head, is more apparent than you may realise.

A clever ploy by Almodóvar is the awareness of our leading lady. Vera seems to know when someone is watching her on camera, exposing the unequivocal magnetism in voyeurism, drawing in the longing that a man needs for a mutual stare. It's bewitching to witness, also accentuating the light horror tones dressed over the piece.

This exciting taboo in lust and deep-seeded wishes is also represented by the film's key prop: the iconic synthetic skin suit. It's presence is attuned to the clinical properties of the room that Vera is currently jailed in. She may be locked within this domesticated cell, suppressed from even expressing herself fully, but it's her "skin" that is her true prison.

The skin doesn't always stay on, however. There's a lot of nudity in this piece, and when Vera is naked you will see two extremes. At points she is, strangely, more reclusive even though freed from her skintight cell, yet when her situation alters this liberty is expressed more fully in her confidence to bare her real skin, even though this is manufactured also.

It's quite blasé about sex actually. If an openness of bedroom antics isn't your bag, I'd avert your eyes at a number of occasions. Yet, its brutally honest approach to sex is where the film's personality is truly revealed. It's its calling card, allowing intercourse to become as normal an experience as eating your dinner. It's confidently perverted in a classy way, so don't expect a string of depraved acts here. It's just nicely kinky.

Some may, wrongly, see The Skin I Live In as an excuse for fetishistic desire. It's also quite a dark story, that may disturb some of you. Keep an open mind though and, instead, you'll be greeted by is a tale of an honest descent into the ownership of the soul through forced redemption. Marvel at the delicate design, savour the delicious score, absorb the performances and sensational lens work and you'll get to enjoy a maverick of film: a story of revenge and restoration.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - The Act Of Killing

The Act Of Killing

Director: Joshua Oppenheimer
Starring: Anwar Congo, Herman Koto, Adi Zulkadry, Safit Pardede, Ibrahim Sinik,
Yapto Soerjosoemarno
Year: 2012
Language: Indonesian
UK rental release: November 2013

IMDb
Rotten Tomatoes

For the last in my awards season reviews I wanted to bring you a winner. I had high hopes for the controversial documentary feature The Act Of Killing, with it sweeping most of the international film awards en route to the Oscars but, unfortunately, it didn't take the coveted Academy gong, losing out to 20 Feet From Stardom. This cannot prevent me from reviewing it this week, however. Let me tell you why...

Indonesia, 1965, and the military have overthrown the government. All those that stood against them afterwards were deemed communists, no matter what their background, political angle or moral footing. Nearly a year later, over a million people were murdered.

Some of those involved in these killings were previously gangsters prior to the military reign. These men and others who committed the slaughter have stayed in power ever since. It's this world of gangster-turned-leader that we are welcomed into, as some of those who embarked on such missions recall the events.

We meet Anwar Congo, an executioner in the 60's during the "communist" cull, along with his old friend Herman Koto, a gangster-turned-paramilitary leader. They have known each other for many years and have a tight chemistry, grown from the deeds they shared long ago. They are both very joyous men if matter-of-fact about their dark past.

It's these events that we are here to learn about but not through the usual means. They'll be entrusted to recount their activities through the medium of re-enactments of their own choosing, and we will follow these men through the process of making these recreations.

They both fell in love with film and music when they got to see Hollywood movies at their local cinema, which was something their enemies tried to subside. They would leave the cinema, singing and dancing, which never got in the way of their roles as gangsters though, even striking suspects minutes after getting outside. They believe the way they tortured and killed was influenced by characters in these big movies from the west, especially gangster films.

  

We meet other colleagues along the way that are deep rooted in their past, like Governor of North Sumatra, Syamsul Arifin, who Anwar knew when he was a child, and Ibrahim Sinik, who runs a local newspaper. It was through this printing house that they would interrogate potential subjects, removing them from the interview once questioning was complete in order to kill them. Sometimes though, they would forge false answers to get what they want; to get another kill!

There's also the Pancasila youth, who were integral in the killings in 1965. This paramilitary organisation now has over 3 million members. With their leader, Yapto Soerjosoemarno, a collected, if presumptuous man, at the helm they are more powerful than ever. One of their local paramilitary leaders, Safit Pardede, roams the markets to collect protection money. An arrogant individual, he's heavily invested in the success of the film and gets involved all the way through. 

Finally we meet Adi Zulkadry, a fellow executioner with Anwar in 1965, who flies over to help with the filming and storytelling. He appears to be more reflective on their past. He appears to resent some of it, maybe understanding others needs for a little redemption and forgiveness, yet he also has a sense of control when letting their history haunt them. He views the events logically, from a distant point-of-view, which he feels is healthier.

Adi's return draws out some of the deeper feelings in Anwar, sending our leading storyteller on an emotional journey that he may not want to confront.
 

The Act Of Killing is like no other documentary you are ever likely to see, thanks to its heady combination of its contentious subject matter and how the picture looks. 

Great use of high-definition in some of the cityscape, amazingly vivid through its more abstract scenes, its has a visual personality of its very own. There's striking imagery in parts, mostly when viewing some of the bizarre scenes shot by our leading subjects. It comes across as quite avant-garde at points, which is surprising, yet it works.

It's clearly very self-referential too. At points, they even watch footage filmed that was shown earlier in this documentary - if a bit nonchalantly so! You'll be taken back by their a casual dispositions, like when they calmly discuss the clothes to wear for filming their torture scenes, for example "I always wore jeans for killing". It's disturbing to hear such a calm and unruffled recollection of their history. 

Speaking of their past, we have to talk about the re-enactments, which are perplexing to watch. On one side, we are witnessing the men who committed these acts relive them in order to demonstrate what they did, purely for the film. There is also an air of drama and cinematography, drawn from their love of cinema. Yet, oddly, you may even see a little humour from time to time, if ironically so. They glamorise the past through their passion of the movies, sometimes missing the mark. All of these elements combine in a pure, if obscure way, in order for them to re-tell their history. This, as bizarre as it sounds (and even more to witness, I can assure you) is actually one of the fundamental brilliances apparent in this deep documentary.

These recreations element adds a complexity to the structure of this film rarely experienced when watching a documentary. Filmic sections within the documentary style, bridged when stepping out of the cinematic to monitor their progress, drawing you back into the fly-on-the-wall style. It's an interesting dynamic that works beautifully.

Some of the re-enactments can be very harrowing, most especially the recreation of the massacre at the village of Kampung Kolam. Screaming families are laid waste to the imposing soldiers, brutally beating them to the ground while burning down their homes. And these men are paraded as heroes.

And it's these men that we are really here to understand. He arrives much later in the piece, but the introduction of Adi really shakes things up. Through reconciling his deeds as war-based events finds a lot of the absolution he needs, making him very confident in discussing what went on in the 60's. He still speaks of their acts in the same tumultuous manner as his companions, yet still has a need to attune justification for his own actions; he knows that killing is wrong but has convinced himself that there were genuine reasons for what he did. This makes him a very compelling individual to listen to.

Herman too is fascinating. A jester at heart and wonderful with kids, he isn't afraid to "glam" up for the female parts, using his inner-clown to add dramatics. He still cuts an imposing figure at times, yet his closing to Anwar makes his persona a little more approachable than the others.

It's his friend Anwar who is at the centre of this documentary though. In the beginning, he recalls their activities with a cheerful manner with little regard for the meaning, yet this is just an exterior defence. It's clear that Anwar is very troubled. You slowly get to see Anwar's regret surface. This documentary feels like his therapy. 

You can sense some of his disgust when they start filming their recreations. You know his past and what he has done, yet seeing him slowly crumble when faced with the impact from his actions will still make you emotional. He is a shell of the man he once was, and even with all his bravado you can peel away this mask with ease just by looking into his eyes. He's no longer the brash gangster who would execute any he saw fit, he's now a frail old man full of remorse, craving to forget his past, if only to rid himself of the nightmares that keep him awake every single night. You shouldn't feel sorrow for Anwar...but you do.

Incredibly honest in its reach towards the source material, The Act Of Killing is a brave story to tell. Be prepared for some alarming recounts. This is necessary, as you need to strip them away from the piece and tap into the emotions of one man fighting his past, while witnessing some ambitious attempts to promote their activities through a combination of both realistic and left field re-enactments. A truly original documentary.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk