An odd tale of misshapen lives, tortured souls and the good in people. This story of discontent illuminates the realization to simply make the best of a situation, and hopefully be given a helping hand along the way.
An intimate portrayal of just getting by – without the bullshit indie façade. New York director, Azazel Jacobs
, invites a sense of reality into the archetypal, purposely zany population, of the coming of age tale.
120 days of Sodom (not to be confused with Buñuel’s L’Âge d’Or) was Pier Palo Passolini’s final film. Carrying on with the Neorealist themes that flowed through his early work such as ‘Accattone’ and ‘Porcile’, the 195 release focuses on mans inhumanity to man whilst also exploring themes such as Nietzsche’s theory of a ‘Superman’ and existentialism.
A solitary pair of Vans opens onto the overly dramatized and underwhelmed life of Alex (Ryan O’Nan
), and it would seem the film itself. After a girl’s locker room style scene of heartbreak sobbing and some morally questionable comedy at the expense of a special needs class, the no-hoper in Alex is revealed.
The familiar burden of moving house and settling in is a ritual painfully experienced at the best of times. Celine Sciamma
enacts this right of passage with the added hardship that new boy Michael, is actually a girl. Famed for her cult classic Water Lilies
, Sciamma beautifully depicts another idyllic French journey into sexual confusion.
Any concept of normality is scrutiny to a sickening moral crisis within Gyorgy Palfis 2006 TAXIDERMIA. The repugnantly comedic family tree that grows all too rapidly before us offers a bizarre alternative to a father son special.
A self-explanatory title. Harmony Korines TRASH HUMPERS
brings new meaning to fucking weird. Opening with the age-enhanced socially deranged and their sexually exploitive partners (any inanimate object), we enter the arena of the “free”.
Insignificance and ostracization are commonplace in high school; their consequences however can be a much more sinister game of play. No more so bluntly created, or recreated, than in Gus Van Sant
’s 2003 ELEPHANT
, where the hardship of what seems every imaginable teenage depravity is brought to a tragic conclusion.
Forget hope, if the sincere are as corruptible as the rest of us, then we must accept our austere living as fate. Miranda July’s 2011 release once again crafts a delicate embodiment of tedium and desire reminiscent of her troublingly beautiful Me and You and Everyone We Know.
Two ghosts, a wheelchair and a mechanical horse. Probably the weirdest form of self-discovery, but ineffably cute.