Dedicated to films from all over the world of the horror, thriller, sci-fi, action, experimental, and/or mash-up persuasions, Fantastic Fest is the perfect place to discover all-new weird movies of various origins. I tried to take in a little bit of everything, and I’ve come out with a list of the Top 5 Weird Movies of Fantastic Fest for 2015. Note: Due to scheduling conflicts I missed Yakuza Apocalypse, which I suspect would have made this list. I also missed Anomalisa. Oh well.
Ah, October, a month when talking obsessively about slashers, vampires, haunted houses, killer aliens, werewolves, and dismemberment is generally socially condoned. I have been enormously enjoying my own spooky season, an extension of my personal exploration of horror over the past year. Though I’ve seen many new-to-me horror films recently, it has been especially heartening to check out a few titles written and/or directed by women, which aren’t exactly common. Two of my favorites so far are the lycanthropy-as-metaphor-for-puberty drama Ginger Snaps, written by Karen Walton, and the body-mod gorefest American Mary, written and directed by the Soska Sisters.
Set in that bygone era when downtown New York was overrun with punks and freaks and strip clubs and boomboxes and graffiti, Times Square follows the adventures of unlikely duo of Pamela Pearl (Trini Alvarado), a shy, lonely, wealthy 13-year-old girl and abrasive, anti-authority 15-year-old punk Nicky Marotta (Robin Johnson). They meet in a hospital where they are undergoing tests for seizure-related issues, but they soon break out together and decide to make it on their own in the streets of New York City. They move into an abandoned warehouse (or train station? or something?) and do well enough for themselves stealing food, taking clothes from some old trunks they found, and dancing (clothed) at a club.
In mid-17th century France, Louis XIII and Cardinal Richelieu together enforce Catholic dominance across the country. In his fanaticism, Richelieu entreats the king to tear down the walls surrounding the small city of Loudun, which–while Catholic–is basically self-governing and (in his mind) a likely haven for Protestants. Charismatic priest Urbain Grandier (Oliver Reed), who is beloved by the townspeople despite his known affairs with local women, has been in charge since the governor died, and he resists any orders to destroy his city’s defensive walls. Meanwhile, Sister Jeanne (Vanessa Redgrave), Mother Superior at Loudun’s Ursuline convent, experiences explicit visions involving Grandier as a sexy Christ figure…
When quiet, respectable anthropologist Dr Hess Green (Duane Jones) takes on a new assistant, George Meda (Bill Gun), he unwittingly changes the course of their lives. Though amiable and talkative, Meda is neurotic and suicidal, and prone to violent moods. One night, he accidentally attacks Green, stabbing him with an ancient dagger taken from the (fictional) Mythrian tribe. Meda soon after kills himself, while Green is left cursed with a hunger for blood and apparent immortality. Fearful of persecution (he’s the only black person in his wealthy neighborhood), he hides Meda’s body and claims his assistant ran away. But when Meda’s long-suffering wife, Ganja (Marlene Clark) shows up looking for him, Green’s secrets can’t help but tumble out.