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.
Wes Anderson’s films offer the most consistent examples of cinematic social uniforms, aside from those of Hal Hartley (who is a clearly a major influence on Anderson). His characters typically sport one specific outfit, or variations on one, or, at times, literal uniforms related to a job or association. They come to define the characters in some way, and allow the actors to blend into Anderson’s meticulously-crafted visual worlds. My favorite Anderson film has remained The Royal Tenenbaums, and it is rife with social uniform goodness.
Continuing my new series on social uniforms in film, I’d like to talk about one of my favorite feel-good movies, Danny Deckchair. Inspired by the real-life figure of Lawnchair Larry, the film centers on Danny (Rhys Ifans), a construction worker in Sydney who is known for thinking up weird (stupid) ideas like a “human slingshot.” He dreams of flying to faraway places and camping out in the wild, but he doesn’t have any serious goals for himself. Trudy (Justine Clarke), his partner of several years, has recently worked her way up from being a secretary to a real estate agent, and her ambitions expand after she meets Sandy Upman (Rhys Muldoon), a local sports newscaster.
I have always been interested in clothing, in how an individual’s fashion choices mark them as a certain type of personality and lead to assumptions about their character. Or the opposite: how our coded preconceptions about clothing make us view a person a certain way, because they want us to, but in fact their outfit hides a truth about them, such as tattoos, or scars, or inner desires and thoughts. A conceit within film that I find myself increasingly more attracted to is the idea of characters using clothes as a personal uniform, finding that one outfit that encompasses how they would like to present themselves to the world.
Sometimes a movie can intrigue based solely on descriptors used when people talk about it. A Girl Walks Home Alone at Night is summed up as “the first Iranian vampire western;” it is made by a woman, and it is also shot in black and white, and it is also a sexy romance. Also also rock and roll. So, naturally, I eagerly awaited its release, and finally finally caught a showing at Coolidge Corner, in their ultra-tiny screening room that seats 14 people, and lo, it was good. Written and directed by Ana Lily Amirpour, the film follows the goings-on of a small, sad town called Bad City, whose denizens are lost and lonely, whose streets harbor a silent killer, a vampire who stalks repugnant men.