izabrana dela

izabrana dela

недеља, 26. март 2017.

Dve večeri strave u Beogradu

  
            Stiglo je proleće, priroda zeleni, cveće cveta, ptičice cvrkuću... Ukratko, kucnuo je čas da opet malo propovedam stravu i užas naživo, međ' narodom otvorena uma. Konkretno, imam zadovoljstvo da najavim dve horor večeri u kojima ću ovih dana učestvovati u Beogradu, pa ko je slobodan, voljan i raspoložen – neka svrati!

Promocija edicije Poetika strave
PONEDELJAK, 27. MART
20H
Kafe-knjižarica LJUBIMAC
Pop-up knjižara je mesto promocije alternativnih izdavača čiji rad ne treba prećutati a Ljubimac je prostor (kafić) za takvu intervenciju.
Cetinjska 15
Gde mu je sad pa to? U centru grada, u ljupkim starim zgradicama oko velikog parkinga – ovde:
 
Učestvuju: Dejan Ognjanović, urednik edicije,
i Igor Stanojević, novinar i reditelj

Govoriće se o knjigama iz ove edicije, o predstojećim izdavačkim planovima i o hororu u književnosti. 
Na promociji će knjige ove edicije moći da se kupe po najpovoljnijim mogućim cenama (30-40% nižim nego u knjižarama).
            Da se podsetimo:
„Poetika strave“ je naziv edicije koju objavljuje izdavač „Orfelin“ iz Novog Sada. Urednik edicije je dr Dejan Ognjanović, a ona je svojevrsni produžetak njegove kapitalne studije Poetika horora (Orfelin, 2014), nastale na osnovu doktorske teze koja prikazuje nastanak i razvoj angloameričke horor književnosti od 18. veka do današnjih dana. 
„Poetika strave“ je edicija koja se odlikuje znalačkim i stručnim izborom vrhunskih predstavnika horor književnosti, kako klasičnih tako i modernih, koji do sada nisu bili prevođeni kod nas. Ova dela praćena su kvalitetnim, anotiranim prevodima te iscrpnim biografijama autora i izdašnim, stručnim pogovorima. Knjige (šivene, u tvrdom povezu) se takođe odlikuju vrhunskim dizajnom koji rade neki od najistaknutijih domaćih ilustratora. 
Prva dva kola, od ukupno šest knjiga, čine sledeći naslovi:

- VRBE – Algernon Blackwood
- ŠAPTAČ U TAMI – H. P. Lovecraft
- ZAZVIŽDI I JA ĆU TI DOĆI – M. R. James
- HLADNA RUKA U MOJOJ – Robert Aickman
- UKLETA KUĆA NA BRDU – Shirley Jackson
- KARMILA i druge priče strave – Sheridan Le Fanu
Do kraja aprila izlazi i sedma knjiga – VELIKI BOG PAN Artura Makena…
Uzgred, kratki film fantastike Časovnik Igora Stanojevića možete pogledati OVDE.


"Strašno žensko" u hororu: književnost i film
UTORAK, 28. MART
19H
Klub-knjižara Magistrala
Dom kulture Studentski grad
Bul. Zorana Đinđića 169
Gde mu je sad pa to? Na Novom Beogradu – ovde:
 

Učesnici: dr Dejan Ognjanović, Mladen Milosavljević
Moderatorka: Marija Stanojević


Seminar o fantastičnoj književnosti "Fantastika u fokusu" ima za cilj da problemima žanrovske književnosti pristupi na stručan način, kritičkim aparatom kojim se proučavaoci služe pri analizi kanonskih dela, u želji da se ukaže na umetničke vrednosti marginalizovane i mejnstrim žanrovske književnosti, ali i pokrene na interaktivnu debatu. 
Na trećoj tribini ciklusa "Strašno žensko" u hororu: književnost i film, želimo da ukažemo na do sada nedovoljno obrađivan aspekt ženskog u srpskom hororu i izbegnemo uobičajeno razmatranje skopofilične sudbine ženskih žrtvi koje se dakle prikazuju samo kao pasivni predmeti nasilja. Sada će u fokusu biti žena kao nosilac strave, tzv. „strašno žensko“ koje podriva podrazumevane majčinske osobine, te se ukazuje kao neprijateljski i zastrašujući, ali često privlačni eros od koga najčešće strada upravo „jači pol“. U skladu sa temom razgovora, učesnici će se osvrnuti na novine u svetu horora na lokalnom nivou u odnosu na globalni, u književnosti i na filmu, te razmotriti budućnost njegovog razvoja kao žanra na našim prostorima.

Mladen Milosavljević je diplomirani etnolog i antropolog na Filozofskom fakultetu u Beogradu. Glavni je i odgovorni urednik časopisa Omaja, jedinog časopisa u Srbiji koji je u potpunosti posvećen promovisanju folklorne fantastike. Autor je brojnih folklornih priča, kao i filma Naprata, jednog od prvih horora iz tzv. „found footage“ podžanra kod nas. 

четвртак, 23. март 2017.

KUĆA NA GRANICI – Korben (Jezovnik)


Kuća na granici

Prema romanu THE HOUSE ON BORDERLAND Vilijama Houpa Hodžsona (William Hope Hodgson)
Scenario: Ričard Korben i Sajmon Revelstrouk
(Richard Corben and Simon Revelstroke)
Crtež: Ričard Korben
Predgovor: Alan Mur

Darkwood, Beograd, 2016
Br. strana: 96 / Boja: Kolor
Uvez: Tvrdi / Format: A4
Puna cena: 1490 dinara


Šta kaže izdavač?


Da li strah dolazi spolja ili iz ambisa u nama? Šta da radimo kada se nađemo na rubu, u graničnom području? I može li se sve pripisati opsenama uma ili postoji nešto što istinski vreba u opipljivom svetu? Ko bi bolje znao odgovore na takva pitanja od majstora strave – Ričarda Korbena!

            Šta kaže Lavkraft?
The House on the Borderland (1908) -- perhaps the greatest of all Mr. Hodgson's works -- tells of a lonely and evilly regarded house in Ireland which forms a focus for hideous otherworld forces and sustains a siege by blasphemous hybrid anomalies from a hidden abyss below. The wanderings of the Narrator's spirit through limitless light-years of cosmic space and Kalpas of eternity, and its witnessing of the solar system's final destruction, constitute something almost unique in standard literature. And everywhere there is manifest the author's power to suggest vague, ambushed horrors in natural scenery. But for a few touches of commonplace sentimentality this book would be a classic of the first water.

Šta kaže Alan Mur u Predgovoru?
Taj fascinantan čovek i njegovo nezemaljsko delo ne bi smeli biti pokopani, ostati nepredstavljeni na policama knjižara, netraženi u bibliotekama. Niti bi bilo koji znameniti pisac fantastike smeo biti isključen iz kulturološkog zaleđa, da mu ugled skuplja prašinu iz isključivog razloga što je tako dekretom odredio samoproglašeni, svojom koristi usmeren literarni establišment. Pročitajte ovu knjigu, a onda krenite tragom originala.

            Šta kaže dr Ghoul?
            The House on the Borderland je verovatno najčudniji horor roman koji sam pročitao. Nedavno sam mu se ponovo vratio, i moram priznati da i dalje nisam pametan šta da radim s njim. Nosio sam se mišlju da ga uvrstim u ediciju „Poetika strave“, ali previše je prokleto nekonvencionalan i ekscentričan na načine koji su mestimično fascinantni (barem meni i verovatno manjinskom čitateljstvu) ali, mestimično, moram priznati, to postaje opasno izluđujuće proizvoljno u svojim kosmičkim fantazmagorijama, kojom prilikom je izlazak i iz samog horor žanra i prelazak u nešto bliskije Olafu Stejpldonu negoli H. F. Lavkraftu još i ponajmanji problem.
            Prva polovina romana je, uslovno govoreći, klasičan gotski horor sa jezovitom kućom i njenim izolovanim stanovnicima posednutim zlim silama. Međutim, već tu nastaje odmak od konvencije – jer, umesto duhova i demona njih spopadaju nedefinisane svinjolike kreature (!) za koje se do kraja knjige ne sazna šta su i odakle su i kakve veze imaju sa propašću Zemlje i maltene čitavog svemira (ups – spojler!) pred kraj knjige!
     Jedna od fascinantih stvari u vezi s ovim romanom je njegova potpuna nezainteresovanost za konvencionalnu psihologiju, motivaciju, pa na kraju i naraciju. Čovek dođe u zlokobnu kuću o kojoj kolaju jezive priče – eto, tako. Do kraja knjige ostaje nejasno KO je taj čovek zapravo, šta ga pokreće, zašto je uradio ijednu od stvari koje je uradio... Dovede sa sobom i sestru, s kojom je u čudnom, dominantnom odnosu; ona pasivno i ćutke trpi njegova ludila, eto, tako.  
Odjednom krenu da iz obližnje „jame“ naviru svinjolika čuda i napadaju ih, eto, tako. Zašto? Da ih pojedu, pojebu ili nešto treće? Ne se znaje. Tokom čitave prve polovine romana autor ubacuje snažne dvosmislene aluzije da te kreature postoje samo u naratorovoj svesti, da on zapravo gubi razum i da sestra postaje zatočenica tog manijaka, ali kasnije se ispostavi da su te natuknice tu samo eto, tako, ko zna zašto, jer kreature su „stvarno“ tu. Ili možda ipak nisu? Ali to je još uvek „konvencionalni“ deo romana.
            Čekajte da krenu vizije, koje počinju eto, tako, ničim izazvane, iz čista mira, ne kao posledica bilo čega što je narator rekao ili uradio, nego, kažem, eto, tako, because fuck you, that's why! On sedi u sobi i odjednom se u jednom kraju sobe javi „procep“ i kroz njega on počne da vidi neke stvari... A onda kreću predugačke, zamorne deonice u kojima naš narator luta ovim i drugim svetovima kao bestelesni duh, lebdi tamo-vamo i zapaža niz umereno zabavnih kosmičkih fenomena i pojava – ali njihova proizvoljna priroda i niđe-veze veza sa bilo čime postaje izluđujuća, frustrirajuća, a u krajnjoj instanci, povremeno, zaista i dosadna (iako je roman vrlo kratak, jedva nekih 150-ak strana; subjektivni osećaj je drugačiji).
            Ono što je bizarno jeste da bi meni, u načelu, trebalo da imponuje taj aspekt kosmičke strave i da mi to bude draži deo knjige; ali sreću mi kvari njegova totalna proizvoljnost, ali i narativna nezanimljivost, jer u tom delu knjige narator postaje pasivni posmatrač prolaska nesagledivih vremenskih perioda, vekova i milenijuma koji jure oko njega dok on stoji i gleda... i gleda... i gleda... a to vrlo brzo postane zanimljivo koliko i gledanje farbe kako se suši na zidu. OK, za 1908. su svakako bili revolucionarni i neviđeni ti prikazi Sunca koje mahnito juri po nebu s kraja na kraj horizonta a dan i noć se smenjuju u jednoj sekundi; ali nama koji smo milion puta videli te ubrzane snimke dan-noć-dan-noć-itd. stranice i stranice toga i varijacije na to zaista mogu vrlo brzo da dosade.
            Tim pre što, ponavljam, u svim tim pasivnim posmatranjima i pasivnim lebedenjima po ovom i drugim svemirima narator ne vidi bogzna šta zaista upečatljivo i zanimljivo – ne, ne očekujte nešto nalik fanastičnim vizijama koje Lavkraft opisuje (verovatno i pod uticajem ovog romana, ali u daleko unapređenom, superiornijem vidu, na svakom nivou) u pričama kao što su „Snovi u veštičjoj kući“ i „Kroz kapije Srebrnog ključa“. 
Lavkraft je umeo da ode u apstrakciju, u ONOSTRANO, u totalno tuđinsko nezemaljsko, a da održi pažnju i dinamiku i zanimljivost i vizuelno bogatstvo opisanih prizora; Hodžson se hrabro trudi u tom pravcu ali, uglavnom, ili ne uspeva ili ne doseže ni izbliza tako daleko. Ipak, njegovi pionirski pokušaji u tom smislu vredni su hvale i pažnje. Međutim, za ediciju „Poetika strave“ mislim da ću ovog svakako značajnog i dobrog pisca predstaviti kroz njegove kratke priče i novele...
            E, sad – kako je sa svim ovim nakraj izašao Korben?
            Ukratko rečeno, sasvim junački i respektabilno.
            Podrazumeva se – pošto je ovo strip, i pošto je ovo Korben – da će akcija na svakom mogućem mestu biti naglašena, a gde je izvorno nema – izmisliće se (npr. makljaža i jurnjava s irskim seljacima na početku); da će krvopljus biti daleko detaljniji i razrađeniji nego u izvorniku; da će se ubaciti golotinja i tamo gde je u originalu nema ni u nagoveštaju.

            No, mora mu se čestitati što je uspeo da prenese većinu važnih scena iz romana na svoj urođeno genijalan način, sa unikatnim smislom za pompezno i spektakularno i veće od života (što ovaj roman svakako traži!); što je drugu, apstraktniju i dosadniju polovinu knjige uspeo da sažme i očisti od ponavljanja i rastezanja, a da ipak prenese ponešto od kosmičkog ludila i onostranosti; i što je sve to zaokružio na način koji možda jeste nešto konvencionalniji (ludilo!) nego što je to u knjizi, ali barem ova strip verzija ima početak, sredinu, kraj i nekakav privid uzročno-poslednične i konotativne veze između disparatnih događaja, likova i lokacija, što se za roman ne može baš reći.
            Ipak, u zaključku, moram nacrtati ovo: ne treba iz ovoga zaključiti da je Korben nužno unapredio roman, odnosno da je roman slab a strip odličan. Istina je negde oko sredine. Bolje bi bilo reći da je Korben pružio vrednu alternativnu verziju (ili varijaciju) na Hodžsonove teme, filovanu bogatim dozama svoje standardne sklonosti grotesknom ali, takođe, i svojim unikatnim talentom da pruži upečatljive (i vrlo opipljive, telesne) ekvivalente čistog košmara. I jedna i druga KUĆA imaju ozbiljne kvalitete i nezanemarljive mane, i stoga se zapravo odlično nadopunjuju umesto da se uzajamno poništavaju. 
Zato vam preporučujem da ne padate u standardne ograničavajuće ILI/ILI okove, nego da prihvatite I/I filozofiju, tj. da čitate i roman i njegovu strip verziju. I jedan i drugi nude obilje košmarnih ideja i prizora i ludila kakvi moraju da imponuju svakom ljubitelju strave i užasa, a ona se ovde ispoljava u punoj paleti, u rasponu od „najprizemnijeg“ klanja i kasapljenja i krvoliptanja i pesničenja sa čudovištima pa do rečima skoro nedostupnih, neopipljivih kosmičkih vizija onostran svega ljudskog... 

Inače, ovo je drugi od nedavno izašlih albuma iz Darkvudove horor edicije JEZOVNIK. O prvome, posvećenom LAVKRAFTU, već sam pisao na blogu OVDE.



            Ako nekome moje reči i slike nisu bili dovoljni, privju sa prvih 20-ak strana ovog albuma možete pogledatiOVDE.

субота, 18. март 2017.

NAJOČEKIVANIJI NEHORORI 2017

  
Koji su NAJOČEKIVANIJI HORORI 2017? Tu listu sam već nedavno okačio OVDE.
A sad, evo da izlistam i filmove izvan horor žanra koje nestrpljivo očekujem ove godine. Ipak, imajte na umu da su neki od ovih već gotovi i bili su prikazivani na festivalima ili u redovnoj distribuciji, ali još nisu dospeli do nas, ovde; neki svoje premijere imaju u narednim mesecima; a neki nisu još ni počeli da se snimaju i pitanje je da li će biti završeni i prikazani do kraja ove godine.
Uprkos tome, evo čemu se valja nadati u 2017. godini a da nije horor.
Podelio sam ih, grubo, na žanrove.

  DRAME  


Incerta Glòria
Agustí Villaronga

Još jedna mučna drama iz perioda španskog građanskog rata u stilu BLACK BREAD.


Wicked Games
Ulrich Seidl
A narrative feature about two brothers whose past catches up with them.


Happy End
Michael Haneke
With Isabelle Huppert, Mathieu Kassovitz and Jean-Louis Trintignant.
About a bourgeois European family, set against the backdrop of the refugee crisis in Europe.



Playground
(Plac zabaw)
Bartosz M. Kowalski
Final day of school in a small Polish town. It's the very last chance for a 12 year old Gabrysia to tell her classmate that she had fallen in love with him. She sets up a secret meeting and blackmails the boy to show up. But what was supposed to be an intimate talk spins out of control and leads to an unexpected ending.




Loveless
Andrey Zvyagintsev
An estranged couple in the midst of divorce must search for their 12-year-old son when he disappears.


Luxembourg
Myroslav Slaboshpytskiy (The Tribe)
Drama about a jealous policeman working as a watchman in the area sealed off after the Chernobyl nuclear disaster.


Call Me By Your Name

Luca Guadagnino (A Bigger Splash, Suspiria)
With: Armie Hammer, Timothee Chalamet, Michael Stuhlbarg
A young American boy living in Italy in the 1980s has an affair with an older man
Above all a story of first love — one that transcends the same-sex dynamic of its central couple. Guadagnino recreates Elio’s life-changing summer with such intensity that we might as well be experiencing it first-hand.


Queen of Spades
Pavel Lungin
Alexander Pushkin (short story)
Once upon a time, the great soprano Sophia Maier conquered the world with her voice, her beauty and the legend she carefully built around herself. Now only the legend remains- the diva herself hasn't performed for years, nor been seen in the glittering circles of society she once dominated. But the woman who fascinated and thrilled the world for so long would like to crown her career with one more triumph. And she'll use every dirty trick she knows to achieve it.
(Ovo je bilo na FEST-u ali mi je promaklo jer se termin poklapao s UČENIKOM, koji mi se više gledao.)


Beach Rats
Eliza Hittman
Beautifully rendered study of repressed sexuality in un-hip Brooklyn. Frankie, the oh-so-beautiful, oh-so-confused teenage protagonist of “Beach Rats” isn’t much for answering questions. “I don’t know what I like,” he says curtly, if not dishonestly, to the various older men, sought in gay chat rooms, who want to know if they turn him on. And when a hesitantly acquired girlfriend asks him, twice, if he finds her pretty, he pointedly refuses to answer, bouncing the question back at her in a tone that’s both taunting and searching. Writer-director Eliza Hittman has a sensitive ear for the way adolescents reveal themselves through evasion: It’s a tension crucial to this anxious, tactile, profoundly sad study of a young man’s journey of sexual self-discovery and self-betrayal on the luridly faded boardwalks of Brooklyn.


  TRILERI  


Scribe
Thomas Kruithof
A timely political thriller involving a mild-mannered bookkeeper sucked into a nightmare of uncertain loyalties, told with edgy flair.
A lean, edgy drama about an outwardly bland middle-aged factotum hired to transcribe taped conversations that may or may not have been recorded by the French secret service. Set during an election clearly intended to elicit parallels with current right-wing campaigns from Marine Le Pen to Donald Trump, the film, at one time given the unwieldy English title “The Eavesdropper,” boasts the kind of skillfully crafted script that keeps audiences tensely guessing the outcome until the delicious “did that just happen?” denouement.


Eva
Benoît Jacquot
With Isabelle Huppert and Gaspard Ulliel.
A psychological thriller, “Eva” is adapted from James Hadley Chase’s novel which turns on a beautiful, yet lethal woman, to be played by Huppert.


The Beguiled
Sofia Coppola
With: Elle Fanning, Nicole Kidman, Colin Farrell, Kirsten Dunst
During the Civil War, an injured Union soldier hides out in a girls’ boarding school in Mississippi. A seductive thriller, remake of Don Siegel’s 1971 Western melodrama.


Brawl in Cell Block 99
S. Craig Zahler (Bone Tomahawk)
With Vince Vaughn, Don Johnson and Udo Kier.
A former boxer becomes a drug runner, only to end up in prison and forced to fight for his life.


We Go On
Andy Mitton and Jesse Holland (Yellowbrickroad)
A Los Angeles loner afraid of death discovers a little more about the afterlife than he wanted. A supernatural drama that will intrigue genre fans while frustrating those looking for more formulaic horror-content payoff. This uneven but watchable effort stars Clark Freeman as a man of many phobias whose terror of death leads him to find out more about the afterlife than he wanted. Given a significant boost by Annette O’Toole’s turn as the protagonist’s stubbornly protective mother.


Based on a True Story
Roman Polanski
Written by Olivier Assayas.
Eva Green and Emmanuelle Seigner
Eva Green is a writer who becomes involved with an obsessive admirer.


You Were Never Really Here
With Joaquin Phoenix
About a war veteran whose attempts to save a young girl from a sex trafficking ring go horribly wrong.


Suburbicon
George Clooney
Screenplay by Joel and Ethan Coen
With Matt Damon, Julianne Moore, Oscar Isaac, Josh Brolin, Woody Harrelson
After a home invasion results in an act of terrible violence, a suburban family in the 1950s sink into a swamp of betrayal, adultery and blackmail.


Under the Silver Lake
David Robert Mitchell (It Follows)
With Andrew Garfield
A contemporary LA noir about the kidnapping of a billionaire’s daughter.


Three Billboards Outside Of Ebbing, Missouri
Martin McDonagh (In Bruges)
With: Frances McDormand, Woody Harrelson, Sam Rockwell, Peter Dinklage
When her daughter is murdered and the local cops seem to cover up the death, a Missouri woman goes to war against the authorities.


Glass Garden
Shin Su-won (Madonna)
A brilliant artificial blood researcher retreats from the world into her special green house. Meanwhile a novelist caught in a plagiarism scandal uses her as inspiration for a novel…


V.I.P.
Park Hoon-jung (New World)
The son of a high-ranking North Korean officer is suspected of being a serial killer. Agents from the North and South, as well as Interpol, work together to track him down.


Fabricated City
Park Kwang-hyun (Welcome to Dongmakgol)
A jobless youth is an ace gamer, but when he’s framed for murder, he needs the help of a hacker to uncover the mystery behind his predicament.
---Ovo je pre neki dan procurilo, pa više nije “očekivan” nego je već privoljen na hard; ali neka ga i na ovoj listi, za putokaz drugima.---


Bad Day for the Cut
Chris Baugh
A pile of corpses paves the way to revenge for a seemingly mild-mannered but resourceful-when-roused protagonist in “Bad Day for the Cut.”  Accomplished debut feature manages to develop its own distinct flavor while fitting snugly into the general tradition of latter-day U.K. gangster pics, with their rueful humor, colorful characters and realistically nasty violence.

  
Asura: The City of Madness
Kim Sung-soo
Splattered with Korean aesthetics of troglodytic violence and blighted by irredeemable characters, Kim Sung-soo’s “Asura: The City of Madness” is a stygian crime thriller with a jaundiced eye at South Korean regional politics. The cesspool of venal humanity does exert grisly fascination, and those who can contain their moral disgust will become invested in the antihero — a crooked cop caught between the devil and the deep blue sea. In Indian mythology, Asuras are demigods consumed by negative passions, perpetually fighting each other. This couldn’t be a better allegory for the protagonists, whose thirst for money and power turn the world into a living hell.
 I ovo odavno ima da se skine, ali dostupni titl je još uvek previše mehanički i sirov da bi se s njim moglo gledati. Ako neko naleti na dobar titl, nek javi.
  

  SF  
  
Blade Runner 2049
Denis Villeneuve (Arrival)
With: Ryan Gosling, Harrison Ford, Robin Wright, Mackenzie Davis, Jared Leto
Sequel to Ridley Scott’s sci-fi classic, picking up with an older Deckard thirty years on from the events of the original. Original writer Hamilton Fancher co-writing the script with Michael Green. Villeneuve’s bringing regular collaborators Roger Deakins and Johan Johansson, so it should look and sound amazing.


High Life
Claire Denis
With Robert Pattinson, Patricia Arquette, Mia Goth
Ambitious sci-fi film written by novelist Zadie Smith and Nick Laird. A father and his daughter struggle to survive in deep space where they live in isolation.


Ghost in the Shell
Rupert Sanders
Scarlett Johansson and Takeshi Kitano
In the near future, Major is the first of her kind: A human saved from a terrible crash, who is cyber-enhanced to be a perfect soldier devoted to stopping the world's most dangerous criminals.


Valerian and the City of a Thousand Planets
Luc Besson
Dane DeHaan
Passion-filled adaptation of the 1960s-era French comic book about the titular time-traveling hero.


Life
Daniel Espinosa (“Safe House”)
With: Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds
The crew of the International Space Station find a sample that might be the first proof of extra-terrestrial life.


Mute

Duncan Jones (Moon)
With: Alexander Skarsgard, Paul Rudd, Justin Theroux, Sam Rockwell
In near-future Berlin, a mute bartender searches for a woman, aided and abetted by a pair of sinister American surgeons. A “Blade Runner”-style near-future noir compared to “Casablanca” and the like.
  


  LUDILA  


Anti-Porno
Sion Sono
Fashion star Kioko is bored in her apartment, waiting for a meeting with Watanabe, a chief-editor who’s interviewing her. In the domination and humiliation game between her and her assistant, the roles will slowly invert. Unless it’s all fiction?
A film commissioned by Nikkatsu to relaunch its Porn Novel, which the author turned into a personal and metaphysical exercise.


JoJo’s Bizarre Adventure
Takashi Miike
Live-action, based on the manga by Hirohiko Araki, is slated for the summer. In a world where people can wield psychic avatars, a family must unite to track down a serial killer
  

Karaoke Crazies
Kim Sang-Chan

This debut feature is a charmingly off-beat drama about a failing karaoke bar and the band of oddballs who make it their home. First off, Sang-Chan deserves credit for executing a film which boomerangs through tones so fast it will give you whiplash. At one moment the film will have you giggling at its ridiculous nature, at others there’s an eerie intensity, but even when the film seems to throw its lot in with violence and rape, and it still swings back around to family-friendly joviality.


Vox Lux
Brady Corbet (Childhood Of A Leader)
With: Rooney Mara, Jude Law
Drama set between 1999 and the present day, following a young woman as she rises from tragedy to become a pop superstar.



The Insects
Jan Svankmajer
Svankmajer is loosely basing his latest on a 1922 play from the Čapek Brothers, From the Life of Insects, combined with Kafka’s The Metamorphosis. Six amateur thespians meet in a pub to rehearse the Čapeks’ play, while their personal stories interweave with those of the characters they are about to play. The play is intended as a backdrop in which insects behave like humans and humans like insects.

  
David Lynch: The Art Life
Jon Nguyen
Nominally focused on the celebrated filmmaker’s lesser-known dabblings in fine art, “The Art Life” emerges as a more expansive study of Lynch’s creative impulses and preoccupations, as he relates first-hand the formative experiences that spurred and shaped a most unusual imagination. Essentially a feature-length interview with the man himself, with no other on-screen contributors, the doc’s simplicity of form belies the kinks and curves of its portraiture.


King of the Belgians
Jessica Woolworth & Peter Brosens (LA CINQUIEME SAISON).
A hair-raising quintessence of European fairy tales around the last king of the Belgians lost in the Balkans.
Belgian king Nicolas III and his small retinue – including a war-correspondent-turned-documentarian – are stranded in Turkey just as Wallonia secedes from Belgium. Smuggling themselves out of Istanbul disguised as folk singers, the crew set out on an anthropological voyage across the Balkans.


Let the Bodies Sunbathe!
Helene Cattet and Bruno Forzani (Amer i The Strange Color of Your Body’s Tears)
Based on a 1971 novel by famed French crime novelist Jean-Patrick Manchette, Let the Bodies Sunbathe! (aka Corpses in the Sun) seems to center around the eccentric hostess of an isolated locale who comes in contact with stolen gold in a van as well as policemen on the trail of the perpetrators that attempted to steal it.


Rag Union
This Russian absurdist tragicomedy about a punk nihilist collective enjoyably showcases a livewire quartet of young thesps.
Not many films open in utero, with a fetus smoking a cigarette as his older self intones in voiceover, “I have a terrible memory,” but “Rag Union” isn’t like many films. A bracing tragicomic punk fable, it also features homemade bombs, beetle-eating and parkour, along with one of the sparkier and more committed no-name ensemble performances of recent memory. The brainchild of Gen-X debut scripter-helmer Mikhail Mestetskiy, this is textured firecracker filmmaking, where the stunts and surreality can’t wholly drown out a howl of rage over the political status quo in contemporary Russia. Genuine entertainment value.