Recently watched:
Duvidha (1973)
First film I've seen by the Indian auteur Mani Kaul, who is apparently very much appreciated in art-house circles. Based on some kind of folk-tale, about a man who has to leave his home only two days after getting married, and a ghost who comes to the house, pretending to be him. The ghost is even able to get the newlywed bride pregnant!
This is an extremely slow-paced film. Stalker is Fast & Furious compared to this. Not that I mind. At best a very beautiful and moving experience, but sadly the acting leaves quite a bit to be desired. And as much as I hate to say this, the clearly very limited resources in producing the film also are quite obvious, and not in a good way -- for example, the dialogue is clearly overdubbed later in studio, quite jarringly, I'm afraid.
Still, a fascinating film, with beautiful Rajasthani folk music and a few memorable shots. Definitely won't be of interest to everyone, but I'm glad I got to see this.
Couple of Japanese films:
Noroi (The Curse), 2005
Found footage horror. A low-rent journalist follows at first seemingly unrelated weird incidents. Slowly but surely, it becomes apparent that the entity behing it all is the demon Kagutaba. This one seems to pop up often on lists of overlooked found-footage horror. It's quite decent, but nothing that special. If you're a fan of the genre, go for it. Otherwise, take it or leave it.
And ...
Helter Skelter, 2012
About supermodel and "it-girl" of the moment Lilico, who's on the cover of basically every fashion magazine in japan. The problem: the dodgy plastic surgery that Lilico has had practically on every part of her body. To no-one's surprise, Lilico's body begins to decay from within and body horror ensues.
A western filmmaker would probably be tempted to give all this a feminist spin and present Lilico as a victim of some kind. Not Mika Ninagava (who is a woman herself, and as a fashion photographer well acquainted with this subject matter): Lilico is possibly the vilest, most disgusting protagonist I ever remember seeing. She sexually attacks, abuses and humiliates her assistant, uses sex to manipulate the assistant's boyfriend to conduct disfiguring acid attacks on competing models. She has completely cut off her own sister, apparently simply because she is a bookish, unglamorous girl-next-door. In every scene, she seems to manage to find the way to act in the most childish, narcissistic annd entitled manner possible. Pretty horrendous stuff, in the best possible way ofc.
The main problem with the film is its apparent confusion in what it wants to be. There's body horror at times, lots of "social media and fashion industry is shallow ok?" stuff, lots of weird sex scenes for no clear reason, even some police procedural stuff (cops investigating the dodgy plastic surgery clinic). Certainly an interesting curiosity, but I couldn't help thinking that someone like, say, Sion Sono would have done a lot better with this material.
The Boogeyman, 2023
Totally formulaic, predictable mainstream horror movie. Not a bad one by any means, and I enjoyed it for what it's worth. Starring Sophie Thatcher, who plays the young Natalie in Yellowjackets.
Ciao Manhattan, 1972
What a mess of a film. Apparently two failed film projects mashed together, in order to make bank on Edie Sedgwick's death. One part of the film is a fictional depiction of a burned out socialite, based on Sedgwick, who at the last minute ended being played by Sedgwick herself. So Edie Sedgwick plays a fictional character based on herself in this film. Or something. She is topless for most of her scenes here, and yeah, she had a beautiful figure and nice breasts. Good luck trying to enjoy them though, as that would require getting past the massive second hand embarrassment, and even pity, you feel for anyone involved in this film.
Towards the end there is some 60's acid-casualty UFO/CIA/surveillance/conspiracy/who gives a fuck -stuff.
I guess some people admire the whole Factory scene and the people involved in it, Is this actually a part of that whole scene, or just some kind of barnacle on its underside? Again, who gives a fuck. I guess as a cultural artefact this film isn't completely devoid of interest, and as such I'm glad I've seen it. That's about it.
