Well, i missed the new TROMA in the end. I did not see much, in fact (went mostly for the music and the pleasure of showering
thee old Whitehouse bastards with beer), but i can at least "review" quickly a few things:
Elevator Movie (Zeb Haradon / USA / 2004 / 95 minutes / 16mm, B&W)
An elevator that stops and won't work again. Inside, a nerdy 26 years old (anal-)sex obsessed and virgin guy + a christian born-again ex-slut with her bag of food. Hours, days pass by... WTF happens, i won't tell you. What i'll say is that this movie has got a very low concern for coherence, which is totally motivated! For instance, at some point, the guy has a hammer duct taped to his arm, for no reason whatsoever but the director's own unexplained will... In brief, it was some funny shit that confused all the arty people trying so hard to get some meaning out of it.
After The Apocalypse (Yasuaki Nakajima / USA / 2004 / 72 minutes / 16mm, B&W).
Quite a different genre and clearly quite a different ambition: After the Apocalypse's scenario is contained in its title, just add TEH ART over it. So, pros would be background, image, actors. Contras is this constant hesitation between poetry and the classical survival-of-a-few-in-a-world-of-ruins plot. Since, for whatever reason, all characters happen to be voiceless, the movie resembles some sort of post-nuclear
Guerre du Feu (fight or collaboration, possession of the (only) woman…) - except for the fact that in the latter, the cavemen didn't dare eating each other...
Also saw, with
your favourite High Priestess who's going to tell you all a lot more about it :jump: ,
the programm of experimental short movies, that happened to be surprisingly not bad… Best of them being, of course,
the shortest with the longest title.
Annoying arty thing: why do loads of movies claim filiation with Lynch's early works (like those two up there) when they have about nothing in common - apart from the limited means of production?
