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Faust: Love of the Damned

You know in action films when there’s that scene where two dudes get in a fight, and after one dude has kicked the other dude’s ass, he picks the fallen opponent up, buys him a beer, and they become friends? Well, that’s sort of what it’s like to watch Faust: Love of the Damned. This movie will sucker punch you in the face, knee you in the groin, and generally beat the crap out of you, but in the end, somehow, you’re willing to shake hands with it and help it rescue a damsel from some secret society or something. At least that’s how I felt about it, so you better get ready for another one of those reviews where I spend 99% of the time talking about how terrible the film is, only to say that I thoroughly enjoyed it come the final paragraph.

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Female Prisoner Scorpion: Jailhouse 41

Shunya Ito’s first entry in the Female Prisoner Scorpion series, Female Prisoner #701: Scorpion, was essentially a women-in-prison picture that combined the action, violence and titillation typical of that subgenre with a striking number of audacious artistic touches. Ito’s second entry, Female Prisoner Scorpion: Jailhouse 41, was a whole other animal entirely. Emboldened, perhaps, by the success of the first film and the amount of creative leeway given him by Toei, Ito this time largely dispensed with genre trappings and delivered a film that was even more obviously the product of a singular directorial vision. Relentlessly bleak and harrowing, yet suffused with a desolate, breathtaking beauty and daring sense of visual invention, Jailhouse 41 is like a nightmare you don’t want to wake up from.

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Female Prisoner #701: Scorpion

You might think that the women-in-prison genre is so rigid in its conventions that it wouldn’t allow room for much experimentation, but leave it to the Japanese to prove that assumption wrong. The first three films in the Female Prisoner Scorpion series, all of which were directed by Shunya Ito, stand out for me as the pinnacle of artistically-rendered 1970s Japanese exploitation. Each film is stuffed full of surrealist imagery, imaginative compositions and breathtaking visual lyricism. Of course, being that they are women-in-prison films, they are also stuffed full of shower scenes, lesbianism and graphic violence. But, unlike the previously discussed Norifumi Suzuki, who was content to just let the sleazier elements of his movies sit uneasily alongside his occasional moments of cinematic inspiration, Ito somehow managed to make all of those elements blend together into a more or less cohesive whole.

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Felidae

The German-made animated feature Felidae has, at least at first glance, the slick commercial look of the type of Hollywood productions we’re used to seeing from the likes of Disney and Don Bluth. If you’re anything like me, that might prove to be a bit of a stumbling block, because, being that I’m no big fan of mainstream animation, that’s not the type of cinematic experience I tend to seek out. And indeed, during its first few minutes I had some serious doubts about whether I was going to enjoy Felidae. Then came the moment when the film’s protagonist, a feline detective by the name of Francis, stumbles across his first horribly mutilated kitty corpse, and I quickly realized that there were quite a few shades of difference between Felidae and Fievel Goes West.

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