Island of Death still has the power to shock and entertain in a hilariously debased, grubby way. Twists are heaped upon perversions until the whole thing threatens to collapse into one giddily irredeemable pile of filth.
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On the surface, The Wicker Man is the story of one police constable’s attempt to scrooge up a town’s May Day revelries. Delving deeper into its waters, however, is aided by a few key texts that informed the film.
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Continuing my trip through the BFI Flipside series on Diabolique with Deep End, a meditation on disappointment, obsession, and the uneven bargain between men and women during the Sexual Revolution.
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Unpacking Penda’s Fen can seem at first overwhelming. There is so much going on that one scarcely knows where to start, though the most common point is wondering how it got made in the first place.
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Mars Men kicks off with a little kid stumbling upon a hidden cave in which he finds a small statue of Yud Wud Jaeng. The kid insists on calling him “Hanamajin”, and the rest of the cast follows suit.
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Inframan is, in many ways, a perfect film, in that it is resoundingly successful in achieving what it sets out to do. Every one of its scenes could be bullet-pointed with the word “SEE!” in front of it.
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Examples of Egyptian filmmaking date back to the beginning of the 20th century, with Cairo becoming a hub of commercial filmmaking in the Arab world with the introduction of sound.
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