Classic Cult: Animated

Most people associate animation with children’s films and Disney. However, this does not do justice to a medium that has the potential to create far more captivating and engaging pieces of cinema than are generally offered by live-action films. It has the ability to explore themes and ideas in an artistic style that isn’t bound by the constraints found in conventional filming.

Cult animation has generally been split into two categories: the bizarre and the adult, which for many will appear too queer to warrant any appreciation. However, there are a number of cult films which should be watched by anyone with an interest in this undervalued art form.

Almost all of the films that The Beatles produced during their career have gone on to achieve some form of cult status, none more so than Yellow Submarine (1968). The fantasy musical features animated versions of the band as they go on a surreal and psychedelic journey to save the people of Pepperland from the music hating blue meanies. With a stellar Beatles soundtrack and wildly, lush images, this is a delight for both young and old. La Planète Sauvage (Fantastic Planet, 1973) by René Laloux is a similarly dreamlike venture into the world of science fiction. In a world where human beings are treated as pests by the giant Draags, one man, Terr, stands up to rebel against humanity’s oppression. Full of vivid imagery, its combination of strong themes of intolerance and unconventional artistry makes it a powerful piece of cinema.

Within the more adult-centred cult animation, one of the stand-out films has to be Heavy Metal (1981). Based on the fantasy and science fiction stories published in Heavy Metal Magazine, it features a universe of graphic violence, passionate fantasies and terrifying evil. Often played at midnight screenings and providing the inspiration for the South Park episode “Major Boobage”, its superb 80s soundtrack helped cement it as a firm cult favourite. Ralph Bakshi’s animated comedy Fritz the Cat (1972) was the first animated film to receive an X rating in the US. Following the hedonistic outings of a free loving cat during the 70s, its satire on the America of the time is hilarious, yet undoubtedly controversial. With the ability to at some point offend just about anyone, when taken with a pinch of salt it serves as great entertainment.

Finally, Bruno Bozzetto’s Allegro non Troppo (1976) is a parody of Disney’s Fantasia. A combination of live-action and different styles of animation, it sets classical music to stories ranging from the comic to the tragic. With an inventive use of animation and actor interaction, it remains an innovative example of the genre and a worthy alternative to the Disney equivalent.

This only scratches the surface of a genre that contains a plethora of fantastic films and covers a vast range of styles and techniques, but for the cult enthusiast, it is at least a decent place to start.

Taken from The Student, published Tue Mar 13th 2012.

Carnage Review


Roman Polanski’s adaptation of the stage play God of Carnage by Yasmina Reza is a scathing satire that deconstructs the distasteful nuances of the bourgeoisie. An awkward yet intelligent comedy, it caricatures middle-class America through its use of top performers at the head of their game.

Following a playground dispute between two 11 year-old boys that ends in the ‘disfigurement’ of one by a stick, the parents are brought together in an attempt to establish peace between both parties. What begins as a brief visit delivered with politeness through forced smiles, quickly descends into childlike verbal warfare and petty resentment.

Polanski has made no effort to redefine Reza’s play by altering settings or exploring the various avenues made possible through its transition to film. Instead, the focus remains on the integrity of the performances; a combination of sharp dialogue and impressive acting. Though perhaps the characters are a little too clichéd, this appears necessary for the conflicts of interests and cascading chaos that ensues when civility deteriorates.

A slow burner, the film’s opening tension is painful to watch, yet the pay off is definitely worth it. As inhibitions are lost – thanks predominately to the aid of a single malt – and integrity thrown out the window, the niggling criticisms that follow are hilarious. Christoph Waltze’s turn as a sardonic misogynist delivered in deadpan fashion is fantastic, whilst Jodie Foster’s part as the melodramatic victim constantly seeking recrimination is equally brilliant.

However, one cannot help but feel that Carnage is far better suited as a play. From its simple setting to archetypal characters, it retains an essence that seems to belong in the realm of theatre. Here, existentialist themes can be explored without being criticised for being overly pretentious, and the strong personalities appear more appropriate. The unrealistic circumstance in which the two couples find themselves at each other’s throats, though entertaining, doesn’t quite transfer to film.

By remaining faithful to the spatial and temporal reality of the theatre production, Polanski limits himself to a piece that is gratingly uncomfortable, but not always in a good way.

Taken from The Student, published Tue Feb 2nd 2012.

Politics or Perfection?

A look at this year’s questionable Oscars nominations.

It is around this time each year that people complain about the alleged ‘terrible’ Oscars nominees. 2012 has been no exception, with many outwardly disagreeing with the Academy’s choices. However, although it has been heralded as one of the worst years for cinema in a long time, it is undeniable that there have been films far superior to those nominated that haven’t received the recognition they duly deserve. This is not a new trend but a factor of the Academy Awards that has taken place since their inception in 1929.

The Oscars nomination process is one that clearly adheres to a number of set rules and principles. It is governed by a political process that means certain types of films can never make it to the short list and the same people can’t win on numerous occasions. It is arguable that were a director to jump through the hoops and make a film that ticks all the right boxes, they would have no problem garnering that much sought after Oscars nod. Being the most esteemed award to be offered to members of the film community, you would presume it should commend originality, artistic merit and exceptional acting skills, however, more often than not, those films that are placed in the limelight are simply safe choices that are average at best.

The top films of the previous year can be split into two main categories. The first illustrates a celebration of nostalgia, featuring allusions to the past and the supposed Golden Years of cinema. It is this category that has captured the hearts of the Academy and therefore landed this year’s Oscars nods. Hugo, which leads the pack with 11 nominations, is a commemoration of the work of George Méliès, much forgotten following his decline as a result of the first World War. Similarly, The Artist, which is just behind with 10 nominations, is a homage to the silent era and captures the devastating effect the advent of the talkies had on silent actors. Woody Allen’s Midnight in Paris, with 4 nods, perhaps best encapsulates the ethos of this year’s nominations as it delightfully explores the disenchantment of one’s own era and longing to be part of artistic ages past.

The second group can be collated due to their unconventional intensity that often treads a fine line between gratuity and tastefulness. Perhaps due to the controversial nature of their content these films have been largely overlooked, despite featuring some of the best performances of the year. It is surprising that We Need to Talk About Kevin received no attention despite Tilda Swinton giving arguably her finest performance and an exquisite cinematography that blended the beautiful with the grotesque. Similarly, Michael Fassbender’s performance in Shame is flawless in its delivery, yet due to the tender subject of the film, never stood a chance.

In the Best Foreign Language Film category, Pedro Almodóvar’s The Skin I Live In received no recognition despite being one of the best films of the year, let alone one of the best foreign films. However, again due to the controversial nature of its content it is perhaps understandable that it was never considered.

Olivia Coleman’s turn in Tyrannosaur was a brutal portrayal of a woman trapped in an abusive marriage and yet she didn’t receive any notice. Ryan Gosling in the graphic Drive, Australia’s Snowtown, Britain’s Kill List. These were all brilliant films but never had a look in due to the constraints placed on what constitutes an ‘Oscar Worthy’ film.

There were, however, a number of surprising omissions that can’t be disregarded due to contentious content. Joseph Gordon-Levitt, who gained a Golden Globe nod for his part in 50/50 was nowhere to be seen, as was Charlize Theron for Young Adult. The Adventures of Tintin: The Secret of the Unicorn, infinitely better than Kung Fu Panda 2 yet perhaps dismissed due to Spielberg’s numerous nominations for War Horse. Lars Von Trier’s Melancholia, most probably forgotten due to the excitement over the director’s ill advised Nazi comments.

So far it appears that the only awards ceremony that seem to have acknowledged the year’s truly best films is the London Critics’ Circle Awards. Unafraid to buck the trend, they heralded the real deserving films. It remains puzzling how films as trite as Extremely Loud & Incredibly Close or as emotionally manipulative as War Horse can be given any attention yet this seems to be the way of the Hollywood circle. One piece of advice: don’t go looking to the best picture nominees for a decent piece of cinema.

Taken from The Student, published Tue Jan 31st 2012.

Classic Cult: Silent

With The Artist already receiving huge critical acclaim despite the awards season having only just begun, it seems appropriate to look back at some of the most influential silent films that have recently received a surge of interest.

The early shorts that emerged during cinemas infancy are extraordinarily insightful, and, despite technical limitations, illustrate incredible ingenuity and artistic skill. Georges Méliès’ La Voyage dans la Lune which features the iconic image of a spaceship landing in the eye of the moon, was recently alluded to in Martin Scorsese’s Hugo and remains a must see for anyone with an interest in cinematic history. Spanish director Luis Buñuel’s surrealist film Un Chien Andalou is another short that has received cult status. Presenting a series of tenuous scenes that attempt to depict dream logic in narrative flow, its haunting representation of a woman’s eye being sliced in half has become famous.

Horror was a popular genre during the silent era and was dominated by German expressionist directors. Films such as F.W. Murnau’s Nosferatu, which remains a chilling cult classic, while Robert Wiene’s The Cabinet of Dr Caligari is stunning with its elaborate sets and dreamlike sequences. It has also been cited as the first film to introduce the ‘twist ending’.

Silent comedy is best known through the work of Buster Keaton and Charlie Chaplin. While The General is often cited as Keaton’s best film, it is exceeded by Sherlock Jr. in terms of impressive special effects and unconventionally humorous situations. Chaplin, known predominately for his endearing character ‘The Tramp’, created heart-rending comedy that is perhaps best realised in his film City Lights.

Fritz Lang’s Metropolis is the first true science-fiction masterpiece in film. Its exploration of the social crisis between workers and owners, through a dystopic vision that mirrors the capitalism of Marx and Engels, is both powerful and unforgettable. The precursor to all modern sci-fi, it returned to the public eye in 1984, when Giorgio Moroder released a restored version featuring a soundtrack from artists including Freddie Mercury, Jon Anderson and Adam Ant.

The best love story of the silent era has to be Murnau’s Sunrise: A Song of Two Humans. A poignant depiction of a married couple that looks at the fragile nature of human relationships, it offers a bit of everything, making it an outstanding piece of cinema.

Perhaps one of the most enduring scenes in silent film can be found in the dramatisation of the mutiny that took place on board the Russian battleship Potemkin in Sergei Eisenstein’s Battleship Potemkin. The massacre of civilians on the Odessa steps is as iconic as it is horrendous and is paid homage to in many modern classics.

However, the finest silent film of all time has to be Carl Theodor Dreyer’s The Passion of Joan of Arc. A depiction of the trial, imprisonment, torture and execution of Joan of Arc, its extreme close-ups featuring actors without make-up and incredible performance from Renée Jeanne Falconetti make it one of the most harrowing films of all time.

Taken from The Student, published Tue Jan 24th 2012.

Subdued Gervais leads monotonous Golden Globes

Ricky Gervais led an evening of celebrations last night for the 69th Golden Globe Awards, held at the Beverley Hilton, Los Angeles.

The British comedian returned to host the show for his third time; something of a surprise given the numerous complaints he received from celebrities he targeted last year.

However, this year’s awards saw a considerably more subdued Gervais, leaving many feeling let down after his audacious performance 12 months ago.

His attacks seemed more focused on the awards themselves which he claimed lacked the esteem of the Oscars, instead being to them, “what Kim Kardashian is to Kate Middleton – a bit louder, a bit trashier, a bit drunker.”

The overall result was a ceremony that lacked the excitement and controversial appeal that made last year so enjoyable. Instead, generally lacklustre and humdrum speeches which listed countless people that needed to be thanked made for a somewhat monotonous affair.

The awards themselves provided few surprises, with The Artist picking up best motion picture – comedy or musical, best score and best actor – comedy or musical for Jean Dujardin.

The Descendants also received notable recognition, being named best motion picture – drama and George Clooney being awarded best actor – drama.

The other major acting awards went to Meryl Streep for her portrayal of Margaret Thatcher in Iron Lady and Michelle Williams for My Week with Marilyn.

Singer Madonna was awarded best song for ‘Masterpiece’ which features in her directorial debut W.E.

Christopher Plummer won the best supporting actor award for Beginner’s and Octavia Spencer won best supporting actress for The Help.

The best director gong went to Martin Scorsese for Hugo, his first venture into the world of 3D and children’s cinema.

Best screenplay was awarded to Woody Allen for Midnight in Paris whilst Steven Spielberg’s The Adventures of Tintin: The Secret of the Unicorn won best animation.

Asghar Farhadi’s A Separation continued its winning streak picking up the award for best foreign film.

Morgan Freeman was awarded the Cecil B. De Mille award, given by the Hollywood Foreign Press Association for outstanding contributions in the world of entertainment.

Presented by dame Helen Mirren and the iconic Sidney Poitier, Freeman announced in his speech, “it has been said that if you do what you love, you’ll never have to work a day in your life. So for the past 45 years or so, I’ve never had to work. My passion has always been acting.”

Evidently moved by being handed the accolade by Poitier, he referred to him as his “guiding beacon in life,” proclaiming that in his household, it will not just be known as the Cecille B. De Mille award, but the, “Sidney Poitier award” as well.

With the awards season now in full swing, everyone is looking towards the Oscars which will take place next month. Last night’s winners provide interesting possibilities for the upcoming awards as the Oscars do not have separate categories for drama and comedy or musical. It therefore stands that both The Artist and The Descendants have considerable potential in landing the top prizes.

Taken from The Student, published online Mon Jan 16th 2012.

The Artist dominates Critics’ Choice Awards

The Critics’ Choice Movie Awards kicked of the Hollywood awards season last night, with silent film The Artist picking up a number of the big prizes.

A film that has made a considerable impact since it premièred at Cannes last year, it walked away with the evening’s top award for best picture as well as best score, best costume design and best director for Michel Hazanavicius.

Accepting the honour, Hazanavicius joked in his speech, “I made a silent movie. I don’t like to speak so much.”

The other film to receive notable recognition was Tate Taylor’s adaptation of the 60s’ civil rights movement novel, The Help. It received a number of the key acting accolades with Viola Davis winning best actress, Octavia Spencer winning best supporting actress and the cast being honoured with best acting ensemble.

The other big winners were George Clooney, who received the best actor award for his performance in The Descendants, Christopher Plummer, who won best supporting actor for Beginners and Thomas Horn, who was recognised as best young actor/actress for Extremely Loud and Incredibly Close.

Despite being nominated for 11 awards, Martin Scorsese’s Hugo only received a single honour, for art direction.

However, Scorsese was also presented with the music and film award given to those who have, “heightened the impact of film through the brilliant use of source and soundtrack.”

Sean Penn was presented with the Joel Siegel award, which honours those who understand that the greatest value of a celebrity is as an enhanced platform to do good works for others. In the aftermath of the Haiti earthquake on January 12th2010, Penn founded the J/P Haitian Relief Organisation which raised money and awareness following the disaster.

Other winners included Drive for best action, Bridesmaids for best comedy, Rango for best animated feature, Moneyball for best adapted screenplay, The Girl with the Dragon Tatoo for best editing and Harry Potter and the Deathly Hallows: Part 2 for best sound and makeup.

The CCMA’s have come to be a fairly reliable indicator for Oscar winners, providing an impressive correlation between award winners in previous years. With The Artist and The Help dominating the field, they stand in considerable contention for the top spot next month.

Taken from The Student, published online Fri Jan 13th 2012.

Classic Cult: Christmas

Christmas is a time for family, fires and forgiveness, and no more is this apparent than in the films televised during December each year. Endless showings of Toy Story and Love Actually illustrates the public’s fundamental desire to see something light hearted and fun, whilst also managing to capture the Christmas spirit. However, for the cult enthusiast, there are a multitude of options which allows for alternative viewing, so long as you don’t rely on the TV guide to make it happen.

Regularly featuring on lists of worst films ever made, Santa Conquers the Martians (1964) is an alternative Christmas tale that sees Santa kidnapped so he can bring Christmas joy to the people of Mars. Featuring a young Pia Zadora and one of the most entertaining attempts at creating a polar bear in cinema, it remains a great cult classic. For fans of The Flaming Lips, Christmas on Mars (2008) is a definite must see. Written and directed by the band’s frontman Wayne Coyne, and featuring the entire band in the cast, this is arguably the most psychedelic science-fiction Christmas feature around. Containing an almost indecipherable plot and frequent bouts of superfluous colours and foetuses, Christmas on Mars epitomises cult cinema.

A Muppet Christmas Carol would be the obvious film from the Jim Henson Company to watch at this time of year, yet they boast a number of other great Christmas features. Most notable of these is made-for-TV movie The Christmas Toy (1986). In a world where toys play when people aren’t watching, but who are frozen forever if caught out of their normal place, Rugby the plucky tiger plush toy is on a mission to try and be this year’s Christmas present, so he can remain the favourite toy for another year. With more than a passing similarity to Toy Story, it is undoubtedly one of the best low-key Christmas family films. Babes in Toyland (1986) is another television film and features all the necessary elements for a top notch cult film: a young Drew Barrymore, Keanu Reeves, singing, nursery rhyme characters, a villain who lives in a bowling bowl and Pat Morita (aka Mr Miyagi) as the Toymaster. Despite being a relatively atrocious film, it remains entertaining nonetheless.

Horror is a genre which dominates cult Christmas films, from the slashers of the ’70s and ’80s to more recent attempts at bringing a scare factor to the festive season. Some of the classics include Black Christmas (1974), Christmas Evil (1980), Gremlins (1984), Santa’s Slay (2005) and Jack Frost (1997). However, Silent Night Deadly Night (1984) is one that particularly stands out. The development of the lead character, who becomes increasingly psychotic after witnessing the massacre of his parents, justifies it as one of the better horror Christmas classics.

Good cult Christmas films have been relatively sparse in recent years, however, Jalmari Helander’s Rare Exports: A Christmas Tale (2010) breaks the mould with its slick combination of comedy and horror. A tongue-in-cheek film that looks at the ‘secret’ behind Santa, it is an entertaining foray into the alternative Christmas story.

Remembered for its iconic line, “You’ll poke your eye out,” A Christmas Story (1983) is a coming of age story that rivals Home Alone. Following a nine-year-old boy named Ralphie, who despite the best efforts of everyone around him, does everything in his power to ensure he gets a Red Ryder BB Gun for Christmas. Watchable time and time again, it is one of the top cult comedies to see at this time of year.

Finally, no cult Christmas is complete without Scrooged (1988). It’s fantastic blend of horror and comedy, starring Bill Murray as a conceited, cynical TV executive, makes it the first stop for anyone looking for alternative Christmas viewing. There have been countless productions of A Christmas Carol but few are as original or entertaining as Richard Donner’s adaptation.

There is no need for anyone to watch endless re-runs of overplayed and clichéd films at this time of year. The alternative possibilities available will provide enough entertainment to far exceed the festive period. It simply remains a difficulty as to where the best place is to start.

An expanded version of an article first published in The Student, Tue Dec 6th 2011.

Las Acacias Review


Following its success at Cannes earlier this year, Las Acacias has gone on to impress film festival audiences the world round. For a directorial debut, Pablo Giorgelli creates an astonishing piece of cinema that isn’t afraid to break modern conventions.

The film follows Rubén (Germán de Silva), a truck driver who has spent many years travelling the lonely roads of South America. On one of these trips he agrees to take a woman, Jacinta (Hebe Duarte), from Paraguay to Buenos Aires as a favour for a friend. What he doesn’t realise is that Jacinta has also brought her five-month-old baby, Anahí (Nayra Calle Mamani) along with her.

As a man who has clearly spent a lot of time on his own, it is evident that Rubén is not overly impressed by his new companions. However, what ensues is a touching portrayal of a budding relationship that affords the piece an undeniable realism.

The overall performances of the cast are spellbinding. As a well known character actor, de Silva is pitch-perfect in his transformation from tired cynic to a lonely man in need of familial affection. As a first performance, Duarte upholds a natural believability that allows the viewer to truly accept her as the character she plays. This is no doubt helped by the incredible chemistry she shares with the young Mamani. It is hard to believe that the two are not really mother and daughter, as the bond between the pair is astonishing.

Although the film contains very little dialogue, the facial movements and expressions of the cast are sufficient to depict the exact feelings and desires of their characters. Giorgelli’s decision to keep conversation to a minimum is an audacious move, but one which undeniably works. It mirrors reality in the way strangers have a tendency to be quiet and defensive towards each other when they first meet, but who gradually relax as time goes by. As Rubén and Jacinta become increasingly comfortable in each others company, a warmth begins to develop and an obvious chemistry blossom.

The film’s cinematography is another point worthy to note. Predominately featuring two camera angles – either on de Silva or Duarte – there is a definite emphasis that all the attention of the film is focused on these two characters. As blurred images of desolate landscapes drift by in each scene, these two remain in focus. Both are clearly troubled by a past they would rather put behind them, and this is no less portrayed in the way the film is shot. Focusing on the present, it is as though outside the cab of the truck everything else ceases to exist. For the short time the three are together, that is all that matters.

No doubt the slow pace of the film will deter those in need of something more visually stimulating, its attention to detail and well thought out comparisons to real life, make it a fantastic debut. There is a certain charm found in Giorgelli’s piece that is rarely seen in conventional cinema; it allows the viewer to reflect on the lead characters circumstance and relate to it in a way that is not often possible in fiction.

Las Acacias will be screened at the Cameo from Dec 9th.

Taken from The Student, published online Wed Dec 7th 2011.

Best/Worst World Cinema DVD Releases 2011

Best World Cinema Films 2011


  1. The Skin I Live In

As beautiful as it is grotesque, Pedro Almodóvar’s arthouse venture is a stunning look at the bizarre. With exquisite cinematography from José Luis Alcaine and original music by Alberto Iglesias, it continues to stir the imagination long after its credits role. Its haunting subject matter is approached with a surprising tenderness, to create a deeply disturbing tale that is aided by a fantastic performance from Antonio Banderas. Whilst it may be too shocking for some, it remains the most powerful film of the year.

  1. Uncle Boonmee Who Can Recall His Past Lives

For anyone with even a passing interest in ghosts or the supernatural, Uncle Boonmee is a definite must see. Deeply enigmatic, it intersperses the extraordinary with the ordinary, to create a magical tale that is incredibly touching to watch. Containing themes encompassing dreams, memories and death, it provides a thought provoking look at the concept of extinction and mortality. Beautifully experimental, its enchanting nature establishes it as a worthy winner of the Palme d’Or.

  1. Le Quattro Volte

Michaelangelo Frammartino’s philosophical film is a poignant depiction of life and the interrelation of all things. Filmed with an incredibly subtle tone, it contains virtually no dialogue but still manages to have a strong effect on the viewer. This lack of speech emphasises the surrounding sounds of each scene which often go unnoticed in most films. Rich in symbolism, it leaves you contemplating your own existence and place within the universe.

Worst World Cinema Films 2011


  1. Ninja Girl

Unlike his previous film Alien Vs. Ninja, Seiji Chiba’s latest effort fails to hit the mark. For a martial arts film, it features very little in the way of actual fighting. With poor acting that isn’t helped by a weak script, it fails to draw the viewer in and instead falls flat like the films villains. With its convoluted plot and obtuse subject material, Ninja Girl is definitely one you won’t need to worry about missing.

  1. Norwegian Wood

Adapting Haruki Marukami’s work for the big screen was never going to be an easy task, even if Norwegian Wood is one of his less surreal books. Anh Hung Tran’s bold attempt to breathe life into the well loved author, though admirable, fails to impress. In particular, Rinko Kikuchi’s portrayal of Naoko comes across as irritating making the viewer unable to give her the empathy afforded her in the book. By no means a terrible film, it is let down by its inability to do justice to the original story.

  1. About Elly

Given the success of A Separation, which has made a considerable impact at this year’s film festivals, it is surprising that About Elly is unable to offer the same level of quality. With its unbelievable characters and uninspiring plot, it comes across more as tedious and boring than captivating. Demanding a considerable amount from its audience, the shock factor it strives for at the film’s turning point fails to be delivered. As a director, Asghar Farhadi has a lot to offer Iranian cinema, but sadly this film isn’t a fair representation of his skill.

Platige Image: Unappreciated Animation

Platige Image is an award-winning post-production studio founded in Warsaw, Poland in 1998. Specialising predominately in commercial production, they focus on creating advanced animation and quality special effects for films.

One of their more notable works includes Andrzej Wajda’s Oscar-nominated film Katyn, for which they did the special effects. Telling the story of the 1940 Katyn massacre, in which Polish citizens and prisoner of war officer’s were ordered by Soviet authorities to be mass executed, Platige were responsible for retouching over 160 scenes, which entailed around fifteen minutes of film footage.

Recently, the studio has done a considerable amount of editing on the films of Lars von Trier. At the beginning of 2009, they began working on over eighty takes for von Trier’s Antichrist. This project, led by Jakub Knapik, proved to be a great challenge, as they were working directly with von Trier who was incredibly meticulous about each individual detail of production. Often unhappy with the way the team had edited a scene, it became a long and laborious process, but one whose success is clearly evident in the film’s captivating images. Not only this, but the effects they were working on were far removed from the explosions and very in-your-face style predominant in Hollywood, instead focusing on an unusual blend of subtlety and horror. The influence their work had on the final version of Antichrist is considerable.

Read more…

Taken from SubtitledOnline, published online Wed Dec 7th 2011.