1469 – KUSO (2017)

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KUSO is an incredible, metaphysical splatter and body horror movie by Steven Ellison aka Flying Lotus.

Kuso means ‘shit’ in Japanese.

Steven Ellison has been a long time admirer of Japanese extreme directors Takashi Miike, Shinya Tsukamoto and Takeshi Kitano, as well as lots of anime such as Cowboy Bepop, Evangelion, Dragon Ball, that he openly mentions in his interviews. But instead of mentioning Tokyo Gore Police of Meatball Machine Kodoku one should go see it without any list of references or any direct references.

Probably one of the most over the top, original, gory, splattery significant movies of the early 21st century. It abounds in the resplendent hideous and the manically scatological, lavishes in all things festering, pustulant, always brimming on the ecstatic, experimental and transformative also due to its music video affiliations. There were mass walkouts at its release at Sundance festival. It has been all too easy to hail it as the ‘grossest movie ever made’. It is definitely a superb example of WEIRD AESTHETICS and slime dynamics nowadays and it is relentless. It definitely does not settle into the old sublime/beautiful binome, but ventures into the territory of new aesthetic categories such as the icky or the ‘zany’ explored by Sianne Ngai in her seminal text (Our Aesthetic Categories: Zany, Cute, Interesting 2015). This is also an afro-body horror that makes clear what are the stakes here – full hybridization, exploding all the codes of racial science and white fear, those panic buttons of asepsis and so-called ‘miscegenation’ that did seek to actively separate, contain, incarcerate and experiment upon non-white bodies.

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It also makes clear there can allow for incredible pockets of abstractness even in the midst of all things squishy, oozing, overwhelming thingness, overripe wetware imagery. There are dozens of scenes that are filled with incredible tenderness, nonhuman, and inhuman eroticism, beauty and exuberance for the unruliness of matter and information, the normality and mundanity of the strange and at the same time does not cease to take one by surprise, to be completely unpredictable. A relentless channel surfing seems to transect the whole movie and tap into the virality of pay-per-view ads, broadcasting enormities and deformities, diving into an attention ecology modulated by the appetite for mindless violence and remorseless voyeurism.

An increasing portion of current media abounds in the biohazardous, the panic-stricken, horrifying, the untouchable, impure, the dirty, repulsive or what was even considered previously as evolutionary blasphemic and maladaptive – here cherished in its most unruly and in your face forms. It also draws on avant-garde Berlin Dada photomontage artists such as Hannah Höch(see her Knife Dada through the Beer-Belly of the Weimar Republic 1919 for example) seeking to upend and agglutinate existing dichotomies and gender roles.

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There is no way one can summarize this movie and this is its best proof of not bowing to matters of taste, plotline narrative rule or formal rigeur. There are incredible collage animations as well as tableaux vivants – real outer world (exo biological?) ecosystems, mutant dioramas and curious and explorative human -non human relationships. Meanwhile, all the body fluids run their course.

On TV or in a bedroom reality welcomes the bubonic, the chronic carrier state of patient zero becomes the rule. There is no quarantine for the realness of constant touch, smear, sporulation. The epidemic is somehow a state of matter, it is as it is, nothing can hide it, disinfect it or banish it to the pathological. There is always a sort of teratogenesis as world-building going on. There are interdimensional furries stoners on a couch, there are alien jungles with anal flesh flowers and sentient sphincters.

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Openings are important in KUSO and lead to revisiting what we have considered a final story – the evo-devo metanarrative of why we bipedal vertebrates are here, why we have an up and down or a clear separation btw the excretory and all the plurivocal portals of bodies that have multiple backs and unknown forwards, not just an up mouth and a down mouth.

Cast: Iesha Coston, Oumi Zumi, Zack Fox, The Buttress (Bethany Schmitt), Tim Heidecker, Hannibal Buress, Regan Farquhar, Shane Carpenter, David Firth

here is a more in-depth review  by addictedtohorrormovies.com

Here’s what IMDB has: “Events unfold after a devastating earthquake in Los Angeles.” Events indeed. The movie is broken up into three segments. The biggest segment, “Mr. Quiggle,” is the story of couple Kenneth and Missy, who have their active love life interrupted by Missy’s secret shame. Also, Manuel is scared of breasts, so he enlists the help of Dr. Clinton (George Clinton); his treatment involves singing into Dr. Clinton’s butthole and…I won’t spoil it for you. Further also, The Buttress and her alien buddies deal with her situation of being impregnated by a crazy stalker guy.

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imdb

1465 – Lodge 49 (TV Series 2018-)

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timespace coordinates: AMC describes the series as a “modern fable set in Long Beach, California about a disarmingly optimistic local ex-surfer, Dud (Wyatt Russell), who’s drifting after the death of his father and collapse of the family business.” In the first season, Dud joins a fraternal order known as the Order of the Lynx, hoping the Lodge can put him “on the path to recover the idyllic life he’s lost.”

Lodge 49 is an American comedy-drama television series created by Jim Gavin. It aired on the television network AMC in the United States from August 6, 2018, to October 14, 2019, spanning two seasons and 20 episodes.

The title alludes to the novella The Crying of Lot 49 by Thomas Pynchon, which Gavin references as an inspiration. (wiki)

www.lynxlodge49.com

imdb   /   rottentomatoes

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1440 – Color Out of Space (2019)

timespace coordinates: 2010’s MassachusettsMV5BMjM1MDI0Y2EtOGZiZS00Y2M2LWE4N2MtN2JkYWNhYTVkN2E5XkEyXkFqcGdeQXVyNjU1NzU3MzE@._V1_Color Out of Space is a 2020 horror film directed by Richard Stanley, based on the short story “The Colour Out of Space” by H. P. Lovecraft. It stars Nicolas CageJoely RichardsonMadeleine ArthurQ’orianka Kilcher and Tommy Chong. This is Stanley’s first feature film directed since his firing from The Island of Dr. Moreau (1996). (wiki)

“A story of cosmic terror about The Gardners, a family who moves to a remote farmstead in rural New England to escape the hustle of the 21st century. They are busy adapting to their new life when a meteorite crashes into their front yard. The mysterious aerolite seems to melt into the earth, infecting both the land and the properties of space-time with a strange, otherworldly color. To their horror, the Gardner family discover that this alien force is gradually mutating every life form that it touches…including them.” (imdb)

COOS_1080x1600“A welcome return for director Richard StanleyColor Out of Space mixes tart B-movie pulp with visually alluring Lovecraftian horror and a dash of gonzo Nicolas Cage.” (rt)

1410 – Californium (2016 video game)

timespace coordinates: Berkeley, California in 1967

Californium is an exploration game co-developed by Darjeeling and Nova Productions with financial support from the French broadcaster Arte, and released in February 2016 for Microsoft Windows and OS X. Californium was developed as a tribute to science-fiction author Philip K. Dick on the 30th anniversary of his death. The player controls Elvin Green, a struggling writer dealing with family matters, as he discovers the means to manipulate reality, and explores several surreal landscapes. (wiki)

SYSTEM REQUIREMENTS (MINIMUM): OS: Windows 7 or Higher / Processor: Intel Core i3 2.00 GHz / Memory: 4 GB RAM / Graphics: DX9 (shader model 2.0) / Storage: 2 GB available space

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1393

Based on his pioneering work in the recent book High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies, author and podcaster Erik Davis will explore the phenomenon of occult revivals, comparing and contrasting some of the factors that made the early 1970s and the late 2010s hotbeds of occultism, witchcraft, and visionary experience. Featuring films by visual artists Dustin Wong and Amanda Siegel.


The Politics of High Weirdness: a Litquake talk with Erik Davis and RU Sirius

For Litquake 2019, Erik Davis spoke with RU Sirius about the politics of high weirdness, then and now.


High Weirdness By Mail  by Ivan Stang

This hysterical hobbyist’s guide belongs in every hip library. Coot cat Reverend Ivan Stang, high holy of the Church of the SubGenius, has compiled a bestiary of American creeps and crazies so that you can write to them and receive mail that is weird, horrible, wonderfully absurd, or a combination of all three.

goodreads   /  wikipedia

1392 – Memory: The Origins of Alien (2019 documentary)

Memory: The Origins of Alien is a 2019 documentary film that traces the origin of Ridley Scott’s Alien franchise.  Directed and written by Alexandre O. Philippe, it focuses on the idea that film is “a collective art form – not just the wider circle of writers, performers and technicians beyond the director, but in the case of the truly great films, serendipitous access to a deeper collective unconscious …”, tracing the connections from H. P. Lovecraft to Francis Bacon to the Greek Furies. (wiki)   /   imdb   /   rt


30 Alien Poster Designs   /   Poster Posse Project   /   alternativemovieposters.com/portfolio

1370 – Phantasm (1979)

timespace coordinates: 70’s Oregon – Morningside Cemetery

Phantasm is a 1979 American science fantasy horror film directed, written, photographed, and edited by Don Coscarelli.  “a truly bizarre mix of outlandish horror, cheapo gore, and psychological mindgames that purposefully blur the line between waking and dreaming.” Marc Savlov

The first film in the Phantasm franchise, it introduces the Tall Man (Angus Scrimm), a supernatural and malevolent undertaker who turns the dead of Earth into dwarf zombies to be sent to his planet and used as slaves. He is opposed by a young boy, Mike (Michael Baldwin), who tries to convince his older brother Jody (Bill Thornbury) and family friend Reggie (Reggie Bannister) of the threat.

Phantasm was a locally financed independent film; the cast and crew were mostly amateurs and aspiring professionals. Though initial reviews were mixed in regards to the dream-like, surreal narrative and imagery, later reception was more positive and the film became a cult classic. (wiki)

Analysis   /   imdb