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Cult

Richard Lowenstein – Dogs In Space (1987)

Description: Set against the backdrop of Melbourne’s late ‘70s punk rock scene, Dogs in Space chronicles life in a chaotic, squalid share-house. Hippies, addicts, students and radicals fill their days and nights with sex, drugs, parties and television. Writer/director Richard Lowenstein balances a series of chaotic vignettes with the central story of the romance between housemates Sam (Michael Hutchence), the lead singer of the band, Dogs in Space and his lover Anna (Saskia Post) as it spirals out of control. Hutchence is a brilliant symbol of reckless youth in this, his first dramatic screen role, giving Dogs in Space instant cult status upon its release. Read More »

Jeff Feuerzeig – Half Japanese: The Band That Would Be King (1993)

Jad and David Fair are Half Japanese, “The World’s Greatest Underground Band” and the most unlikely pair of rock heroes as can be imagined. Half Japanese play their hearts out on rooftops and nursing home back porches while overzealous fans and rock critics plot the next Beatlemania that never comes. A conspiracy of the Corporate Rock world? Perhaps. Read More »

David Byrne – True Stories (1986)

 

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True Stories is a 1986 American film that spans the genres of musical, art, and comedy, directed by and starring David Byrne of the band Talking Heads. It co-stars John Goodman, Swoosie Kurtz, and Spalding Gray. Byrne has described the film as, “A project with songs based on true stories from tabloid newspapers. It’s like 60 Minutes on acid.”

True Stories was released by Warner Bros. in the United States, Canada, Italy, and Sweden in 1986, with limited release elsewhere the following year. Byrne was given much creative control over the motion picture’s direction, largely due to the mainstream success of Talking Heads’ 1984 concert film, Stop Making Sense. Read More »

Eric Mitchell – Underground U.S.A. (1980)

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In June 1980, (Eric) Mitchell released a sixteen-millimeter feature that was specifically designed to be shown at midnight and was called Underground U.S.A. More Morrissey than Warhol (with a cameo appearance by Taylor Mead), the film is Sunset Boulevard out of Heat, transposed to no-wave haute monde. The Gloria Swanson character, here a faded underground underground superstar obviously modeled on Edie Segdwick, is played with convincing self-absorption by platinum-haired Patti Astor, another Poe graduate. Mitchell, whose emotional affect  makes Joe Dallesandro seem like a Jack Lemmon hysteric, is the hustler who manages to briefly install himself in her foredoomed life; while, in a witty bit of casting, Factory juvenile René Ricard enacts the von Stroheim-like protector whom Mitchell nudges aside but fails to replace. Underground U.S.A.  is well acted and handsomely shot, but never redeems the comic potential of its first twenty minutes, inexorably going vague over the punk-underground art-world milieu that it sets out to lampoon. Nevertheless, due in large part to Mitchell’s skill as a self-promoter, the film ran at midnight for twenty weekends at the St. Marks until midnight October 1980.

J. Hoberman, Midnight Movies Read More »

Leos Carax – Holy Motors (2012)

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Driven around Paris by a loyal driver (Édith Scob), a mysterious man (Denis Lavant) dresses up in costumes and plays a number of strange, semiscripted roles.

Manohla Dargis wrote:
“Holy Motors,” from the French filmmaker Leos Carax, is a dream of the movies that looks like a movie of dreams. It is a reverie that begins, appropriately, with a seated audience waiting in the dark (like us) and then cuts to a dimly lighted room, where a man (Mr. Carax) rises from a bed that he shares with a dog. He lets the sleeping dog lie (no need for trouble just yet) and creeps over to a mysterious door hidden in a wall. With a strange metal key that’s apparently grafted to one of his fingers, he unlocks the door and — like Little Nemo tumbling into Slumberland, Dorothy crossing over the rainbow and Alice falling down the rabbit hole — leaves one world for another. Read More »

Stefan Jarl – Det Sociala Arvet AKA The Social Contract (1993)

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review(s):
Almost 15 years has passed between “A Decent Life” and “The Social Contract”, the third
and final part of Stefan Jarls mods trilogy. Stoffe has been dead for many years and his
son is almost grown up. Kenta is trying to put the past behind him and start over with his
Eva. But with all the memories and aftereffects of a hard and ruthless living it’s not the
easiest thing to do.

But it’s not easy for the children of the “mods” either, the real subjects of this movie. How
has their parents way of living, and dying, affected them, and their lives? How do they
manage not to follow in their parents footsteps? And what relationship do they have with
their parents today? Read More »

Stefan Jarl – Ett Anständigt Liv aka A Decent Life (1979)

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Description: IMDB – This anti-drug film is the second in the “Mods trilogy” the first is “They call us Mods”.It´s the same persons as in the first film: The very young people has now grown up but now they take drugs and many of them dies.Kenta and Stoffe(they meet one time in the film and plays bowling) is no longer best friends.Stoffe dies in this film because of drugs.The last film in the trilogy is about Kenta´s and Stoffe´s children. Read More »