Wednesday, 29 February 2012
Tuesday, 28 February 2012
Wednesday, 15 February 2012
Friday, 10 February 2012
The First North American retrospective EVER of the wildly unique Polish master, including a one -week run "possession", one of most devastating film experiences of the 1980s!
Brand new 35mm print...
Mark (Sam Neill) returns home from an espionage mission (the nature of this mission is vague, but it involves long trips abroad, cash stuffed into briefcases, and vials of secret liquids) to find that his wife, Anna (Isabelle Adjani), wants a divorce. She won't say why, but insists it's not because she's found someone else.
Though Mark would rather stay with Anna and work things out, he turns the apartment and custody of their young son, Bob, over to her. Living alone, he begins to obsess over her, making dozens of calls, and seemingly going mad. He pays a visit to their flat only to find Bob alone, unkempt, and neglected. When Anna returns, he refuses to leave her alone with the child but attempts to make amends. He stays at the apartment to care for Bob but Anna leaves in the middle of the night.
Mark receives a phone call from Anna’s lover, Heinrich (Heinz Bennent), telling him that Anna is with him. He then gets Heinrich’s phone number from Anna’s friend, Margie. The next day, Mark meets Bob’s teacher, Helen, also played by Ms. Adjani. She looks exactly like Anna but with brilliant green eyes and is calm and kind where Anna is hysterical.
Mark pays a visit to Heinrich who swears he didn’t call telling Mark that Anna needed space; he has not seen her, having been away on a business trip himself. Mark attacks Heinrich but is beaten bloody by Heinrich.
Mark returns home to find Anna who is vague on her whereabouts when confronted. He beats her and she storms out but he follows, apologizing, attempting for reconciliation. She leaves him alone on the street. On his way back to the flat, he encounters Margie, whose left leg is inexplicably in a cast, and he tells her, “I loathe you” when she offers to look after Bob. Mark has a meeting with a private investigator, then returns to the flat where he and Margie embrace in the bedroom.
The next day, Mark and Anna have another extreme argument during which she cuts her own neck with an electric knife. Mark tends the wound and then sits, forlornly in the kitchen, cutting his own arm with the knife. She leaves again – going off to her mysterious place, her neck bandaged.
Following Anna around the city, the private investigator soon discovers Anna in a squalid apartment, devoid of furniture. The investigator pretends to be a building manager. Inspecting the apartment, he finds in the bathroom, a creature of such bizarre proportions that he is stunned into silence. Anna kills him with the end of a broken bottle.
Meanwhile, Mark begins a relationship with Helen. When she stays the night, Bob is awakened by nightmares, crying out for his mother. Helen apologizes and leaves saying she should not have attempted to replace Anna.
Zimmerman, the lover of the missing private detective, approaches Mark to inquire about his whereabouts. Mark give him the address of Anna’s mysterious apartment, which he had presumably gotten from the detective. When Zimmerman goes at Anna’s apartment, he discovers the freakish creature as well as his dead lover’s body. Anna proclaims that the creature, “Is very tired. He made love to me all night,” and “He’s still unfinished, you know.” And then violently beats Zimmerman when he attempts to shoot her.
Anna, returning to the flat she shares with Mark, continues her erratic behavior, putting clothes in the refrigerator and food in the bedroom. She then tells Mark about her miscarriage. In a flashback, Anna, on her way home from market, has what appears to be a seizure of epic violence as she walks through the subway, which ends with her on the floor of the passageway, oozing blood and fluids from every orifice. She tells Mark, “What I miscarried there was sister faith and what was left was sister chance.”
She leaves him again and Mark calls Heinrich, giving him Anna’s address. He attempts to make love to her but finds the creature, now more developed but still monstrous, in her bedroom. Anna then reveals the grim fruits of her endeavors: a collection of body parts in her refrigerator, presumably those of the dead detective and Zimmerman. She attacks Heinrich with a knife and he flees, bleeding, to Mark’s flat. Anna, meanwhile, prepares to make love to the creature.
Heinrich tells Mark what he has seen and when Mark discovers the remains, destroys the apartment by igniting the gas stove and blowing the place up. He also lures Heinrich into a bar and murders him in the bathroom, making it look as if Heinrich drowned in his own vomit.
Upon returning to the flat, Mark finds Marta outside with her throat cut, possibly at Anna’s hand. He brings the body back into the flat where Anna waits. She greets him tenderly, cleans him up and makes love to him in the kitchen. He lays out a plan for them to cover up the problem and, as Bob awakens to find them together, she flees.
Heinrich’s mother phones Mark looking for her son. She tells Mark that Heinrich’s body was discovered but that she did not identify it because it was only his body, “his soul was not there.”
Mark, who has continued to cover for Anna, finds her at the apartment where the creature, considerably more evolved, copulates with her on the bed. As the creature penetrates her she repeats over and over, “Almost.”
Mark meets Heinrich’s mother in person and she claims that she “must be with him.” She then seemingly poisons herself and dies. Mark, later wandering the street, meets up with his former business associates who insist that he do business with them again. Mark appears to refuse and later, while being followed by police, murders an officer then flees on a motorcycle. He has a horrific accident and races into a building where he is pursued by Anna, the police and his business associates. Ann tells him, “I wanted to find you. It is finished now,” and reveals the creature, now fully formed as Mark’s doppelganger. Mark raises his gun to shoot it but he and Anna are gunned down by a hail of bullets from below as the doppelganger remains impervious.
Bloodied and dying, Anna uses Mark’s gun to shoot herself. She dies in his arms and he jumps to his death through the stairwell. The doppelganger, meanwhile, enlists the help of a woman who resembles Margie, standing at the top of the stairs. The doppleganger flees through the roof.
Later, Helen is at the flat with Bob when the doorbell rings. Bob repeats over and over, “Don’t open,” but Helen ignores his plea. She goes to the door as the sounds of sirens, planes and explosions fill the air. Bob races through the flat, ending in the bathroom where he jumps face down into a bathtub full of water and floats as if dead. Meanwhile, Helen, listening to the sirens & planes as if in fear, seems unaware of the doppelganger which can be seen through the glass door. Her expression changes to something indeterminate as light from the explosions illuminate her brilliant, green eyes.
Other Zulawski features to be screened as part of the season below:
The Third Part of the Night (1971)
The Devil (1972)
The Most Important Thing: Love (1975)
On The Silver Glove (1977/1987)
La Femme Publique (1984)
L’Amour Braque (1985)
My Nights Are More Beautiful Than Your Days (1989)
The Blue Note (1991)
La Fidélité (2000)
Thursday, 2 February 2012
To celebrate the first release of the soundtracks to the Jean Rollin films 'Fascination' and 'Requiem For A Vampire' on Finders Keepers Records B-music Deejays will be playing soundtrack only tracks at the Gaslamp in Manchester.
Below are some celebrated Finders Keepers soundtracks from over the years
Wednesday, 1 February 2012
Jean Rollin's twins of evil Fascination (1979) and Requiem Pour Un Vampire (1972) Previously unreleased full soundtracks. New twin soundtrack of vintage French synth experiments and free-rock from art house femme vamp film director" Comprising key scores by two of his regular collaborators, and bookending his most creative and lauded decade, the release of two original soundtracks to French director Jean Rollin's Fascination (1979) and Requiem Pour Un Vampire (1972) mark Finders Keepers’ latest release in a series of tributes to 'Frances first-ever vampire film director' and a long running patron of the Paris underground theatre, comic art and alternative literature movements. Having exploded onto French cinema screens in the midst of the Mai 68 riots with his freakish art house account of a disillusioned female blood cult Jean Rollin continued, throughout the next four decades, to extract the most bizarre and formidable art directors and musicians of the French underground and give them a platform combining the skills of street actors, Letterists, jazz musicians and fashion designers. Embracing video culture and adult entertainment in the late 70s Rollin’s later films (under various guises) provide a treasure trove for lost electronic film music and homemade disco. This latest compendium combines the moody unsung European synth experiments of Pierre D'Aram and unreleased improvised free-rock of Pierre Raph, who have until this point never benefited the attentive audience that has come with a recent resurgence in modern macabre art-rock and experimental cold-pop, drone and improvised electronica. An early exponent of the growing trend of synthesizer music in horror soundtracks, Philippe D'Aram and his 1979 score for Jean Rollin's Fascination treads the same ground as early John Carpenter and Suzanne Ciani film music while maintaining an essential Gallic charm shared by a young Jean-Michelle Jarre or Philippe Besombes. His fusion of synthetic choral arrangements with bowed saws and subtle processed drones and tones sit comfortably next to the privately pressed new age synth movement of the coming decade and project further inspiration for the brooding neo-concrete of current outfits like Sunn O))), Demdike Stare et al. Previously unreleased in its entirety this is the first time that any of this music has been released on vinyl. Having previously provided music for an under the counter Rollin sex film called Jeunes Filles Impudiques the obscure Pierre Raph;s energetic drum and organ based soundtrack for Requiem Pour Un Vampire from 1972 earns its place around the feet of other French Horrotica soundtracks like Francois De Roubaix’s Levre Rogues or British soundtracks to Psychomania by library music ensemble Frog. A perfect sister record to the soundtrack to Rollin’s own Les Frisson Des Vampires by the short lived Acanthus - whom Pierre Raph promptly replaced (emerging from the same Parisian publishing company) for this freak rock ridden follow-up. Finders Keepers also manage to salvage important musical snippets from heavily censored scenes, arguably containing some of French cinema’s heaviest psych rock, which are not available on most prints, VHS and DVD copies of the film. Spread over a number of desirable formats including 10 inch vinyl, digipack CD and specially packaged cassette tape this series of previously unreleased French art house horror music was originally devised as a result of conversations with Jean Rollin before his unfortunate death just over twelve months ago.
New Andy Votel prints available from Stanely Chow Print Shop.
Link to site below.