The annual Tribeca Film Festival begins screenings on Thurs Apr 18th and continues through Sun Apr 28th. The Festival offers up a multitude of films from various countries around the globe, in all genres, both as features and shorts. With so much going on you may need to plan ahead by perusing the films and their showtimes at THE OFFICIAL SITE FOR 2013. There are tons of amazing new films for lots of different tastes, but here is a Horror Homework guide to the genre specifics that you sickos will want to check out. There is a whole classification called “Midnight Movies” with Horro, Sci-Fi, Thrillers, and Action along with other major features.
A Single Shot- When John Moon accidentally shoots a young woman and discovers a bag full of cash, the isolated hunter becomes the hunted. His struggle to conceal both the death and the money triggers a cascade of events and encounters that ultimately escalates into a battle for survival. Returning to Tribeca following the release of his personally driven father-daughter fable Janie Jones, director David M. Rosenthal takes a different direction altogether in his strongly collaborative backwoods thriller. The stellar cast of indie stalwarts led by Sam Rockwell, William H. Macy and Jeffrey Wright inhabits a world that blends the ordinary, the classic and the singularly odd into a metaphorical place, one that is both familiar and also a guilty pleasure. Matthew F. Jones’s twisted adaption of his own novel and Spanish cinematographer Eduard Grau’s atmospheric colors and gritty landscapes help set the stage for a chilling film. A Single Shot is an engaging and suspenseful piece of work that is indie genre at its most spirited.
Big Bad Wolves- A vigilante cop and a vengeful father capture and interrogate an accused serial killer. Aharon Keshales and Navot Papushado’s brutal follow-up to Rabies (TFF 2011) examines a horror that most would not want to imagine: what would you do if someone hurt the one you loved most? A revenge thriller with teeth, Big Bad Wolves delivers on its raw tension with operatic drama. The Israeli horror pioneers have stepped firmly out of the slasher genre with this deftly dark riff on unhappily ever after. An unsettling scenario of men pushed too far in the aftermath of a horrific crime against an innocent child, the film avoids cliché by delivering on its creators’ continued promise of unpredictability. The cast, led by award-winning Israeli actor Lior Ashkenazi (Footnote), offers a slow-burning intensity that occasionally explodes in bursts of violence and shocking revelations. With a film built on powerhouse performances and tangibly gritty atmospheric touches, the duo is making a solid return to TFF filled with twists and turns.
Byzantium- Neil Jordan’s first exploration into the realm of vampirism began in 1996 with Interview with the Vampire. Now he immerses us in this lurid world via the plight of two willful women, perfectly played by Saoirse Ronan and Gemma Arterton. For the past two hundred years, Eleanor’s story has been held captive, silenced by her protective “sister” Clara. Demure Eleanor longs to purge the history that made them into nomadic sanguivores. When the gruesome past comes haunting, they are forced to move to a small seaside town. Clara quickly secures a haven for them in the dilapidated Byzantium Hotel, while Eleanor finds solace in the companionship of a local boy. The bond proves dangerous when Eleanor deems him trustworthy, revealing the truth of who she is and how she survives. As Clara and Eleanor become more exposed, the body count begins to rise, resulting in a wild hunt for blood. Byzantium fuses the polished and alluring with the vicious brutality that accompanies all great vampire films. Jordan skillfully weaves romance with the gothic and gory, producing a seductive story with stunning spectral scenes.
Dark Touch- In a remote town in Ireland, eleven-year-old Neve finds herself the sole survivor of a bloody massacre that killed her parents and younger brother. Suspecting a gang of homicidal vandals, the police ignore Neve’s explanation that the house is the culprit. To help ease her trauma, dutiful neighbors Nat and Lucas take her in with the supervision of a social worker. Neve has trouble finding peace with the wholesome and nurturing couple, and horrific danger continues to manifest. Haunted objects, an eerie score and a moody, oneiric look complement this intense and frightening peek into child abuse and the searing imagination of writer/director Marina de Van. If you don’t know Marina de Van’s work, you should. She has written with Francois Ozon (8 Women), and her daring first feature, In My Skin, included her main character eating her own flesh. Her second feature, Don’t Look Back, screened at Cannes in 2009. De Van’s films are intense, intellectual and brutally honest. This newest film is a viciously drawn and taut supernatural thriller that adds to her growing body of bold work.
Deadbolt: 8 Shorts- In The Girl With the Mechanical Maiden, an inventor takes an unorthodox approach to childrearing after the death of his wife. A young girl who lives in a remote wrecking yard confronts the town bullies when they torment her father in Yardbird. It is 2021, and imprisoned journalist Joseph Michaels faces government execution and contemplates a desperate escape attempt in order to return to his young family in The Exit Room. Following a gruesome accident, a man finds himself stuck and injured on a remote road in the dead of winter waiting for first responders in AB-. As a young runaway heads to Harlem, where her father is a low-level drug dealer, she is assaulted by a mysterious creature and left for dead in Peanut Butter & Jelly. A special American guest is coming to a hotel in Beijing to stay in the Honeymoon Suite, but the new guest services manager soon learns that the visitor is not quite what he appears to be. A culinary connoisseur and a chef go on a hunt for a rare animal in Delicacy. Set in the candy-colored world of 1950s suburbia, The Root Of the Problem follows a reluctant young housewife who suspects that the friendly neighborhood dentist is hiding a horrible secret.
Frankenstien’s Army- In the waning days of World War II, a unit of Russian soldiers finds itself on a mysterious mission to locate and rescue a missing team of comrades in a remote East German village. Arriving at an abandoned town, the soldiers notice strange and unusual clues: the corpses in the local graveyard have been exhumed, some lying scattered in the village, and now the team’s radio signal is being jammed. Stumbling upon what appears to be an abandoned factory, they unearth a terrifying Nazi plan to resurrect fallen soldiers as an army of unstoppable freaks and are soon trapped in a veritable haunted house of cobbled-together monstrosities. Between its darkly comic voice and the inventive and elaborate set design, Frankenstein’s Army quickly proves to be a demented and delightful horror extravaganza. First-time feature director Richard Raaphorst, much like Dr. Frankenstein himself, brings to life his monster menagerie, at turns cartoony and grotesque, to terrorize his band of hapless soldiers in a nonstop adrenaline-fueled onslaught of utterly imaginative and terrifying creations. In sum, Frankenstein’s Army is the wild steampunk Nazi found-footage zombie mad scientist film you’ve always wanted.
Fresh Meat- On the lam after a poorly executed escape from the police, a gang of bumbling criminals led by the Tan brothers flees to the suburbs for shelter. They get more than they bargained for when they crash-land in the upper-class home of Maori academic Hemi Crane, his celebrity chef wife Margaret and their teenage daughter Rina, fresh out of an all-girls boarding school: a family whose refined palates have a taste for human flesh. When the Tan gang discovers their hostages’ dark secret, the tables start to turn as the two groups of unlikely adversaries enter a deadly showdown. Director Danny Mulheron channels Peter Jackson with a dash of Tarantino to produce a gleefully over-the-top action comedy, combining blood, guts, explosions and a healthy dose of cheeky social satire. The resulting splatter-fest is a gory tale of shifting alliances and basement butchery that pits a cast of dysfunctional characters against one another in a suburban battle royale.
The Machine- Already deep into a second Cold War, Britain’s Ministry of Defence seeks a game-changing weapon and enlists brilliant programmer Vincent McCarthy to research and develop a cybernetic super soldier in a secret governmental lab. When a programming bug causes his prototype to run amok, McCarthy takes his obsessive efforts underground, far away from inquisitive eyes. Soon he has perfected the ideal marriage of human and machine in his ultimate creation, a beautiful and dangerous being that may be the key to ending the endless war, but a sentience stirring inside the machine puts everyone’s plans in jeopardy. With rare vision, jaw-dropping special effects and Caity Lotz’s (The Pact) versatile and nuanced interpretation of a machine that may be the most human character of all, visionary director Caradog James fully realizes his unique future dystopia. The Machine is an entertaining, thought-provoking techno romance and the latest gripping sci-fi adventure to come out of the U.K.
Mr. Jones- Scott is a filmmaker in need of inspiration. After he and girlfriend Penny move into a desolate house, hoping to make a creative breakthrough, their lives spiral downward. Then they discover their neighbor, the elusive Mr. Jones. Famous for his haunting sculptures, Mr. Jones has remained a mystery to the world. Scott and Penny, convinced that they have found the perfect film subject, sneak into his workshop, only to realize that their curiosity may have chilling consequences. Who is Mr. Jones? With his debut feature, writer/director Karl Mueller has taken the found-footage fright film to a new dimension, introducing a completely unique labyrinth of terrors. Mueller is no stranger to the horror genre, having co-written Xavier Gens’s post-apocalyptic The Divide in 2011. Ominous and disturbing, this is a shining example of the new generation of indie horror. Mr. Jones weaves its reality with supernatural elements and a touch of mysticism. Imbued with ingenuity and vision, this film delivers good old-fashioned scares.
Raze- Stuntwoman-turned-action-star Zoe Bell (Death Proof) headlines this sly subversion of the women-in-prison genre. When Sabrina is mysteriously abducted, she finds herself in an underground lair, forced to do battle with other innocents for the amusement of unseen spectators. Each of these reluctant warriors has something to lose, but only one will remain when the game is done. Violent and relentless, Raze takes its video game aesthetic to the deepest and darkest places, rarely surfacing for air. After showcasing her amazing physicality and tough-as-nails persona in films and television, Tarantino muse Zoe Bell finally has a film to call her own, filled with bloodshed and mayhem of the highest order. With a cast of who’s-who genre favorites, including Sherilyn Fenn (Twin Peaks) and a rare performance sans prosthetics from Guillermo Del Toro mainstay Doug Jones (Hellboy, Pan’s Labyrinth), Raze announces its extreme intentions from the very first frame. Director Josh Waller has created a terrifying world of savagery in which nothing is what it seems.
Taboor- A frail, bearded man awakens in a foil-lined room. Equipped with a protective aluminum body suit and motorcycle, he rides through the vast and solitary megalopolis of an alternate-future Tehran at night. He travels between various scheduled appointments ranging from fumigating factories, experiencing virtual reality amusement rides and posing as target practice for a rich, blanks-firing dwarf. His experiences unfold organically as the night approaches dawn. Director Vahid Vakilifar slowly and steadily creates a surreal yet minimalist world with strikingly composed long takes and an entrancing score. Amid a monolithic cityscape, the lone motorcyclist is small and solitary. Carefully framed architecture expounds on the man’s frailty in this atmospheric film. Using naturalistic lighting and sparse dialogue, Vakilifar constructs a new reality by simplifying rather than exaggerating his current one.
V/H/S/2- Two investigators tracking the disappearance of a student break into an abandoned house to find a collection of VHS tapes strewn around an ominous, flickering AV setup. Each unmarked cassette reveals traces of the paranormal, the flesh-eating undead, evil alien invaders and an apocalyptic vision of hell on earth. Drawn closer to the warbling static, the obsessed trespassers fall prey to the unforeseen doom of the inhabited home. This highly anticipated next installment to last year’s midnight sensation V/H/S features segments from contemporary genre film’s leading talents. Jason Eisener’s frenetic entry recalls ’80s pre-teen adventure movies as pranking adolescents run terrified from otherworldly visitors. Blair Witch Project innovators Gregg Hale and Eduardo Sánchez return with a singular slant on the perspective of gut-hungry zombies. Adam Wingard provides perhaps the most first-person viewpoint, capturing apparitional menaces via a cybernetic eye. With every turn of a corner, unimaginable satanic forces spawn to sounds of air raid sirens in Timo Tjahjanto and Gareth Evans’s godless joint effort. Contained within Simon Barrett’s chilling wraparound segment, V/H/S/2 is an expansive portmanteau of clever unrestrained brutality and fun.
Whitewash- The brutality of winter and the power of the mind are aptly portrayed in this dark comedy starring Thomas Haden Church. Bruce is lost. His wife has died and he lost his job. He is merely trying to survive a harsh Canadian winter when he meets Paul and only too late realizes the newcomer is more than he appears. When conflict leads to a death, Bruce finds himself even more isolated in the forests of Quebec, grappling with guilt and creating a prison from which he cannot escape. Director Emanuel Hoss-Desmarais co-wrote Whitewash with Marc Tulin, creating an intense and entertaining one-man show centered on the landscape of a guilty mind. Against the harsh terrain, Thomas Haden Church delivers a wry, captivating performance, illustrating that where the mind goes, the body follows. When Bruce begins to comprehend the possible consequences of his actions, he flees. However, much to his chagrin, and as Whitewash cleverly reveals, the worst possible punishment is often the one we construct for ourselves.
ANTHOLOGY FILM ARCHIVES
Just when you thought it was safe to go back in the movie theater…the Old School Kung Fu Fest is back! The New York Asian Film Festival’s wildly popular celebration of kung fu movies from the 70s and 80s that pop your lock, rattle your chops, and put the pain inside your brain has returned after a 10-year absence to send your kung fu knowledge back to school. This time the spotlight shines on some of the biggest stars in some of their rarest movies. We’ve got Gordon Liu (36TH CHAMBER OF SHAOLIN), Sammo Hung (Jackie Chan’s “big brother”), Kara Hui (Lau Kar-leung’s female star of choice), Bruce Leung (KUNG FU HUSTLE), and even Bruce Lee (after a fashion). With prints loaned from the vaults of the American Genre Film Archive and the Taipei Economic and Cultural Office New York, prepare to earn your Master’s Degree in Kick Ass-ology!!
Welcome back for another week of the best happenings, goings on, and shin-digs in the New of York. As always, I’ve included the newest, the classic, and the one time only of the most horrific, wondrous, and weird. I’m proud to bring you my most comprehensive edition yet. Remember to take notes if you don’t live here, so you can gobble up these goodies in your own hometown. So here it is another fresh batch, hot out of the oven…
OPENING THIS WEEK AT MULTIPLE LOCATIONS
Stoker World famous for his blood-spattered, breathtaking Vengeance Trilogy (which includes the masterful Oldboy), Korean director Park Chan-wook makes his much-anticipated English-language debut with this macabre thriller. Teenage outcast India Stoker (Wasikowska) finds herself unmoored when her father dies in a grisly auto accident, leaving her in the care of her unstable mother (Kidman). After the funeral, India builds an immediate connection with a mysterious uncle (Goode), and as his intentions become increasingly murky and people start to die, her kinship grows into infatuation. Park’s American gothic (featuring a very non-American cast) is studded with grotesque set pieces, evincing a creepy and kinky visual splendor. Full review and Q & A with the director here.Trailer here
Sat March 23rd-Tyler, the Creator at Music Hall of Williamsburg 8:00 PM Tyler Okonma (born March 6, 1991), better known by his stage name Tyler, The Creator, is an American rapper, record producer, music video director, actor, graphic artist and fashion designer from Los Angeles, currently signed to English independent record label XL Recordings and his own record label, Odd Future Records. He is the leader of the alternative hip hop collective OFWGKTA. He has rapped on and produced songs for nearly every OFWGKTA release. He also creates all the artwork for the group’s releases and said in an interview with DJ Semtex that he designs all the group’s clothing and other merchandise as well. Check him out here.
Sun Mar 24th-Unstoppable Death Machines (with Permanent Makeup, Big Ups, Big Neck Police) at Shea Stadium 8:00 PM UNSTOPPABLE DEATH MACHINES is a performance-art punk-rock explosion from Brooklyn via Queens. Formed by brothers Mike and Billy Tucci in 2008, the duo has criss-crossed the USA performing in DIY spaces, venues, rooftops, warehouse parties, art galleries and museums. They have drawn crowds from coast to coast with their raucous energy and relational performances. The duo has made a name for themselves with their raucous live performances where they stack walls of speakers and use homemade face microphones to sculpt a sound described by fans as “loud-as-fuck.” Check them out here.
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What a week is in store for you kids!!! There are lots of new releases starting this week, mixed in with heaps of chances to see old favorites on the big screen, and sprinkled with some once in a lifetime events and appearances. Along with a slew of must-see bands, artists, and installations. I’m absolutely bursting with excitement…
There’s absolutely something for everyone and so much to do that you can’t possibly see it all. So take notes, fill up your Netflix queue, download music, and look up these artists. Do your fucking homework!! Cuz if you just sit there on your couch whining “But I don’t live in New York..”(Erkle voice), instead of searching this stuff out, than you’ll get exactly what you deserve. Nothing…. hot, steaming bags of nothing. And if you live here than I better see you at these gigs!
Fibrodysplasia ossificans progressiva. A disease where flesh turns into bone.
A giant and a dwarf.
Trepanning, bullet holes, and hatchet wounds.
The skulls section had listings about each of the people they came from. On any particular card you might find the region or era in which they lived, the circumstances of their death, or the disease they suffered from. Some cards listed terms like “Cretin” or “Idiot”, which is how these afflictions were reffered to at that time. Modern science now knows the correct term is “George W. Bush”.
Of course there were pickled brains…
But the creepiest section was the “pickled punks”. A collection of fetuses and stillbirths in jars that did not, and should not, survive the afflictions from which they suffered. Some were caused by malpractice, others by drugs, and some were just ill developed zygotes. Regardless of their origins, they are to me the most unsettling since one cannot help but emote pity for what still looks like a suffering baby even though it is long dead and never experienced the pain it seems to convey.
If I had my druthers, I would have taken a million shots in here. However the “no photo” policy and the vast number of specimans made that impossible. There are hundreds, maybe thousands of things to see here and I highly reccomend making your way over here at some point in your short existence. Until then, you can satiate your thirst for all things medical and disturbing by buying one of their books in the Amazon link below. Buy it for yourself, or some pervo you love. They also have a Youtube Channel and a Facebook Page. And, when you visit the museum, tell em Horror Homework sent ya!!
Hey kids, looks like we’ll be leaving the Apple and taking a class field trip tomorrow to Philly. Aside from stuffing ourselves full of cheesesteaks and ribs, we’ll be headed to the Mutter Museum to see all sorts of medical anomalies and babies in jars. And of course we’ll be transmitting these horrors to you live through Instagram and writing a full report later in the week. But that doesn’t mean there’s nothing to do here in town. We got so much to see here in the Apple this week, your liable to gouge your own eyes out by the time I’m finished with you.
The atmosphere of the film is like if Edgar Allen Poe wrote Alice in Wonderland, the perverted version. The actors are brilliant in their roles in a way that is both believable and slight caricature. The colorization has many muted cool tones that when paired with the sharp angles of the mansion interior, poorly lit basements, and desolate surrounding woods serve to further support the strange and cold familial relations. Sound plays an enormous role in both the story and the production with the normally smallest of noises made oddly loud. Chan-Wook’s story telling style layers past and present revelation with interior and exterior character experience seamlessly. He also uses symbol and metaphor such as intrusive spiders, wine vintages, and birds of prey as themes throughout that neither hit you over the head nor go unnoticed, but rather give the viewer just the right amount of wink and nudge.
Final Grade: A
After the film Park Chan-Wook came out and did a brief interview followed by an audience Q & A. With each question asked more and more hands went up, and I feared that I would not get your question in before it ended. The host then said they where about to wrap it up and I sat with my hand in the air without bringing it down, like a fourth grader who positively knows the answer, in a desperate last attempt. Low and behold she says “We only have time for one more, this guy over here who had his hand up for so long” and that is how the winning question from YOU the Horror Homework fan base made it in at the final bell. Here is a paraphrased transcript of that interview since there was a language barrier involving a translator. **SPOILERS ARE LISTED**
Can you talk a little on how this film came about? Upon completing “Thirst” I felt that a chapter in my career had come to a close. On “Thirst” I was really pushing my boundaries and I felt afterwards that I needed a break and felt at a turning point in my career. It was around this time I came across the script for “Stoker” and I really liked it, and the timing could not have been more perfect.
What was it that spoke to you in this script? It wasn’t what I saw in the script but rather what I heard, or did’nt hear. To clarify, an image of a very quiet film came to mind. In this quiet mansion populated by a small number of characters it makes for an environment in which the smallest sounds stand out, the fall of footsteps on a wooden floor or the ticking of a clock. You can imagine not only the dialogue from the characters but also just their breathing. It’s something that gets on your nerves and creates tension.
Along with the amazing sound aspect of the film, you use a lot of cross-cutting, that not only provides suspense but gives the film a sort of “aura”. Can you speak a little about that? I thought it could imbue almost a sense of musical rhythm to the to the pace of the film, such as in a piece of music where you are introduced to separate themes which than interweave with each other to achieve a heightened effect. I took individual scenes and dissect them into smaller pieces and interweave them into bigger chunks. In a way you could do the film as a series of these chunks. It was only later that I realized why I wanted to do this. That is to take these seemingly unrelated threads and by interweaving them, to direct them towards one conclusion as if there is one avoidable outcome and imbue a sense of destiny to the proceedings.
(At this point they take audience questions)
What was the significance of the spider metaphor? Well, to have to explain everything to you would be quite boring wouldn’t it? I will answer by putting myself into the shoes of a hypothetical audience member who has seen plenty of films, and what they might think the significance is. **HERE THERE BE SPOILERS—->>** First, it might be viewed as a metaphor for Uncle Charlie. As this hypothetical audience member, I would see this spider crawling towards the moving shoe upon the piano petals, and having seen a few Park Chan-Wook films before, this hypothetical audience member might imagine that the spider will meet a horrendous demise by being squashed by the shoe. But that would be boring. So I decided to betray the audience member’s expectations and have it crawl up India’s leg. Originally I had the spider crawl all the way up her leg and go up into her skirt in the first scene. But I decided that to reveal India to be such a fearless girl would be too early in this introductory stage, so I cut the scene and placed the skirt scene later in the film. **SERIOUS SPOILERS: DO NOT READ TILL AFTER YOU SEE THE FILM—>>** Just as you see the spider crawl up under her skirt, you see Uncle Charlie enter her psyche in much the same way at this time. After he is killed the spider crawls from inside his shirt across his face as if to allude to his spirit leaving his body. Another function this spider serves is to allude to how the character of Uncle Charlie could be something more than human, or to raise the question, did Uncle Charlie actually exist or is he a figment of India’s imagination? But these are just possible interpretations of the film and I wouldn’t want to dictate this hypothetical audience member’s impression of the film.
How do you come up with these metaphors and how would you explain the essence of your artistic film style? The work of a filmmaker as an artist is more rational and closer to the work of a mathematician or an architect in terms of the amount of calculations and pre-planning that goes into making a film. Its not some swelling inspiration or being struck by some muse that falls from the sky, quite far from it. There is quite a lot of thought that goes into this, be it conscious or subconscious. I say this because most decisions are well thought out in advance while some are only discovered during the editing process where I can be more objective over my earlier decisions and find the truth in my earlier intentions. Sometimes it takes as long as seeing the film after release to reveal some of the inner workings of some of those decisions. So I realize even within my subconscious there is a through line. And when you say stylization this is prone to misinterpretation. I hope that however I end up presenting the film to the audience, that there is nothing unnecessary. In terms of my approach to film making I would only use those cinematic tools that are essential to tell the story. What would be the best vehicle to convey the drama to the audience is what concerns me. When you say style, it conjures images of something more ornamental, something more like wrapping paper that covers the substance, and I’ve never really subscribed to that approach.
The masturbation scene in the shower, was that in the script or did you come up with that yourself? It was in the script, possibly slightly changed, but yes, in the script.
Can you talk about how you worked with the actors to get the tone you wanted, and the possible language barriers? That’s why you have to cast your films very well. The actors I used are very smart. It’s not the type of intelligence you would find in someone with a PHD who has only sat at a desk and studied books. These actors are intelligent in the way of their perception of the human condition and human emotion. Working on an American set was much more busy than a Korean production. I didn’t have time for disagreements or arguments especially with a translator which would make the argument twice as long. I made sure I spent alot of time with the actors in rehearsal with each and every line and learn their questions and ideas at that time. Their input informed my revisions of the script that night. It was a process of understanding each other and this insures that we are all on the same page and can retain the essence of the film.
THE HORRORHOMWORK.COM WINNING QUESTION: Did you have any hand in the remaking of Oldboy, and what are your feelings on Spike Lee as the choice for director? I will now place myself in the shoes of a hypothetical filmmaker who is doing a remake of another filmmaker. This hypothetical filmmaker would probably not want much involvement from the original filmmaker and that is exactly what I’m doing, not getting involved. There is a larger reason behind this. As a cinema goer, once this film is completed, without any prior knowledge about this remake, I can be just another viewer. I want it to be like when I was younger and I can go and really meet this new film for the first time and truly enjoy this film for what it is, a film by Spike Lee.
(Audience questions are stopped and the host has one final question)
You are currently working on a new project. Can you tell us a little bit about that? Rather then call this an American film I would call it an international film being that it is backed by a Korean financier. It is directed by Bong Joon-Ho(The Host), and the cast includes Song Kang-Ho, Chris Evers, Tilda Swinton, John Hurt, Ed Harris, and Jaime Bell. And, it was shot in Prague, so very international. It’s a very original sic-fi action film the likes of which one has probably never seen before. It is in the final stage of production and scheduled to release this summer, so I hope you will come see it.
Well, the time has come. I’ve compiled the enormous masses of questions everyone submitted for tomorrow nights Park Chan-Wook Q & A, and I can see that this opportunity has you BURSTING WITH EXCITEMENT!!!!
I’ll be at the screening of “Stoker” and I’ll see if I can squeeze a few of your submissions in during his interview and I’ll have the dirty low-down for you sometime shortly after. But that’s not all that this festering metropolis has to offer this week. Check out these juicy tidbits here in the apple, or a town near you…
AT THE MUSEUM OF THE MOVING IMAGE:
Park Chan-Wook Retrospective World-renowned director Park Chan-wook is a versatile stylist with an idiosyncratic and graphic horror-and-humor style has been likened to that of Quentin Tarantino. Here is a list of the showtimes along with linked trailers.
“Stoker” w/ Park Chan-Wook in Person! Thurs Feb 28th 7:00PM