The needy, rancid, blackened heart of the SXSW beats its fearsome tattoo at midnight. That’s when the jowly denizens of the dark come out to play, eyes wide as they tap into their iphones strange messages like “Grobius’s Colon: best horror film since Maniac Cop. Need pancakes!” Will 2010 finally satisfy their baleful tweets for fresh cinematic hamburger? Among the wannabe cult objects are the usual suspects: deceptively ordinary hillbillies, goatmen, and the latest epileptic effort from mad ‘n’ bad Frenchman Gaspar Noé.
Read our SXSW Headliners preview.
Read the first part of our SXSW Spotlight Premieres preview.
Read the second part of our SXSW Spotlight Premieres preview.
Read our SXSW Narrative Features Competition preview.
Read our SXSW Documentary Features Competition preview.
Read the first part our SXSW Emerging Visions preview.
Read the second part our SXSW Emerging Visions preview.
Read our SXSW Lone Star States preview.
Read our SXSW 24 Beats Per Second preview.
Read our SXSW SW Global preview.
Read the first part of our SXSW Festival Favorites preview.
Read the second part of our SXSW Festival Favorites preview.
Read the third part of our SXSW Festival Favorites preview.
A young girl’s sexual awakening is related in three discrete episodes. Amer is seen as girl, teenager and woman, navigating an uncertain world of dark houses and mysterious strangers, before a final scene that will probably blow your mind. Directors Helene Cattet and Bruno Forzani’s story of a woman’s sexual awakening takes its cues from the giallo filmmaking of Mario Bava and Dario Argento.
Few films can clear a room faster than Gaspar Noé’s Irreversible, which puts the “god, no” into “uncompromising.” After eight years of silence, his latest film promises a hallucinogenic look into a drug peddler’s last five minutes of life. Pitched somewhere between Roger Corman’s The Trip and Tony Conrad’s The Flicker, Noé may be taking drugs to make films to take drugs to—and we like it!
Easily a contender for best title of the SXSW festival. Andrew Bowser’s story promises the tale of a loser whose life is changed by a real urban legend. Sad to say, the “Bowie” of the title is no reference to Aladdin Sane, but rather the small woodland town of Maryland from which the director/writer/star also hails. He’s saying this is chapter one in a trilogy. We hope against hope that Iggy Pop makes an appearance.
The Loved Ones
For many, the high school formal is a rite of passage comparable to Pasolini’s Salò. Yes, we know we also said that about the great American sleepover, but that doesn’t mean it isn’t true. In fact, it may be why Brent, already riled by the death of his father, turns down Lola’s invite to the dance. The mousy girl retaliates by convincing her overprotective father to kidnap the boy. What follows is like Misery but with a few extra corsages in Australian writer-director Sean Byrne’s gore-garlanded horror.
West Virginian hill folk Tucker and Dale just want to spend a holiday in their tarpaper cabin. The problem is, those hysterical college cuties camping nearby are certain that the overalled duo have stepped from the pages of Deliverance. It’s a comedy of misunderstanding that will probably only end when the last body has been thrown into the wood-chipper. Eli Craig is responsible for this goofy horror spoof.
Tags: Amer, Andrew Bowser, Bruno Forzani, Eli Craig, Enter the Void, Gaspar Noe, Helene Cattet, Jimmy Tupper vs. The Goatman of Bowie, Sean Byrne, Soudain le Vide, SXSW Film Festival, The Loved Ones, Tucker & Dale vs. Evil