Showing posts with label Peter Strickland. Show all posts
Showing posts with label Peter Strickland. Show all posts

Thursday, 21 May 2015

Katalin Varga.


Due to the success of The Duke of Burgundy (2014), a relationship drama about a sadomasochistic relationship between two women, I thought it was the right time to have a look at his debut film Katalin Varga (2008). This low budget rural revenge drama was filmed over a 17-day period in in the Hungarian speaking part of the Romanian region of Transylvania. A project he completed for £28000 with money that he received in bequest from his uncle.
 
The journey begins for....
With only a smattering of Hungarian the Reading born Strickland directed this foreign language film in English, stating in an interview "Even though I got to know the Hungarian translation quite well, I felt very helpless if the actors wanted to improvise certain parts. For me, this film represents a movie Transylvania - but not in the Dracula sense. Everything is heightened - the goat bells, crickets, and wind ... It's a conglomeration of what I felt as an outsider"[1]
 
....Katalin Varga....
 Although this is to a certain extent a classis revenge story: a young women is raped by two men and she sets out with her young son to extract retribution on both the culprits, it does not encompass the shook tactics normally found in many other films of this genre but almost gives a biblical edge to the drama or as one critic put it “a tonally rich cinematic poem”[2]
 
....and her young son Orban.
The film, to its credit, includes actors that will not be familiar with, which for many viewers will make the story more believable and realistic. Hilda Peter plays Katalin Varga, her son Orban is Norbert Tanko and Tibor Palffy and Roberto Giacomello play the men she hold’s responsible for her rape. Strickland’s direction is superb, Mark Gyori cinematography uses light and colour exceptionally well and along with an appropriate soundtrack makes this a debut film of great potential and proved to be a pointer to the writer/directors future work.   



[1] The Guardian June 2009.
[2] James Rice EIFF 2009 Catalogue.

Wednesday, 20 May 2015

The Duke of Burgundy.


Peter Strickland at EIFF 2012
Described as a maverick of modern British cinema Reading born Peter Strickland made his debut feature film in 2006. This low budget rural revenge drama Katalin Varga was filmed over a 17-day period in the Hungarian speaking part of the Romanian region of Transylvania; the project was completed for £28000. His next film had its World Premiere at the Edinburgh International Film Festival in June 2012. Berberian Sound Studio is a very nostalgic look at a world before digital recording devices and striped bare the mechanics of the old horror analogue film studios that would commandeer all sorts of every day items to make some very gruesome noises, including an array of garden produce like melons, cabbages and radishes! A film to be honest I had to see twice to appreciate! He followed this with a concert film that he co- directed and edited, Bjork: Biophila Live was filmed at the Alexandra Palace in Wood Green London in September 2013 and featured the Icelandic singer/songwriter[1] performing tracks from her recent tour.  Which brings us to Mr Strickland’s latest work and this weeks Robert Burns Centre Film Theatre Film Club screening The Duke of Burgundy[2] (2014).

Shot in Hungary, Strickland’s latest movie is set in an enchanting pastoral world of butterflies and country houses, populated by women. (No men are to be seen anywhere in this movie). It is without doubt a relationship drama, albeit a sadomasochistic one and focuses on a submissive simmering love affair between Cynthia, a beautiful sophisticated woman and Evelyn, the younger of the two who acts as Cynthia’s maid carrying out tasks and being punished when she regularly does not complete them to her mistresses high standards. These punishments include being used as a human toilet.  Into this atmospheric situation comes the carpenter played by Fatma Mohamed[3] who specialises in made to measure items to intensify transgressive sexual pleasure and measures Evelyn for a bed box, a special gift from Cynthia for the younger woman’s birthday.
 
Sidse Babett Knudsen as Cynthia. 

The question quickly arises, who is actually getting pleasure in this relationship? At times I think your find it difficult to tell. I would agree with the Guardian film critic Peter Bradshaw when he opines that The Duke of Burgundy proves that erotic cinema can have genuine substance. Although the narrative is pretty static it’s the ‘simmering undercurrents that are so curiously affecting’[4]. 
 
Chiara D'Anna as Evelyn.

Farma Mohamed as The Carpenter.

Similar in cinematic style to Berberian Sound Studio, which is not surprising as Strickland uses the same cinematographer Nicholas Knowland. It’s a very good movie to look at, beautifully photographed putting you in mind of Euro porn movie’s of the seventies with its soft focus and bizarre imaginary, and has an intriguing story line which you will either love or hate, but it is important that you view this drama with a completely open mind and bring to it no preconceived prejudices.
Just one of the beautiful settings that Nicholas Knowland captures with his camera. 

The star of this film is Sidse Babett Knudsen, who you will recognise as the Scottish First Ministers favourite TV female politician Birgitte Nyborg the Prime Minister of Denmark in the award winning series Borgen. She plays Cynthia, rarely off the screen and holding your attention at all times, a really wonderful sensual actress who portrayal is one of the main reasons for making sure you see this movie. The Italian actress Chiara D’Anna who Strickland used previously in Berberian Sound Studio plays Evelyn. This is by far the best of Strickland’s feature films to date and certainly one of the most interesting and captivating films I’ve seen this year: don’t miss a chance to see this wonderfully sexual and erotically charged movie.  






[1] Starred in Lars von Trier’s Dancer in the Dark in 2000, opposite Catherine Deneuve
[2] A European butterfly.
[3] Appeared in both of Strickland previous two feature films.
[4] Mark Reynolds Movie mail.

Wednesday, 19 December 2012

Berberian Sound Studio


Cabbages!!!!

This weeks Robert Burns Centre Film Theatre Film Club started slightly differently when our host for the evening Audrey Young handed out various everyday objects that can be found in most homes. Things like gloves, a phone book, a piece of cellophane, a container of soap and a stapler. She asked us that if you recorded the noise each one made, what could that sound be used for in a 1970’s Italian horror/thriller movie? This certainly started our evening in a light-hearted manner and Audrey went on to explain that tonight’s film was meant to be homage to the production of  ‘giallo’ movies. Movies that were made by directors like Dario Argento, Mario Bava, and Lucio Fulci between 1968 and 1978. The word giallo, she went on to explain, is Italian for yellow and stems from the origin of a subgenre in Italy as a series of cheap mystery paperback’s which all had yellow covers. This subgenre became a unique cinematic type of film that veered into horror and dark psychological thrillers, becoming synonymous with a heavy, theatrical and stylised visual element’s and soundtracks that were general written specifically for each film. It went on to be a major influence on the modern slasher movie.

Gilderoy at work.......
......recording screams.

Audrey informed us that Berberian Sound Studio (2012) was Peter Strickland’s second feature film; his first was the award winning Katalin Varga (2009) a low-budget rural revenge drama set in Romania. Tonight’s film is very nostalgic about a world before digital recording devices and strips bare the mechanics of the old horror analogue film studios that would commandeer all sorts of every day items to make some very gruesome noises, including an array of garden produce like melons, cabbages and radishes!


Lack of friendly faces does not help Gilderoy's paranoia.

The film relates the experiences of a British sound technician Gilderoy (Toby Jones who gives a remarkable performance) who travels from his home in Box Hill Kent, where he lives with his mother, to Italy in the 1970’s to work on the sound effects for a gruesome horror film, The Equestrian Vortex. Not familiar with the working practices of the ego driven Italian producer (Cosimo Fusco) or the womanizing director (Antonio Mancino), Gilderoy seems like a fish out of water from day uno. Unable to reclaim his travel expenses from the cash strapped venture and gradually becoming ever more despairing of the movies subject matter, the whole working experience becomes literally a total nightmare.

The great looking  cover for soundtrack album

I enjoyed this strangely diverting film especially the beautiful reproduction of a period recording studio (or is the Three Mile Recording Studio in London still like this?) and the very complementary electronic soundtrack that adds to the unsettling atmospherics of the film with Strickland successfully reflecting the mood and tone of the original giallo movies, but I’m afraid it lost me completely towards the end, as it did when I first saw it at the 2012 Edinburgh International Film Festival, when the director takes us a little to far into paranoia that has beset Gilderoy. Something the RBC audience also seemed to have had a problem with.