Matchbox Cine is bringing renowned author, programmer and film-maker Kier-La Janisse to the UK for a series of events to mark the 10th anniversary, expanded edition of her seminal book House of Psychotic Women (FAB Press). Starting at Matchbox Cine’s Weird Weekend festival in Glasgow on 29/10, the tour will stop in Edinburgh, Nottingham, Sheffield, Manchester, Cardiff and London, 31/10 to 05/11.
Matchbox Cine has partnered with the UK’s major genre festivals and exhibitors to co-present each stop, including Dead by Dawn, Mayhem Film Festival, Grimmfest, Abertoir and The Final Girls. At each stop, Kier-La Janisse will introduce a film featured in her book, sign books and take part in a Q&A or In-Conversation hosted by a special guest. Guest hosts include Anna Bogutskaya (The Final Girls), Christina Newland (She Found It at the Movies,) and Alice Lowe (Prevenge).
10 years ago, Kier-La Janisse published HOUSE OF PSYCHOTIC WOMEN, subtitled an “autobiographical topography of female neurosis in horror and exploitation films”. A ground-breaking mix of keen critical analysis and clear-eyed, thoroughly compelling memoir, Janisse’s influential tome inspired a generation of critics, programmers and film-makers. The book has also played no small role in canonising a range of obscure, fringe and forgotten genre titles, many now considered essential.
Titles screened at the various stops will include new restorations of Claude D’Anna’s Tromple l’oeil (1975), Giuseppe Patroni Griffi’s Identikit AKA The Driver’s Seat (1974, starring Elizabeth Taylor and Andy Warhol, based on Muriel Spark’s novel) and Polish vampire curio I Like Bats(1986); rare outings for Don Siegel’s Clint Eastwood starrer The Beguiled (1971), David Cronenberg’s The Brood (1979) and Robert Wise’s Shirley Jackson adaptation The Haunting(1963); Alice Lowe’s Prevenge(with the director in attendance); and Andrzej Żuławski’s remarkable study in eldritch hysteria, Possession(1981).
The entire tour will feature descriptive subtitles/SDH and live captions, to ensure the events are accessible to as many people as possible.
Kier-La Janisse is a film writer, programmer, producer and founder of The Miskatonic Institute of Horror Studies. She is the author of House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films (2012), A Violent Professional: The Films of Luciano Rossi (2007), and has been an editor on numerous books including Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive (2021), Yuletide Terror: Christmas Horror on Film and Television (2017) and Satanic Panic: Pop-Cultural Paranoia in the 1980s (2015). She was a producer on David Gregory’s Tales of the Uncanny (2020) and wrote, directed and produced the award-winning documentary Woodlands Dark and Days Bewitched: A History of Folk Horror (2021)for Severin Films, where she is a producer and editor of supplemental features. She is currently at work on several books including a monograph about Monte Hellman’s Cockfighter.
The programme is presented by Matchbox Cine as part of In Dreams Are Monsters: A Season of Horror Films, a UK-wide film season supported by the National Lottery and BFI Film Audience Network.indreamsaremonsters.co.uk
After 10 years of hosting film events all around Glasgow, we’re moving to Bristol
After ten years (and a particularly busy most recent five), Matchbox Cineclub is leaving Glasgow and relocating to Bristol.
For at least the next three years, we’re going to be based in Bristol. We’ll be back every so often (we have at least one Glasgow event planned in 2021), but mostly we’ll be in Bristol, and we don’t yet know what that’ll mean for any IRL events.
This weekend (3rd-6th September, 2020), we should’ve been hosting Weird Weekend III at CCA Glasgow. 2020, cursed year, should’ve seen our cult film festival level up to a much bigger festival. Our plans and even programming for it have been underway since before last year’s festival. Those plans had to be scrapped, rethought, redeveloped, revised and the scrapped again. We accounted for postponement, downscaling, hybrid approaches and completely online versions, but it just wasn’t meant to be this year.
We will be doing more online programming, like our Tales From Winnipeg online-only season, and Weird Weekend will certainly return in some form. But we also want to take some time to rest (we’ve also subtitled 250+ films in the last two months) and regroup, for the first time in several years.
We want to say a very big thank you to everyone who has supported us over the last 10(!) years in Glasgow, particularly CCA Glasgow, The Old Hairdressers, Film Hub Scotland, all our fellow exhibitors, to everyone that’s come to one of our events and, most of all, to those of you who’ve come to several.
It’s very strange to be planning to leave like this. We would’ve loved to host a farewell screening or just had some drinks in a big room, but none of that’s possible. Maybe, with no rooms to set, A/V to prep, bands to soundcheck, bookings to find, tickets to take, guests to entertain, merch to sell, last-minute social media to do, etc, etc, we’d have finally properly prepared an address for the audience, rather than busking some last-minute jibber-jabber. But then probably not. Hands up if you’ve already seen this one.
We love Glasgow and we’ll miss you very much.
Sean + Megan x
This website is full of stuff, interviews, articles, etc, and will become even more active now. You can find our archive of posters and event photographs on Flickr and our trailers and video content on Vimeo and YouTube. Zines, posters and merch are on sale in our shop, matchboxcineclub.bigcartel.com.
The dream of the ’90s is alive in psychotronic rave fable VIBRATIONS. We spoke to writer/director Mike Paseornek about his “strange little movie”
“Emerging rock star, TJ CRAY, (JAMES MARSHALL), early twenties, has it all, incredible talent, a beautiful girlfriend (PAIGE TURCO), and now, a shot at the big time. He and his band are about to play the gig of their lives – an audition for the A&R man at Boston’s hottest night spot. And then…”
As President of Motion Picture Production for Lionsgate, Mike Paseornek has overseen a multi-million dollar blockbuster slate for decades – from the SAW series to the Hunger Games franchise to the John Wick films. The lauded films he’s “known for” on IMDb, like La La Land or American Psycho, have screeds and screeds of writing devoted to them. But the story of Vibrations, the 1995 “techno music love story” near the very beginning of his résumé, remains largely untold. “You never set out to make what someone would call a bad film or a limited film,” says the man with production credits on everything from Monster’s Ball to Mortdecai, “but they sometimes turn out that way.”
By all accounts, Vibrations is a wild film. It has the best virtues of a certain kind of cult movie – extraordinary, beyond-taste elements welded to a boilerplate morality tale; extremely period trappings that play to nostalgia as much as they provoke warm incredulity in fresher-faced audiences; earnest performances wrestling with a less-so script. It’s camp in the truest sense, of art that reaches beyond its grasp. And, whatever you may think of it, Vibrations is the one and only film that hinges on a thwarted garage band guitarist-cum-homeless-wino who replaces his amputated hands with robot ones, the better to become the toast of the techno rave underground.
Paseornek began his career as a writer, first as a humour columnist for Greenwich Village weekly The Villager then for television and, before too long, movies. All of Paseornek’s writing credits have a certain je ne sais quoi: Stitches; Meatballs III: Summer Job (“The ghost of a dead porn star comes to Earth to help a nerd with his sex life.”); Loose Ends AKA Screwball Academy; Snake Eater; Snake Eater II: The Drug Buster (“Together with a street-wise hustler from the ghetto they’re going after the TRAFFICKERS”); Downhill Willie AKA Ski Hard. He even wrote a TV drama about teen stress that’s still taught in American schools (Has Anybody Seen Phil?). But to date, he’s only directed one film, and Vibrations leapfrogs all of those (and most others) to the very top of the must-watch list.
Released in 1995 – straight from the “electronic underground,” as the posters have it – Vibrations is a rags-to-riches tale of Gen X rave redemption. It charts the rise of Cyberstorm, a techno musician who exclusively performs in a cybernetic bodysuit, and his romance with self-named t-shirt designer/scenester Anamika. Paseornek cast James Marshall (Twin Peaks, A Few Good Men) and Christina Applegate (Married With Children, Don’t Tell Mom The Babysitter’s Dead) at the peak of their young careers, gifting them leading roles dealing with meaty themes of alcoholism, disability and workplace misogny, in a ripped-from-the-headlines milieu of cutting edge technology and incipient EDM culture. The official synopsis:
Emerging rock star TJ Cray (JAMES MARSHALL) is en route to his first major concert when a confrontation with a carload of thugs turns violent. His car is crushed and his hands severed. Despondent, he becomes an alcoholic, and bums the streets of New York City. Cold and drunk, TJ breaks into an abandoned warehouse, and passes out. He’s awoken by pounding music, multi-coloured lights and swarms of young faces. He’s in the midst of an all-night dance party. Dazed, he’s rescued by Anamika (CHRISTINA APPLEGATE), a regular, who brings him to the walk-up apartment building she shares with three friends – a sculptor, a computer/electronics wiz, and a techno DJ. Gradually, he develops a romantic relationship with Anamika, overcomes his alcoholism, and with the help of her friends, develops programmable metal hands that allow him to play the keyboards once again. Shielding his identity in a sculptured metallic suit, he re-emerges on the scene as Cyberstorm, becoming a music legend.
The writer-director-producer of this “strange little movie,” is fully cognisant of its current status. “People have called it so-bad-that-it’s-good,” Paseornek reflects today, from his office in sunny Los Angeles, “but we actually set out to make something that was so weird that it would be good. We didn’t think of it as bad. We thought of it as different and strange and bizarre and weird, while we were doing it.” Vibrations was never intended to be a sober consideration of an emerging subculture, more “a fable which would take licence,” Paseornek concludes, “and we thought there is no better place to do that than in the rave world.”
Shot on location in New York City in 1993, the year CERN made the Web source code public domain, the year before Friends debuted, Paseornek’s film was truly riding the zeitgeist. By the time Vibrations was released, though, the ne plus ultra standard for ragtag groups of twentysomething New Yorkers had been irrevocably set, while Hackers, Johnny Mnemonic and The Net had instructed a whole generation on the credible depiction of computer science. On the other hand, Paseornek’s lens had caught the sense of a milieu, the New York rave underground, that had been practically evaporating in front of him. And Vibrations had at least one other, seemingly inexplicable USP, in the shape of a hand-me-down Stan Winston cyborg suit. But what – bearing in mind Daft Punk wouldn’t debut their famous robot personas publicly until 2001 – brought Paseornek to combine these elements? Where does a movie as singular as Vibrations actually come from? “The origin of this film,” confirms Paseornek, “was not typical.”
Vibrations was co-produced by John Dunning (1927-2011) a giant of Canadian film, who shepherded early films by David Cronenberg (Shivers, Rabid) and Ivan Reitman (Meatballs) alongside future cult classics like My Bloody Valentine, Happy Birthday to Me and Spacehunter: Adventures in the Forbidden Zone. According to Paseornek, Dunning was a showman. “Not personally – he was a behind the scenes guy – but he liked showman-style projects that had a gimmick to them. He was a good friend.”
It was Dunning who had given Paseornek his start in motion pictures, hiring him, alongside his writing partner Michel Choquette, directly from National Lampoon. The two re-wrote Stitches for Dunning, then developed a sequel to Meatballs before their partnership broke up. Then a chance meeting with Dunning in a New York street led to his flying Paseornek solo to Canada and putting him on the Cinépix payroll. “John and I had a creative affinity for one another,” Paseornek has explained. “Everyone would sit around and come up with ideas. And that’s the way we made movies.”
In 1986, Dunning had made a film for Fox called The Vindicator, originally titled The Frankenstein Factor and a modern-day retelling of the classic horror story. “A very small movie,” says Paseornek, “but there was a very big-time special effects make up person on that movie, named Stan Winston.” Winston was Oscar-nominated for Heartbeeps, renowned for his work with Rob Bottin on The Thing, but had become truly iconic through his collaborations with James Cameron on The Terminator and Aliens. Dunning still had the suit Winston had designed for The Vindicator (“It had been gathering dust in my basement for years,” he later wrote), and ever since that film had failed to recoup its $4 million budget, he’d been keen to recycle it. “The suit probably cost more than the whole movie did,” says Paseornek, “so we were talking about, what could we do with this suit? And techno music was really beginning to get hot in the early ’90s.”
Based now in Los Angeles, sojourns in Canada aside, Paseornek lived in New York for over 30 years. “I think the first rave in New York was probably 1991,” he recalls. “All these little raves were popping up. I would get these notices of a rave in a warehouse and they always had interesting graphics and I thought, ‘This is an interesting world.'” Indeed, though rave culture had been bubbling under in the US for a few years while it exploded in the UK, the first of Frankie Bones’ landmark Storm Raves took place in Brooklyn on May 11th, 1991.
Described by Michaelangelo Matos, author of The Underground Is Massive: How Electronic Dance Music Conquered America, “Rave was America’s last great outlaw musical subculture, created by kids, for kids, designed to be impenetrable to adults.” And its proliferation across the US, according to Matos, was inextricably linked with the rise of the internet, first with message boards and mailing lists, later with new electronic audio formats like RealAudio and mp3. In May 1992, ageing alt-culture godhead Timothy Leary told ABC News, “What was once psychedelic is now cybernetic.” In the same segment, which went “undercover” in LA’s rave scene, described techno as “a kind of heavy metal disco.” All of which is to say it’s not a huge leap to get from rave to “robot DJ”.
“So John and I got together,” Paseornek recalls, “We were trying to talk about what we could do, you know, that would reflect this generation of people and new music and the suit. And, we thought, ‘Well, in this world, a DJ could programme his hands just like you programme a keyboard. What would the story be about that?’ And we came up with this crazy story because we had a suit and we had a setting we wanted to put it in, which was the rave world, where we thought it would really fit and what would it be like if a guy turned up with no hands in this world and they had to create hands for him, what could he do if he was a musician? Well, he could play techno music and he could be a DJ at raves.”
“And, so, it really did come together that way.” Next, they needed to enhance their Stan suit with those programmeable hands, which came courtesy of a veteran of RoboCop, eager to work on a Winston. Meanwhile, Vibrations co-producer and music supervisor Dan Lieberstein (later of Sex and the City fame) began searching for representative acts (“We really took the music seriously,” says Paseornek), ultimately providing an entrée to all the musicians who would cameo in the film – Utah Saints (whose performance was cut for the US release), Moses on Acid (a popular group otherwise largely undocumented), Fierce Ruling Diva et al. (The score – including Simeon’s infamous techno demonstration and all of TJ’s music, from his garage band to his Cyberstorm sets – was written and performed by Bob Christianson). Perhaps most importantly, though, Paseornek had to flesh out his script with some lived experience.
“Researching the movie,” says the filmmaker, “The thing that struck me was that the whole rave world was like a fable. I mean, people were in these heightened worlds, there was a vibe going on.” Paseornek’s wife, an artist, suggested they should “go and see what these things are,” and they began to attend warehouse raves, stepping together “into this whole other world.” At one party, Paseornek noted a group of people standing between two enormous speakers, just to feel the vibrations through their bodies. “I thought, ‘Wow, this is a whole new world – these people are in their own world.’ It was just a different universe that was being created, and we tried to reflect that when we did the movie, recreate as much as was possible, which made for a very weird film.”
“Yes, part of it was the ecstasy and all that, but most of it, to me, was that it was like a lifestyle in the rave world. To the point where there would be sometimes an adventure to get to a rave – they would send you to one place and they’ll send you to another place and yet everyone would find these raves.” For the record, Paseornek confirms, “I never liked ecstasy. It wasn’t my thing, but it wasn’t like I was going [there] to do drugs. Nothing against anyone who did, but I am a martini guy. To me, it was one of the downfalls of the rave scene that the drugs kind of took over and it got a really bad reputation. Most of the people involved with raves really had big hearts and just want to feel something different.”
“I even met with Moby,” Paseornek says, “although I’m sure Moby will never remember this. Moby was just starting to do raves around the world and, through a mutual friend, I sat down with him and he told me about the rave world.” Alas, during filming, Moby was on tour and unavailable. “I tried to convince him. I have a feeling if he was around, he would have stopped in and done something.” Indeed, Moby’s music features heavily in a pre-production promotional video made by Cinépix, which also features a specially-shot Cyberstorm performance, with an alternative cast (and, sadly, the only appearance of his unnamed cyborg backing band).
Script complete, they set about casting the film which was still titled, and would be all throughout production, Cyberstorm. Christina Applegate was 22 and best known for portraying Kelly Bundy on the long-running sitcom Married With Children. Paseornek knew that Applegate was getting offered plenty of mainstream Hollywood, coming-of-age projects but was eager to try something different (or, as the New York Post claimed, in July ’93, “looking to shed her TV bimbo image”), so he passed her manager the script. Applegate liked the project too, but stipulated she would only sign on if James Marshall was hired for the lead. In his memoir, Dunning explained, “He wasn’t our first choice, but we agreed. And he did, after all, have the reputation of being a hot up-and-comer as a result of his work on the hit Twin Peaks TV series.”
First Watergate, now Christina Applegate. The blond star from “Married With Children” passed up highly visible comedic roles in “Wayne’s World 2” and “The Coneheads” and opted instead for a more serious role in the low-budget film “Cyberstorm”. Applegate was overheard saying at Ciccio & Tony’s that she’s going to dye her hair black for the part of the woman who takes in a rocker who loses the use of his hands before the “big concert”. Don’t worry, he’s later outfitted with a computerized suit and “programmeable hands.”
New York Daily News, Tuesday, July 6, 1993
Happily, though, Paseornek wanted someone “Where you sort of go, ‘Well, there’s kind of something more going on in that guy’s head.'” Marshall had played brooding biker James Hurley on both series of Twin Peaks, which had only recently been a true cultural phenomenon. “I thought it would be good to have someone who wouldn’t come off as corny intrinsically… James is a heavy dude.” Luckily, Marshall liked the script and wanted to do it, and so Paseornek had his star-crossed lovers. Ultimately, though, Marshall would share credit for some of Vibrations’ most memorable moments. “For the more adventurous dancing, there was a dancer, her name was Zu Zu,” Paseornek recalls. “James was in there for a lot of it, but then we enhanced it.”
Paseornek insists that you can see Vibrations in “a whole different way” if you do picture it as a fable, and “not like somebody trying to show life as it really is,” but, even so, there’s a genuine verisimilitude in the production. “If you stepped back in 1991, into the rave world,” Paseornek suggests, “the characters and the environment itself was a lot like that.” Vibrations was filmed in July 1993 (“One of the hottest summers I could ever remember in New York”), over a month of six-day weeks. It was Cinépix’ first production in the city, and, according to Dunning, “We were pumped.” The production recruited rave organisers to decorate the same Brooklyn warehouses where their parties were held, and hired their regular lighting crews.
Embed from Getty ImagesChristina Applegate, Bubba (Moses on Acid) & Neville Wells at Mr Fuji’s Tropicana, New York, 1993.
There was no air-conditioning in the warehouses they shot in, and sold-out crowds were conjured via radio annoucements of DJ appearances. The climactic scenes were shot at New York’s Webster Hall, where contemporaneous press noted the dancing extras didn’t get paid. (“On the contrary,” reported The New York Post, “The club charged their customary $15 admission fee.”). If there was any ill will directed towards the production, though, it certainly wasn’t aimed at the stars. According to Lieberstein, “While we were filming on the streets of Brooklyn, the local residents would crowd around calling’s Christina’s name, throwing flowers and sending small gifts over to her through the production assistants. No matter where we shot, it was impossible to feel threatened in the midst of so much genuine affection.”
“The difference between shooting John Wick in New York and shooting Vibrations, if you watch John Wick and you see Times Square or Chinatown, those are all our people. All our cars, all our rain. All our everything. On Vibrations, I was stealing shots.” Meaning that while they might have had a permit to grab a shot or two in, say, Times Square, Paseornek would surreptitiously sneak his actors in front of the cameras. “The reason that a real person put a dollar in James Marshall’s cup when he is sitting on the ground there is because there were real people walking through the shot, along with our people, so, they felt sorry for him. He actually made some money during the scene.” (The Vibrations press kit assures us that “proceeds went towards the purchase of sandwiches for some of the neighbourhood’s homeless”)
But the producers weren’t focused on the bottom line. In John Dunning’s memoir, You’re Not Dead Until You’re Forgotten, Paseornek recalled his perfectionist friend and mentor forcing him to re-shoot a scene. Dunning had noticed you could see under the neck of the Cyberstorm costume from one angle. “And I thought, ‘No-one but John Dunning is ever going to notice that.’ But it drove him crazy. He was ready to pay for it out of his own pocket to re-shoot something only he would see.”
Sadly, Vibrations’ box office performance didn’t reward its creators’ attention to detail. Dunning had an idea to emulate the major studios’ saturation strategy – where they book a film into thousands of movie theatres simultaneously and spend millions marketing it nationally – but instead focus on just one area of the US. “The people in that region wouldn’t know that it wasn’t a national release because we would match the majors in media exposure.”
However, Dunning would’ve had to convince US partners on the plan, and, as he later reflected, “it wasn’t my forte”. Instead, his experiment took place in one region of Canada and, unfortunately, “It didn’t work. Quebec wasn’t ready for a film about raves, so off it went to video.” Vibrations was quietly released to US video rental in late August, 1995. The sales campaign aimed at video store managers boldly asserted the film had, “trailered theatrically with The Crow, generating powerful consumer impressions.”
Vibrations was not widely reviewed (Entertainment Weekly said the film “deserves a long video life as the most unintentionally funny craze comedy since Roller Boogie“), though the dry synopsis accompanying the little press coverage it did receive goes a way to explaining its lack of impact. Under the banner of “Romance”, the Baltimore Sun’s listing was typical: “A dance-club manager befriends and then falls in love with an aspiring musician who has become an alcoholic after an attack that left him without the use of his hands.” No Utah Saints, no Vindicator suit, no programmeable hands – no suggestion at all of an irrepressible, rave-dancing cyborg DJ.
There’s a sense too, strengthened by a glance at a selection of abandoned poster concepts (see above), that they struggled figuring out how to sell the film – as a harrowing tale of amputation and alcoholism, as a Gen X drama in the mould of Reality Bites or as some kind of vague Terminator derivative? But perhaps Vibrations simply missed its moment. “Sometimes films are discovered the day they open,” offers Paseornek, “and sometimes they are discovered later.”
“I was once standing in line with Mary Harron, after we’d made American Psycho…and there were these people who had just discovered it. We were standing waiting to buy our food and this one woman says to this other woman, ‘Have you ever seen that film American Psycho? What kind of disgusting people would make that film?’ That is what you’re vulnerable to, period, in our business is, you know, not everybody is going to love everything you do. So I’m always nervous whenanything comes out that I’ve been involved with.”
Vibrations had been a co-production between Paseornek’s Tanglewood Films and Dunning’s Cinépix. In the few years that followed, Paseornek established the US distribution arm of Cinépix in New York City. Then, when Lionsgate took over Cinépix/CFP in 1997, just two years after Vibrations debuted, Paseornek became president of the company’s film arm, overseeing development and production.
So after all this time, how does Paseornek feel about Vibrations? “I will say this, if I had to do it over again, at this point, I would probably have looked at the motivation more for why things happen, like why did those guys attack him. Back then, it was good enough to have bad guys just be bad guys often, you know? Today, we want to know why they are bad guys. So, I probably would put a lot more thought into that, but, again, we thought of it as a fable.”
“I think what it might have helped inform me on as a producer is not to feel limited by money and, you know, the whole idea of putting the movie together in the city with no money and just not hearing the word no.” And, of course, Vibrations’ whole budget wouldn’t cover the squib bill on any given John Wick production. “I would probably not have gone for some of the effects I went for with no money, because sometimes they work and sometimes they don’t, that’s the thing. And you don’t have any room for error on a low-budget film.” But, even so, Paseornek refuses to make excuses for his debut film, claiming that, even with with same budget, he’d do things differently if he made it now. Producing Vibrations helped Paseornek figure out “how to deal with everything that you deal with in a movie, without much, if any, resources. It was a great experience in that way.”
A quarter of a century later, with 86 production credits to his name, Paseornek is assured about his record. “I’ve been involved with films that have had terrible reviews and I’ve been involved with films that have had great reviews and not been that successful. Our company, we’ve had 130 Oscar nominations. I’ve seen the best of it and I’ve seen the worst of it and I’ve seen the most bizarre of it and I’m proud of everything we’ve ever done.” And so, while it’s a little scary for his film to resurface these days (“because you never know how it’s going to be received”), he’s still fond of it. “It’s a strange little movie,” says Paseornek. “I hope that people like it.”
Sean Welsh (with very special thanks to Mike Paseornek, Greg Dunning and Cinépix)
Vibrationsis currently unavailable in the UK, streaming or otherwise, but you can purchase a Region 1 DVD here.
John Dunning’s memoir, You’re Not Dead Until You’re Forgotten, can be purchased directly from Cinépix here.
In 2019, we produced three festivals (one of which gained international viral fame), screened 43 feature-length films and 31 short films, hosted 13 guests, 4 drag performers, 2 live bands, co-programmed 14 collaborative screenings, embraced the sliding scale ticketing system, started open-captioning all our screenings, launched a subtitling arm providing HOH subtitles for several festivals and other exhibitors and co-ordinated a month-long season of films across Glasgow and Scotland. Through it all, we had the best audiences and an amazing support network of colleagues, collaborators and peers. Particularly, the support and enthusiasm from our friends at Film Hub Scotland set us up to deliver what is beyond a doubt our busiest programme yet. Here’s our ridiculous year in pictures, month-by-month.
Cage-a-rama 2: Cage Uncaged | We started the year with our second annual Nicolas Cage film festival, opening with Mandy and a Q&A with Cheddar Goblin creators Casper Kelly and Shane Morton. Mom & Dad director Brian Taylor joined us via Skype on Saturday evening and we closed the weekend with the UK premiere of the truly special Between Worlds, a still-unsung and underrated entry in the Cage canon. Despite being described in some quarters as “the new The Room“, it was thoroughly enjoyable and a good time was had by all.
Auld Lang Vine #RIPVine | In mourning of everyone’s favourite six-second video platform, we hosted a fitting funeral, including drag homage by Puke, live music by Joyce Delaney and 500+ Vines curated by Pilot Light TV Festival. This was an event of firsts, including our first use of the sliding scale ticket price and our first ever spontaneous modern-day lighter waving. Part of the #BFIComedy season.
Two Weirds Is Too Weird @GSFF19 | In March, we joined forces with Glasgow Short Film Festival to curate a night of short films made by Alice Lowe & Jacqueline Wright under the Jackal Films banner, featuring feline erotica, courtly necrophilia and bird women. Jacqueline, who’s now based in the US, very kindly recorded us a special introduction for the event. This was also our first collaboration with fantastic photographer Ingrid Mur, who documented our events for the rest of 2019.
Shogun Assassin with Venom Mob Film Club | This was Venom Mob Film Club’s first screening, and the first of our 2019 co-screenings supported by Film Hub Scotland. Johnny and Chuck programmed one of our favourites and served it up with a special menu of vegan ramen. Venom Mob have since done a bunch more screenings themselves, and they’ve all been great.
KeanuCon | Megan: Viral fame unexpectantly struck us this year as the internet caught wind of the world’s first Keanu Reeves film festival (less than a week before the already sold-out festival), yet we remain humble.
Megan: The festival was wyld regardless of the coverage, we had contributions from Alex Winter, Bill & Ted writer Ed Solomon, Man of Tai Chi star Tiger Chen, authors Kitty Curran & Karissa Zageris and My Own Private Idaho aficianado Claire Biddles. The weekened climaxed with a live performance from Wyld Stallyns, a Glasgow supergroup who absolutely nailed it. And, of course, we had lots of Keanu films, 11 in total, including his first appearance on film, in a National Film Board of Canada short. The weekend was full of Keanu love and great energy from the audience, we can’t wait to do it again in 2020!
Under the Cherry Moon with Backseat Bingo | Our next team-up of the year was with the brilliant Backseat Bingo, returning from a long absence. It was only fitting that programmer Casci Ritchie, who is also an academic expert on His Royal Badness, present this lesser known Prince classic on his birthday. Casci introduced the film with an illustrated talk on Prince’s fashion, from erotic sportswear to the classic trench coat.
Cage-a-rama 3D @ EIFF | What could be better than Cage? Cage in 3D! Senior programmer Niall Grieg Fulton invited us to collaborate on this special event at this year’s Edinburgh International Film Festival. After Cage-a-rama 2 (and our 2018 pop-up, The World’s Greatest 3D Film Club at Nice N Sleazy), Cage-a-rama 3D was the logical next step. EIFF’s team sourced beautiful 3D prints and footed the bill for an incredible top-of-the-range 3D system (the glasses need re-charged after every screening). Drive Angry and Ghost Rider: Spirit of Vengeance have never looked better – and we got to commission another incredible illustration from Vero Navarro!
Der Fan with Sad Girl Cinema | As part of BFI’s Film Feels: Obsession season, we co-programmed ’80s thirsty cult slasher Der Fan, along with a topical panel on obsession, thirst and fandom, featuring Bethany Rose Lamont (Sad Girl Cinema), Liz Murphy (artist), Jamie Dunn (The Skinny) and chaired by Claire Biddles (Sad Girl Cinema).
#SubtitledCinema | This was the year we committed to switching on the subtitles for every screening we do. We believe in accessibility and inclusion and though there’s lots of things we can’t do because we don’t have the budget or the time (there’s still just the two of us running Matchox), we realised if we could do it, we should. The other side of the coin is that since we aim to screen films that you can’t see elsewhere and often it’s the first, the first in a very long time, or somehow the only time you’ll be able to see these films, particularly on the big screen, we want to make sure as many people can see them as possible. Underpinning all that is the fact that we’re also professional subtitlers, with over a decade experience in subtitling for D/deaf audiences, so this year we put two and two together and started a subtitling arm to Matchbox. Since we started, alongside our own programming, we’ve produced subtitle files for festivals (GSFF, GFF, Take One Action, Document), film industry events (Film Hub Scotland’s EIFF Industry Days and This Way Up), new films (Super November, Her Century, Women Make Film) and creators (Ctrl Shift Face’s ongoing series of deepfake clips).
Sing-along SAW with Pity Party Film Club | In 2018, we launched the Scalarama Scotland programme with Polyester in Odorama, a scratch ‘n’ sniff event that also featured live drag performers and a very special ring girl in Puke, who, in lieu of on-screen prompts, let everyone know when to rub ‘n’ snort the special Odorama cards. We wanted to top it this year, so we teamed up with our pals Pity Party Film Club to come up with Sing-along SAW – a screening of the classic modern horror, interpolated with live drag acts inspired by key scenes. Highlights included Billy circling the audience on a People Make Glasgow bike and Frans Gender’s out-on-a-limb rendition of Kenny Loggins’ Footloose.
Nothing Lasts Forever on 35mm | Tom Schiller’s Nothing Lasts Forever has been on our list since we started showing films. Never released on VHS, DVD, VOD or streaming, since its scarce first screenings, it’s only been seen via TV broadcast once in a blue moon (not in the UK since Alex Cox introduced it on Moviedrome in 1994). When we realised Park Circus could authorise a 35mm screening, we knew we had to make it happen, and it was the perfect opening film for Weird Weekend. And though it was challenging (the only way to see the theatrical cut, and therefore prepare, is with the 35mm print), we even figured out how to screen it with subtitles.
Weird Weekend | One of our proudest moments this year, our second annual cult film festival was the first festival we’ve done with the sliding scale ticketing scheme, the first fully subtitled and we also had a 50/50 F-rated programme, meaning half the films were directed by women. Besides all of that, Weird Weekend represents our core programming: outcasts, orphans and outliers – the oddball and often lost classics that deserve to be better seen. Programming, producing, promoting and delivering it this year was thrilling and challenging and exhausting and rewarding. Highlights for us were hosting deepfake auteur Ctrl Shift Face (who came to take part in our Weird World of Deepfakes panel, debuted a brand-new clip and provided his back catalogue for a feature-length retrospective); screening Věra Chytilová’s rarely-seen Vlci Bouda; bringing the mighty Vibrations to a Glasgow audience; and, of course, hosting a Skype Q&A with the one and only Joe Dante, who also allowed us to screen the workprint of The ‘Burbs, complete with alternative ending, extended and missing scenes and even more Morricone needle drops. Subtitling/captioning most of the programme from scratch was another proud moment, if exhausting, and we can’t wait to do it all bigger and better again in 2020.
Scalarama 2019 | This year, we took a new approach to coordinating the monthly Scalarama meetings leading up to the full DIY season in September. We wanted to make the meetings more practically useful for people looking to start screening films, as well as for people with a little more experience. Every month from March, we invited two guest speakers to present on different aspects of putting on films, and then make an opportunity for attendees to ask questions and share their own perspectives. When our programme was launched in August, we had our busiest ever programme in Glasgow, as well as more and more activity in Edinburgh, the Highlands and Islands and all across Scotland.
Kaleidoscopic Realms | Megan: This was probably my favourite screening of the year, if I’m allowed to say that? Our programme was a mix of Toshio Matsumoto and Nobuhiro Aihara shorts sourced from the Post War Japan Moving Image Archive and two shorts by Naoto Yamakawa, supplied us to by the director. This was a mini-time capsule of experimental shorts of the ’70s & ’80s, and just the beginning of our experimental Japanese programming, which you’ll see more of in 2020.
Seahorse with Freddy McConnell | Our first co-screening with Queer Classics brought Jeanie Finlay’s then brand-new documentary Seahorse to Glasgow. Seahorse intimately explores Freddy McConnell’s pregnancy journey as a trans man. Freddy even came along to chat with the audience about his experiences, and got confused when asked about his ‘wean’!
Gregg Araki’s Teen Apocalypse Trilogy with Diet Soda Cineclub | For the first time ever, we didn’t attend our own event, a co-screening triple bill of Totally Fucked Up, The Doom Generation and Nowhere. We had been invited to curate a panel on #SubtitledCinema at one of Independent Cinema Office’s regular Screening Days events, so while we prepared well (including producing all-new subtitles for all three films), we had to be at Nottingham’s Broadway Cinema when the event started in Glasgow. We left delivery of the event in the very capable hands of our co-programmer, Sarah Nisbet of Diet Soda Cineclub. Gregg Araki’s specially recorded introduction (filmed during a burger joint reunion with the cast of Kaboom) arrived practically at the last second, but it was worth the wait.
Best of Final Girls Berlin | Ain’t no horror like women-made horror, and Final Girls Berlin have the best of it. We brought the frights, anxiety and terror of FGBFF right to Glasgow with a showcase of the best short horror films from their festival, made by women from around the world. And if you liked this team-up, keep an eye out for their festival programme announcement in January 2020 😉
City of Lost Souls with Sgàire Wood | As part of BFI Musicals season, we brought a bit more of Berlin to Glasgow via ’80s trans punk musical City of Lost Souls. As if this film didn’t have it all already we also comissioned Sgàire Wood to produce a new performance to introduce the screening. We love this film, which challenges expected representation of queer communites, and is just a great odd-ball film all round.
Dial Code: Santa Claus & Secret Santa Party with Backseat Bingo | Our 43rd film of 2019, and our last, is another team up with Backseat Bingo. We wanted to celebrate Christmas with our audiences and our film exhibiton pals so what better than an ’80s action horror featuring a 9-year-old with a mullet and a super creepy Santa? Plus Secret Santa in aid of Refuweegee, and an additional surprise festive screening to finish!
Keep up to date with our 2020 events by signing up to our mailing list, here, or find our events on Facebook here.
Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.
Janice Forsyth invited our producer Megan Mitchell to discusses the rise in popularity of subtitled films on BBC Radio Scotland’s Afternoon Show
Megan was invited on BBC Radio Scotland’s The Afternoon Show yesterday (16/12/2019) to discuss subtitling in films, with host Janice Forsyth and writer, academic and programmer Pasquale Iannone. If you’re in Britain, you can listen to the segment (for the next 29 days, at least) on the BBC’s website, here.
BBC doesn’t currently provide transcripts of its radio shows, so we’ve made one ourselves. Read it below, download a PDF here, or listen along with our subtitled clip.
Janice Forsyth: Now, until recently, subtitles and film and television were restricted to foreign language presentations, but now, well, I think a lot of us expect them as an option, thanks to streaming services like Netflix, Apple TV, BBC iPlayer, which offer so many shows fully captioned or subtitles. It’s great for world cinema and allows viewers to broaden their horizons from their living room but, apart from that, should we be captioning and subtitling everything anyway for reasons of inclusivity and have audiences become more adept at watching and reading at the same time? Well, here to help us explore how things are changing are two film buffs. In our Edinburgh studio, Afternoon Show regular and Italian cinema expert Pasquale Iannone. Ciao, Pasquale.
Pasquale Iannone: Ciao, Janice. Come va?
Janice: No bad.
Pasquale: No bad! “I’m awright.”
Janice: Awright, son! And with me in Glasgow is Megan Mitchell, producer with independent film exhibitor Matchbox Cineclub. She’s also co-founder – I love this – of the first film festivals anywhere in the world dedicated to Keanu Reeves… and Nicolas Cage. Megan, welcome.
Megan Mitchell: Thank you for having me on.
Janice: Great to have you here. So, tell us about Matchbox Cineclub. It’s such a brilliant title. What does it do?
Megan: So we are basically, as you said, independent film exhibitors which means, really simply, that we screen films across the UK, even though we’re based predominantly in Glasgow. We screen everything, as you said, from classic Keanu Reeves and some cagey Cage all the way through to experimental Japanese cinema, world cinema and everything in between. We’re really interested in cult films and cult audiences.
Janice: Wow, that’s interesting. Park Circus films did something like that you know, years ago, it was like Park Circus, they were based in Park Circus, they’re based in Glasgow, and became huge as distributors. Have they been a kind of shining example to you of what can be done?
Megan: Yeah, and actually we’re really good pals with Park Circus. They’ve supplied quite a few of our titles, particularly some of the harder to get things. They’re a really good resource for us and any exhibitors across the UK, actually.
Janice: That’s great. All power to you. So, what about this, then, this phenomenon? I think many of us who do watch and maybe binge on box sets on the various streaming services, um… Well, I mean, let’s get out of the way the whole idea of actually sometimes it’s not to do with needing them because it’s a foreign language. For me, and sometimes other people, I mean, going way back to something like The Wire, I was so pleased when I discovered that there was a subtitling… there was access to subtitling so I could really understand the brilliant dialogue. Do you, Megan, see that there’s been a big increase in this, in proper, fully captioned, subtitled films?
Megan: Absolutely and I think that younger generations particularly are now expecting that subtitles are on cinema we’re seeing it across not just streaming platforms, particularly Netflix and MUBI, who are captioning 100% of their content, or subtitling 100% of their content but particularly on social media and, you know, with the use of phones, we’ve got captioned content on video content there because no-one’s, you know, turning off their music or putting on their earphones to listen to something when they’re out and about, so I think with the increase of that, that’s leaking through into cinema and what audiences are expecting and I think, as you rightly said, access is a massive part of that as well, that there’s this crossover with people who, you know, aren’t particularly deaf or, you know, recognising themselves as such but finding subtitles massively helpful in understanding what’s happening on-screen.
Janice: Yeah. Yeah. It is fascinating, isn’t it, Pasquale…
Janice: Because, obviously, you know, with Italian cinema, it’s no problem for you and presumably other languages as well, but it is terrific to have that option, but, for a long time, people, some people, would be a bit squeamish, “Oh, you know, “it’s a pain in the neck to have to read the subtitles as well.” Do you see a sea change now?
Pasquale: Yeah, I think so. I mean, there’s this idea that, you know, all non-English-language films are somehow art cinema, they’re art house films, they’re inaccessible, they’re complex, they’re…they’re cryptic, etc, and we know, obviously, that that’s not the case. I mean, granted, there are some of those titles but I mean there’s a huge variety of films of all different types of genres on all the streaming platforms, really. I mean, I was looking through Netflix, and there’s some incredible films. There’s an Indonesian action movie, The Raid, The Raid 1 & 2, incredible film, and of course it’s all, kind of, in Indonesian and it is not an arthouse film, the way we would think of it. And it’s this whole idea of subtitles versus dubbing, ’cause over here, obviously, we’re not really used to dubbing, as a culture, and it feels weird, I think, whereas some other cultures in Europe dubbing is very much the norm and… But, I think, yeah, I mean, it’s this idea of having the original.
Pasquale: And if it’s… If you have to have subtitles, then fine. I mean, there are actually some directors who say, “No, no, I’ve spent ages composing this image, “I don’t want text on it.”
Pasquale: There are very few of those.
Janice: I think most directors would surely prefer that than dubbing. I mean, I’m old enough to remember when we used to have foreign language export/import, or whatever it is, telly after school, so there would be Robinson Crusoe and Belle and Sebastian and it was it was all the dubbing but it was hilarious, because… Certainly, my brother and I just used to spend our time impersonating the very bad English-accented foreign voices. It was very, very funny. What about, Megan, mainstream cinemas? How many mainstream cinemas are regularly screening captioned or subtitled films?
Megan: I mean, I actually took a look at us this morning before I came in, because usually we’re sitting in the mid-teens for subtitled screenings in multiplexes across Glasgow for a whole week. This week, it’s took a massive upswing because of Star Wars. There are 26 subtitled screenings across Glasgow this week. That’s a choice of six films including one screening of Frozen 2. However, if you do not require subtitles or aren’t looking for something that’s subtitled, you can go to Glasgow’s biggest multiplex today and see 60 screenings across 12 films, so I think there’s a massive, still a massive gap in terms of film screening exhibition access. In Glasgow, we’re seeing a massive increase in terms of independent exhibitors actually taking up the mantle of access and doing 100% or trying to achieve increased captions so earlier this year, Matchbox actually took the choice to dedicate 100% of our programming to captioning so that all of the films we screen, regardless of whether they’re English or foreign language have captions and subtitles so that anyone can come along and enjoy the films.
Janice: Is that an expensive business to do?
Megan: Funnily enough, my colleague at Matchbox, Sean Welsh, he is a professional subtitler, so he subtitles and captions for MUBI and freelance so we can do it in-house but we’ve also seen an increase in funding, so that other organisations can reach out to us or other subtitlers and get that. We’re seeing that, on the production side, in terms of distributors for films, they’re still not supplying or producing subtitles so it means that even if people are wanting to screen their films accessibly, they just can’t.
Janice: Yeah. It’s interesting this, isn’t it, Pasquale? I mean, also ’cause, you know, subtitled films you can totally imagine as an education resource for language students.
Pasquale: Totally, yeah, and it’s an incredibly useful tool, as is music, of course, but, I mean, especially with film and it’s something that, you know, when I was at school, when I were a lad, you know, going back to the mid to late ’90s, I mean, you didn’t have that. I mean, you didn’t have the… You had the old… You still had old VHS and DVD was coming in, but it was nowhere near this amount of accessibility that you have now and so a tool, like this language learning in Netflix, is superb. I mean, it just allows viewers to watch foreign language shows with subtitles both in the original language and the English and you can pause it to really kind of absorb what they’ve just seen. Obviously, there’s some series and TV programmes that are better suited for this kind of thing. I mean, I was thinking… I was thinking of some series that are given some flack for their sound, the way that actors mumble, the way that actors… apparently, the Director General of the BBC said, “Muttering is something we should have a look at.”
Pasquale: Back in 2013!
Janice: I love that. So W1A, isn’t it? Yeah! But there was an audibility project apparently in 2009, involving a 20,000 panel of viewers and listeners so this idea of sound and being able to catch every single thing but sometimes you don’t actually need to catch every single thing. It does really depend on the film, on the TV show. And how much is relayed through dialogue, and how much is relayed through the visual side.
Janice: Yeah. I’ve been thinking a lot about that recently because, Megan, I’ve been, you know, I was lucky enough to go to a BAFTA screening of The Irishman, so I saw it on the big screen. It wasn’t that big a screen, but it was a big screen And I was really glad I was able to do that. However, I have to admit, during it… I mean, I loved it, I really, really enjoyed it, but during it I was thinking, “Oh, I can’t quite catch what he said there,” and I was imagining that moment where I could pause and get the subtitles up. And I was just personifying exactly what Pasquale’s talking about. It was like, “Wait a minute, enjoy this master at work, “look at these visuals, just take in the whole thing, “maybe later…” Fortunately, it’s on Netflix, so I can look at the subtitles, but it’s interesting about how it maybe affects our experience of just sinking into the film.
Megan: Yeah, but I think in terms of the availability of the subtitles and captions, particularly when you do go to the cinema you might be able to sink into the film a wee bit easier if subtitles aren’t on the screen, but if someone needs subtitles, they can’t view the film.
Janice: That’s it.
Pasquale: Yeah. I think there’s a really interesting conversation around that, particularly with art house cinemas and the idea that they are maybe a wee bit hesitant to put captions on their English language content, even though they screen predominantly foreign language, but they’re not hesitant to put out their wheelchair ramp.
Megan: And it’s that type of same access that they’re providing, so I think that there’s a larger conversation around why we want subtitles on films, and it’s because of the idea that more people can go see these films and enjoy them.
Janice: Don’t you think, Pasquale, that because there’s been a sea change in people like me enjoying, for the small screen anyway, the ability, to do with the mumbling or whatever, to be able to, you know, actually see, read what they’re saying, don’t you think, because of that, there should be less hesitancy amongst arthouse cinemas or wherever to roll out the subtitles and the captions for English language films?
Pasquale: Yeah, I mean, I do think so. I mean, obviously it’s something that happens a lot in other countries but obviously it’s very different over here, so maybe there’s less of this pressure, perhaps, to put it on these screens, but it’s definitely something that happens in Italy in France, where you have cinemas playing all the big hitters, all the big films in dubbed versions, but also with, in original versions as well.
Janice: Yeah. Certainly, thinking about what you’re doing with Matchbox Cinema Club [sic], is there a lot of… I mean, do you go for a lot of foreign language films or is that not what your main thrust is when you’re thinking of programming?
Megan: So, our main, core programme is about films you can’t see anywhere else, so that’s predominantly archive and world cinema, so foreign language. We also have our tent pole, larger weekend festivals, that are a wee bit more mainstream films, but they’re all captioned as well. And, for us, a lot of that is that we’re able to produce those captions in-house but we’re also, you know, able to bring in people – you can see Con Air, maybe on Netflix, but you can’t see it, you know, captioned on the big screen elsewhere.
Janice: Yeah. Just finally, what you were saying there, Pasquale, you were talking about a brilliant Indonesian action film.
Janice: That’s the thing, there’s such a richness out there and I’m as guilty as anybody else of not exploring, you know, the rest of the world’s cinema ’cause there’s so much else to catch up with and somebody like Mark Cousins always makes me feel guilty ’cause he plunges into it all the time, but there’s so much brilliant film-making going on, right around the globe. Yeah, and actually, talk about Mark Cousins, I mean, Moviedrome was a real formative moment for me in terms of film education, that great series back in the ’90s and with Mark Cousins and Alex Cox, but, yeah, I mean, just one look at Netflix, and I was just having a look at the international titles that they have and on their front page, the lead page is The Pianist, the Roman Polanski film.
Pasquale: But I was just looking at some others that they’ve got. They’ve got this terrific film called The Guilty, which is a film, a Danish film. One actor, just one actor in the film, so a bit like that film Locke, with Tom Hardy.
Pasquale: This is about an emergency police dispatcher who takes a call from a kidnapped woman. Very, very spare locations. Very, very suspenseful 90 minutes, less than 90 minutes and you’re done. And it’s a terrific film!
Janice: I’m writing it down. Guilty. Thank you very much indeed. Do you know what? We’ve talked so much, I can only play a little bit of the final song now, but I thought that was fascinating. Thank you very much indeed, Pasquale Iannone and Megan Mitchell. Cheers.
Megan: Thank you.
Pasquale: Thank you.
Janice: And, Megan, yeah, Cage-a-rama 2020 taking place from the 3rd to 5th of January at the CCA in Glasgow, for all your Nicolas Cage needs, hosted by Megan and her team. Thank you very much indeed.
All of Matchbox Cineclub’s programmed is subtitled for the deaf and hard of hearing. Keep up to date with our events by signing up to our mailing list, here, or find our events on Facebook here. For more information on our subtitling service, read our dedicated page here.
Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.
It’s the best Soviet-era Estonian sci-fi detective story you’ve never seen – The Reptile House on why you should book some time at “Hukkunud Alpinisti” hotell
There was a time when aliens weren’t cult.
Before the greatest show on earth (The X-Files), aliens were a personal invasion of mortal safety. They signified everything wrong with the universe we inhabited and implicated a mortal terror of the unknown we barely perceived as anything other than an “it’s fine, we’ll be fine” sipped through denied lips. As metaphors, sure, as physical entities, no fucking thanks.
Estonian folklore leans a lot into the idea of host-taking and shapeshifting. The Kratt for instance, is a creature borne of hay and tools, brought to life by blood to work for its master. A Sentient used to dig, run chores, exist as a slave. Imitating human life, but being only a homunculus to the will of whoever would deal with the devil to will it into existence. Pitchforks and sinew, trowels and skulls, bread and ladder. A hollow being desperate to work, pretending its existence isn’t an abomination of magic, thirsty for work or else it would turn on its owner. For some, the Kratt was a helper, turned into a nightmare. Given tasks so dangerous that the owner would actively seek to give it work that would knowingly kill it to save themselves the agony of its hand in death. A bite too much of Satan’s hand.
Dead Mountaineer’s Hotel (“Hukkunud Alpinisti” hotell, Grigori Kromanov, 1979) leans hard into its native folklore stories of host-taking but gives it a newly found sci-fi bent, mimicking Soviet-era ideas of internal invasion, gender non-conformity and country (if not world) changing ideas of appropriation and accidental exposure to life beyond comprehension.
In the snow-capped high-altitude nowheresville of mountainous Europe, Inspector Glebsky (Uldis Pūcītis) is anonymously called in to investigate a murder pertaining to a mountaineer and his dog. His location is that of a gorgeously nestled wooden hotel on what feels like the crown of earth and its inhabitants. They’re odd, one sentence sideways, unhelpful and too helpful. As labyrinthine as the hotel itself, which is itself questionable in its intent. An oblique, neo-noir Bauhaus building left to percolate and evolve on its own, becoming puzzling and obsidian. An impenetrable tableau for a mystery that the physical world can’t comprehend: aliens exist.
As an audience, we’re given the exact same amount of work that the inspector is given but with extra detail once he’s left the room. Making us more equipped to exact ourselves on what’s happening but also, somehow, feeling even more confused with what’s happening and who these people are. Why were we shown that extra eyeline? Who is whispering? What is GOING on in these mountains?
The soviet “alien” and “robots” idea is less hammy western ideals of spooky wee guys from beyond but more ideas of assimilation and folklore-bred notions of humans not as humans. Robots aren’t mechanic techno-menaces but rather fleshy familiar. The aliens are shapeshifters making us feel accidentally comfortable while they find safe passage. Their gender and sexuality are fluid, almost androgynous, to the point that their misunderstanding of the concept of biology and sexuality are critiquing our own confusingly rigid viewpoints on both.
In the hotel, it feels like tenants are both arguing with each other and harmoniously disrupting your work at decoding, so that when the reveal hits, you feel astounded at its meaning. Especially with how the film chooses to frame its core end message: if aliens exist on earth, what would it mean to the integrity of human life? And if you kill one, what kind of corruption would that cause to the human soul knowing you killed possibly the greatest discovery of Man’s existence? Is it duty of fear?
It’s extremely hard to spoil Dead Mountaineer’s Hotel, because almost everything in its filmmaking relies on your experience of its atmosphere and pace. Glacial, soothing, weird, quixotic. The first time I ever watched it, I knew it was my favourite foreign film. How could I not? Written by the legendary sci-fi math-brains Strugatsky brothers who (in the same year) had their novel Roadside Picnic turned into cult classic Stalker by Andrei Tarkovsky and later Hard To Be A God adapted twice into messianic epics, Grigori Kromanov-directed Dead Mountaineer’s Hotel has their heady, huge themes built into it, but it’s minimalistic and restrained. Enjoying every second, it teases you into each gentle unzip. Don’t ask, don’t tell, just watch.
There’s a weird essence about the whole thing that feels like it was a sci-fi noir film made for aliens BY aliens and their secret existence on Earth, but we just accidentally found it. A true, bonafide classic.
Dead Mountaineer’s Hotel screens in association with The Reptile House at Matchbox Cineclub’s Weird Weekend on Sunday, 01/09/2019 at CCA, Glasgow
The Reptile House is a cult movie/music/art/weerd/oddball zine full of articles, film comparisons, poems, short stories and other lost and found miscellaneous junk. Everyone is welcome, because everyone belongs. Its print it out on shitty work printers at 6am when no one is in because I want it to be affordable for everyone! Any money made goes directly to local charities. Please do not tap the glass.
Scotland’s cult film festival returns to CCA Glasgow this month, with three days of strange and unseen cinema from around the world.
Weird Weekend, Scotland’s cult film festival returns to CCA Glasgow this month with three days of strange and unseen cinema from around the world, beginning Friday 30th August and ending Sunday 1st September.
Weird Weekend2019 features extremely rare screenings of lost masterpieces, brand-new restorations and UK premieres of future classics. 13 films and events over three days include a 35th anniversary, 35mm screening of the long unavailable Bill Murray sci-fi comedy Nothing Lost Forever(Tom Schiller, 1984), a rare outing for Tilda Swinton’s quadruple-role tour-de-force Teknolust (2002) and a 30th anniversary outing for the workprint cut of The ’Burbs (Joe Dante, 1989), with extended scenes and an alternative ending. Joe Dante will join the audience via Skype for a post-screening Q&A.
The film programme also includes: Brand-new 2K preservations of I Was A Teenage Serial Killer (1993) and Mary Jane’s Not A Virgin Anymore (1997) from the sadly departed “Queen of Underground Film” Sarah Jacobson, in association with Pity Party Film Club; Vibrations (Mike Paseornek, 1996); Freak Orlando (Ulrike Ottinger, 1981) in association with Scottish Queer International Film Festival; The UK premiere of AGFA and Bleeding Skull’s The Neon Slime Mixtape; Jane Arden and Jack Bond’s Anti-Clock (1979); Věra Chytilová’s Wolf’s Hole (1987); Dead Mountaineer’s Hotel (Grigori Kromanov, 1979) in association with The Reptile House; and the 2K-restored, extended cut of Chris Shaw’s Split (1989).
Matchbox Cineclub also welcome prominent Deepfake creator Ctrl Shift Face in person for the panel event, Weird World of Deepfakes in association with Trasho Biblio. A specially-curated feature length programme of Deepfakes will play on a loop in CCA’s cinema throughout the festival weekend. Finally, The Arrow Video Cult Film Quiz returns for the second year, with much swag up for grabs.
All films screen with open captions for the deaf and hard of hearing, and tickets are priced on a sliding scale, from £0-8. You judge for yourself what you should pay, with reference to our sliding scale guide.
You can browse the full Weird Weekend programme on Issuu, and all tickets and passes are on sale exclusively in our online shop.
Passes for Weird Weekend, our cult film festival, are £40 (weekend) or £20 (day), and single tickets are priced on a sliding scale, based on your circumstances – you decide what to pay, with reference to our guide. There are three tiers: Free/£2, £4/£6 and £8.
FREE or £2
• I frequently stress about meeting basic* needs and don’t always achieve them.
• I have debt and it sometimes prohibits me from meeting my basic needs.
• I rent lower-end properties or have unstable housing.
• I sometimes can’t afford public or private transport. If I own a car/have access to a car, I am not always able to afford petrol.
• I am unemployed or underemployed.
• I qualify for government and/or voluntary assistance including: food banks and benefits.
• I have no access to savings.
• I have no or very limited expendable** income.
• I rarely buy new items because I am unable to afford them.
• I cannot afford a holiday or have the ability to take time off without financial burden.
£4 or £6
• I may stress about meeting my basic needs but still regularly achieve them.
• I may have some debt but it does not prohibit attainment of basic needs.
• I can afford public transport and often private transport. If I have a car/access to a car I can afford petrol.
• I am employed.
• I have access to health care.
• I might have access to financial savings.
• I have some expendable income.
• I am able to buy some new items and I buy others second hand.
• I can take a holiday annually or every few years without financial burden.
• I am comfortably able to meet all of my basic needs.
• I may have some debt but it does not prohibit attainment of basic needs.
• I own my home or property or I rent a higher end property.
• I can afford public and private transport. If I have a car/access to a car I can afford petrol. • I have regular access to healthcare.
• I have access to financial savings.
• I have an expendable** income.
• I can always buy new items.
• I can afford an annual holiday or take time off.
*BASIC NEEDS include food, housing, clothing and transportation.
**EXPENDABLE INCOME might mean you are able to buy coffee or tea at a shop, go to the cinema or a concert, buy new clothes, books and similar items each month, etc.
Weird Weekend takes place at Centre for Contemporary Arts, Glasgow, on Friday 30/08, Saturday 31/08 and Sunday 01/09/2019.
2018 was the year Matchbox Cineclub stopped doing monthly screenings and ended up screening twice as many films. We launched three film festivals (even if one was postponed till 2019) and our online shop, coordinated Scalarama events across Scotland and organised a six-date tour of the UK. We hosted a world premiere, several Scottish premieres and a bunch of lovely guests, while a project we originated continued on to the Scottish Borders and Spain.
It hasn’t always been easy but we’re proud of what we accomplished this year, working with some incredible venues and a lot of our best bright and brilliant pals. We’re hoping 2019 will be our best year yet, but it’ll definitely be hard to beat 2018. The biggest thanks, as always, to everyone who came out for a Matchbox Cineclub event – you’re the ones who make it worthwhile. We always love to hear from you, so if you have any thoughts on the past year, or the next, please let us know. In the meantime, here’s our 2018 in pictures…
Cage-a-rama | After years of standalone pop-ups and our monthly residencies, this was our first time trying a new format, the micro-festival: six films over three days and as much bonus content as we could cram in. Selling it out in the early days of January gave us the encouragement to keep going. Which is a bigger deal than it maybe sounds. We couldn’t have done it without the Centre for Contemporary Arts and Park Circus supporting what we do, and of course all the Cage fans, who came from across the UK and as far afield as Dresden, Germany. We’re very much looking forward to Cage-a-rama 2: Cage Uncaged in January 2019.
Team Matchbox win the Glasgow Film Festival 2018 Quiz | Technically, Team GFF won, but since there were 18 of them and they had the inside scoop on their own programme, they were disqualified. We credit our victory to our ace in the hole, cine-savant Josh Slater-Williams. Also to the Nicolas Cage round. Thanks to the lovely Tony Harris (of Team GFF) for the photo!
Turkish Star Wars 2K world premiere | A while back, our pal Ed Glaser came into possession of the only remaining 35mm print of Dünyayı Kurtaran Adam, AKA Turkish Star Wars. Once it was all cleaned up and newly translated subtitles added, we had the chance to host the world premiere of the 2K restoration (simultaneously with our pals Remakesploitation film club in London). The May 4th screening was sold out but free entry. To cover our technician Pat’s wages, we took donations (and as usual spent way too much time on special graphics for the occasion).
Ela Orleans takes Cowards Bend the Knee to Alchemy | Our musical hero and good pal Ela Orleans took her live score for Guy Maddin’s Cowards Bend The Knee to the Alchemy Film and Moving Image Festival in May. We originally commissioned Ela to write and perform her incredible new score during Scalarama 2017. Of course, 100% of the glory for the performances (Ela also later took Cowards to the Festival Periferia in Huesta, Spain), goes to Ela herself, but we’re very proud of the small part we have to play in the ongoing project. And, if you look very closely, you can see our logo in Alchemy’s Programme Partners on the screen behind Ela!
Weird Weekend | After Cage-a-rama was a success, we wanted to do something similar in the format but with Matchbox’s more typical programming – the outcasts, orphans and outliers of cinema. So, Weird Weekend was born and Scotland’s first festival dedicated to cult cinema took place at CCA in June. Over two days, we mixed cult favourites with lost classics and brand-new films and welcomed guests like The Secret Adventures of Tom Thumb cinematographer Frank Passingham, Crime Wave star Eva Kovacs and Top Knot Detective co-directors Dominic Pearce and Aaron McCann. We also programmed a retrospective of our favourite local filmmaker Bryan M Ferguson’s shorts, and Bryan joined us for a post-screening Q&A. See Bryan’s latest work, including his celebrated music video for Ladytron, here: bryanmferguson.co.uk.
Alex Winter Q&A | The one and only Bill of Bill & Ted fame joined us via Skype after we screened his directorial debut Freaked at Weird Weekend. It was a fantastic screening and Q&A, all of it a mildly surreal high point. The whole thing was made totally normal, though, by the coolness of Alex and his team, who were also incredibly gracious in supporting our event with a bunch of press interviews. Of course, Alex is about to make Bill & Ted Face The Music, but these days he’s a pretty deadly documentary maker. See what he’s up to now: alexwinter.com.
Our founder returns | Matchbox Cineclub founder (lately of Paradise and Moriarty Explorers Club and, most recently, Trasho Biblio) Tommy McCormick returned for a cameo at Weird Weekend. Screening Soho Ishii’s The Crazy Family was a long-held ambition for Tommy, so when we managed to confirm a screening for Weird Weekend, he returned to pass on Ishii’s special message for the audience.
The Astrologer | We closed Weird Weekend with the Scottish premiere (and only the second UK screening) of Craig Denney’s The Astrologer (1976), such a deep cut that it can only be seen at screenings – no DVD, no VHS, no streaming, no torrent and very little chance it can ever be released. Bringing the DCP over from the States would have been 100% worth it anyway, before an unexpected onscreen mention for Glasgow melted everyone’s minds. Before all that, though, we got carried away with researching the mysterious and largely unreported story behind it and ending up writing the definitive 4,000-word article on it. Read it here!
CCA Closure | KeanuCon postponed! After Cage-a-rama, we polled the audience to see which icon we might celebrate next – Merylpalooza had a good run but Keanu was the clear winner. We debuted our trailer at a GFT late night classic screening of Speed in March and scheduled KeanuCon for the opening weekend of Scalarama in September. Unfortunately, the GSA fire meant the nearby CCA was forced to remain closed indefinitely and, try as we might, we couldn’t find a suitable alternative venue for the dates. On the bright side, our Keanu Reeves film festival will finally arrive in April 2019. And it was all almost worth it for our Sad KeanuCon image.
The World’s Greatest 3D Film Club | In July, our pals at Nice N Sleazy invited us to programme something there at the last minute. Their only specifications were for it to be something vaguely summery and fun. We had a bunch of red-blue anaglyph 3D glasses left over from when we screened Comin’ At Ya at The Old Hairdressers a couple of years ago, so we decided to screen Jaws 3D. When Sleazies had other free dates to fill, we later showed Friday 13th Part III and 1961 Canadian horror The Mask.
Scalarama | We took a lead role in coordinating Scalarama activity across Scotland again this September. KeanuCon was meant to open activities in Glasgow, but luckily Pity Party Film Club were able to fill the void with an incredible Hedwig and the Angry Inch event. We also hosted a sold-out screening of B-movie documentary Images of Apartheid at Kinning Park Complex, teamed-up with Video Namaste for another Video Bacchanal, this time at The Old Hairdressers, and screened Joe Dante’s epic The Movie Orgy (see below). Before all that, though, we hosted the Scalarama Scotland 2018 programme launch in August at the Seamore Neighbourhood Cinema in Maryhill, with a special Odorama screening of John Waters Polyester. Our pal Puke (pictured) volunteered as a Francine Fishpaw ring girl to cue the scratch and sniff action.
Joe Dante’s The Movie Orgy | We’d wanted to host this for a really long time and it took a lot of leg work, including a last-minute zoom to Edinburgh International Film Festival, to finally make happen. But it did! And, incredibly, Joe Dante himself recorded us an intro (pictured), after EIFF’s iconic Niall Greig Fulton introduced us to him in June and we got the OK to screen it. With CCA still closed, we had the opportunity to return to our old home, The Old Hairdressers, for this five-hour, sold-out screening. The film editor of the Skinny called it “Scotland’s movie event of the year”, which is daft but also we’ll take it.
#WeirdHorror with Kate Dickie | We started off the Halloween season doing a 31 days of #WeirdHorror countdown, then when CCA’s oft-postponed opening was finally confirmed, we offered to do some last-minute screenings. The idea was to celebrate CCA reopening and maybe help spread the word – which, it was super busy anyway but it was a great opportunity to team up with our pals Pity Party Film Club and She’s En Scene for some co-screenings. The four-night pop-up series had an amazing climax with legendary local hero Kate Dickie very graciously joining us for The Witch and an in-depth Q&A afterwards.
Matchbox Birthday Cake | Finally, this was just a very nice birthday surprise. Coming up in 2019, though, we have a LOT of surprises in store. First up, Cage-a-rama 2, Auld Lang Vine and KeanuCon. See you there!
The Crazy Family, Sogo Ishii’s provocative, oddball satire, hasn’t screened in Scotland for 30 years
Having just relocated to a comfortable new home in suburbia, the Kobayashi family – Katsuhiko, his wife, Saeko, and their two children, Masaki and Erika – appear to be the picture of middle-class success. But the family’s comfortable bourgeois veneer begins disintegrating when grandfather Yasukuni and white ants infest their home, eating away at the woodwork. As the Kobayashis’ house begins to crumble, so does the sanity of its inhabitants. Katsuhiko takes it upon himself to keep them from the asylum…at any cost.
The Crazy Family (逆噴射家族, Gyakufunsha Kazoku) Sogo Ishii’s provocative, oddball satire, hasn’t screened in Scotland for at least 30 years. Born Toshihiro Ishii, now known as Gakuryū Ishii, the avant garde filmmaker spearheaded the Japanese New Wave with his early punk features Panic In High School (1978), Crazy Thunder Road (1980) and Burst City (1982). Ishii’s reputation arguably rests on these early films, although he’s still active and his influence can been seen in the filmmakers whose international success has surpassed his own.
Described as “one of the most genuinely demented movies to ever emerge from Japan,” The Crazy Family‘s original title (literally “The Back-Jet Family”) was a reference to an incident at Tokyo’s Haneda Airport in the early 1980s. The pilot of a short, internal flight fired the plane’s back-jet just before landing, crashing the plane and killing many of its passengers. Pressure of work was blamed for the pilot’s action. “With Crazy Family,” Ishii later claimed, “I wanted to show the Japanese family as I saw it.” Co-writer and manga artist Yoshinori Kobayashi, now a controversial, conservative figure in Japan, told Monthly Film Bulletin in 1986:
Kramer vs Kramer, Ordinary People and The Family Game are all admirable films dealing with family problems. They are serious films, much praised by critics, and some people regard them as masterpieces. But some of us think differently. We consider them timid films, more or less like the TV family dramas made for middle-aged audiences, and the critics like them more than we do. And so Sogo Ishii and I decided to make a more radical film on the same subject. We wanted film about the family that would be filled with fun and poison… There are four things that traditionally frighten the Japanese: earthquakes, thunder, fire and fathers. This list is as valid now as it ever was.
Though it didn’t lose money, The Crazy Family was, perhaps unsurprisingly, not hugely popular domestically. “Everyone in Japan just complained that they didn’t understand my films,” Ishii later reflected. Though the film made a bigger impact abroad, according to writer David Cairns, “Most western critics found it wearisome and baffling”. As related by Shock Cinema’s Steven Puchalski, “its New York City engagement consisted of a one-week run at an upscale arthouse theatre, and a sparse, thoroughly confused audience of blue-haired Upper West Siders.”
In the UK, however, critic Tony Rayns saw its value immediately, noting “a major step forward for Sogo Ishii”. Writing in early 1986, Rayns observed that The Crazy Family “is a live action comic strip, each sequence shattered into component images like panels on a page and edited to rock rhythms.” Rayns continued:
The stylistic attack is matched, blow by blow, by the ruthlessness and cruelty of the humour: satire, slapstick, pain and black comedy are primary elements, but the film goes beyond them all into an area harder and more vicious than anything seen on screen since the early days of Monty Python. Its triumph is that it is (a) consistently funny, and (b) sustained as a narrative, rather than collapsing into a series of sketches.
if…. director Lindsay Anderson was also a fan. As recorded in Michael Palin’s diaries, Anderson preferred it to the then-recent A Room With A View, An Englishman Abroad, and even the Python’s own Private Function. Ishii’s film was the only one he’d liked recently, Anderson told Palin, since “the violence is so productive!”
Though it’s never been released on DVD in the UK, The Crazy Family is a landmark in Ishii’s ouevre and Japanese cinema. It was his first commercial work, following the trio of dystopian punk films that made his name, but was immediately followed by an almost 10-year gap before his next feature, the thriller Angel Dust (1994). Thwarted from making the films he wanted to make, Ishii concentrated on experimental short films, music documentaries (notably Half Human, with Einstuerzende Neubauten) and TV movies. The next phase of his work would be his self-proclaimed psychedelic years, before a slight return to his roots with Electric Dragon 80.000 V (2000). In 2010, he announced his “artistic rebirth”, Bowie-style, as Gakuryū Ishii, before returning to features once more with 2012’s Isn’t Anyone Alive? With his latest,Punk Samurai Slash Down, due this year, it’s the perfect time to (re)discover his weirdest.
The Crazy Family screens at Matchbox Cineclub’s Weird Weekend on Sunday 3rd June. Tickets from £5, day and weekend passes are available. All tickets available from CCA’s box office, 0141 352 4900, or online: bit.ly/weirdweekend.