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By Ray Pride Pride@moviecitynews.com

When Harmony Korine Met Die Antwoord

Umshini Wam, a 16-minute short directed by Harmony Korine (Gummo, Mister Lonely), starring South African musical group Die Antwoord‘s Ninja and Yo Landi Vi$$er (whose look was rumored an influence on Lisbeth Salander in Fincher’s Girl With The Dragon Tattoo) and shot by Alexis Zabé (Fernando Eimbcke’s Lake Tahoe and Duck Season; Carlos Reygada’s rapturous Silent Light and his forthcoming Post Tenebras Lux), debuts at SXSW. Synopsis: “Big dreams, big blunts, big rims, and big guns. its time to get gangsta gangsta. Ninja and Yo Landi are wheelchair-bound lovers and real gangstas. They live in the outskirts of civilization, they shoot guns for fun, smoke massive joints, and sleep in the woods. They don’t have any bling to show for their gangsta cred, but the world deserves to know who they are. They’re tramps, and their wheels are starting to fall off. Ninja become despondent over their vagabond existence, but Yo Landi won’t let him give up.  what ensues is straight up gangsta mayhem, the realist of the real, true gangsta shit.” No word if the “gangsta shit” goes down in the same Nashville back alleys as Trash HumpersAgnès b. co-produces. [H/t @trentone.]

One Response to “When Harmony Korine Met Die Antwoord”

  1. Gabriel says:

    that was deep, I may need to bring a box of kleenex to the movie…

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé