Film Essent Archive for February, 2015

Sundance 2015 Review: The Forbidden Room

Forbidden Room 5If there’s a director at Sundance who would view assertions that his film garnered the most walkouts of the fest as an indication he succeeded in making the film he intended, it’s Canadian director Guy Maddin, here this year with what I consider his finest and most layered work yet, The Forbidden Room. Known for making trippy, weird stories that are both deeply personal explorations of philosophical ideas, Maddin works in layers of abstract visual poetry. Recline in your seat, breathe in, breathe out, and allow the imagery to flow into you as you try to take it all in; you’re peering directly into Maddin’s brain through the lens of his camera, and given the recurrence of the idea of “brain” throughout his work, that’s about as meta as you can get.

Forbidden Room 4Maddin, working here with his co-director/prodigy/researcher Evan Johnson, weave together interconnected snippets of many different stories, intricately nested within each other like a cinematic matryoshka doll in which each new layer unfolds with its own brilliant palette to assail your senses as their stories dance around and through each other: the crew of a submarine, trapped and running out of oxygen but afraid to disturb their captain, desperately chews flapjacks to release the air bubbles and survive; a lost woodsman mysteriously appears to tell the tale of a fearsome clan. Skeleton women! Kidnapping! Amnesia! Murder!! And of course, Mother … Mother. Always watching!!!
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“I went through my Twitter feed recently, muting anybody talking about politics. I’ve just had enough. My attitude is to always be encouraging, be as positive and as constructive as possible. People are too quick to form an opinion and to judge. It’s a scramble up the hill to the moral high ground isn’t it?”

“It’s quite weird going from never having been interviewed before to being interviewed 500 times. Suddenly people are writing down what you’re saying, they’re recording it and putting online. We lucked out with Down Terrace because people were really kind about it – it was a first film and low budget, we felt we’d been given the benefit of the doubt. With Kill List, I thought critically we were gonna get really fucked. But it didn’t happen. It’s a very weird film, you know. And it’s a mean film, it’s much meaner than most movies are. I watch a lot of modern horror movies and they’re scary, but they’re not mean like that.”
~ Ben Wheatley

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray