
The next day was rainy – one of the rare ones. Jaimey and I used it to run some errands: making copies, buying tickets for the students, etc. Then I had to run more errands for La Perla, buying exciting things like sink plugs and a tree for drying laundry. The night concluded with a film in the Piazza about eclectic, dysfunctional people living in a trailer park in Iceland. I had seen one other Icelandic film before – also at the Piazza, two years ago. Unfortunately both films confirmed my suspicions: Iceland is cold and bleak and the people drink, smoke a lot of pot and listen to Bjørk. It turns out that Icelandic is related to Swedish as I seem strangely to follow it fairly well.
Friday was the day I lost my film festival innocence. Maybe I was raped by an alien zombie? The fact is that the film festival isn’t that great. For a variety of political reasons that Jaimey explained to me and the students at great length, a film festival isn’t necessarily about presenting good films. It’s about jockeying for prestige, national identity, and relationships between industry wonks.
My disillusionment came in the form of two films: Ellen At Her Age and L.A. Zombie. Ellen is about a German air hostess who grows disillusioned with her job and lack of connection with others – much like Up In the Air or whatever that Clooney film last winter was called. Anyway, Ellen flops around in existential angst for 80 minutes and then suddenly decides to move to Africa to work with people trying to limit poaching. That solves it right up. Unfortunately, the film guide and the artistic director, Olivier Pere, claimed it was the “film of the decade.” I never figured out which decade to which they were referring since maybe this will obviate my efforts to make any films for ten years. I agree only so far as to say it was certainly the film of the day.
L.A. Zombie is easy to summarize. It’s about an alien zombie who fucks dead people back to life. And it’s worse than it sounds.
As you might imagine, the inclusion of this film in the concorso internationale or competition caused great controversy. It had been banned from other festivals. But, as many students pledged, “No way am I going to miss that!!” So we all saw it.
Of course it sounded awful, but I believed that Olivier (as we called him even though I think only one student met him) must have seen something in the film. I figured symbolically maybe the alien zombie was a harbinger of the end of American decadence or that it had some deeper social or aesthetic points to make. Unfortunately, I was (un)dead wrong and Olivier is either an idiot or trying to stir up some controversy.
With all humility I submit that Hillcrest is better in every single phase: acting, writing, directing, lighting, cinematography, sound . . . . I knew from the first shot, a pan across the ocean where the camera clearly stuck on the cheap tripod (things you’d know if you’ve used crappy $80 tripods from the drug store), that this was going to be worse than god-awful. Forget the prosthetic penis thrusting inside a bloody chest wound, the acting was cringe-worthy, it was poorly lit and not color-corrected.
I suppose it was supposed to be campy, but it failed at that. I’m no connoisseur of gay porn, but it seemed to fail at that as well. The acting and production value was as bad as porn, but there were too many pretensions at art (all of which failed in every way) to keep the porn fan entertained.
The climax (narratively – otherwise the fifth zombie climax) involved a group of super good-looking guys in leather getting ready for some sort of orgy / film shoot. Suddenly these two gangsters showed up and spat out some nonsensical and unconvincing lines and began shooting all the leather bound guys. Blood splattered everywhere. I mean there was a guy behind the camera throwing buckets of red water all over the place. Maybe two guys. Before our hero, the alien zombie, could arrive, the camera lingered on the “corpses.” I guess in the actors’ defense, it must be hard to stop breathing and keeping your erection still while pretending to be dead.
I think the director, who was on hand, must have busted a gut when he learned he got accepted. That was clearly the best spent $200 and day of his life he spent shooting this utter rubbish.
From this day forward, I only saw films that were either convenient or recommended by many people. Luckily, I had 25 budding film critics upon whose opinions I could avail myself. Thus, I was always in the know.
Lest you not trust my assessment of LA Zombie, here’s a reputable internet article Jaimey sent me. I also heard a radio review in my car and the Ticinese critic said about the same: ridiculous waste of time.
Unless I’m missing something, the miraculous potential of a giant undead penis in Bruce LaBruce’s “L.A. Zombie” is a definite first for film history. Banned from the Melbourne Film Festival and bound to inspire heated debate wherever it plays next, the wordless, hour-long portrait of a walking corpse waking the dead with his regenerative sexual powers will grab more headlines than viewers. A purely experimental exercise in the cinema of the body, the movie overstates LaBruce’s gay-porn-as-art routine in an extreme fashion even by his own standards.
An introductory scene shows the zombie in question (porn star and model Francois Sagat) emerging from the waves, then dives right into the conceptual mayhem: The figure grabs a ride into town, but the car crashes and the driver lies dead on the side of the road. His passenger quickly gets to work, whipping out his zombified manhood and fucking the deceased body’s torn chest cavity until his heart starts beating again. In a bizarre update to contemporary zombie mythology, black semen apparently doubles as miracle juice, and Sagat turns back into a living human post-coitus. Even George Romero may scratch his head at that deviation, but then “L.A. Zombie” isn’t exactly pitched at his target audience.
The avant-garde counterpart to LaBruce’s 2008 gay zombie narrative “Otto, or Up with Dead People,” his latest project has been touted by the director as “a movie that reaffirms life,” although its thematic depth only intermittently meshes with the porn factor. The “no dialogue” tag is actually a misnomer, but the instances where dialogue does seep into the soundtrack—the usual cheesy situational chatter typical of story-driven porn—form the weakest link. As the zombie wanders around downtown Los Angeles, he preys on a diverse selection of its residents, including murdered criminals and homeless junkies. The set-up for each resurrection scene begins to grow redundant once LaBruce makes his intent clear, and then you’re either with him or no longer watching.
In 63 minutes, “L.A. Zombie” features five sexual encounters that inspire laughter at first, followed by fatigue. LaBruce has prepared a softcore version for the festival circuit, and promises a hardcore cut available on DVD for those interested in such a thing. Regardless of its explicit nature, the sex (in the softcore version I’ve seen, anyway) hardly approaches the mad provocations of his more ambitious projects. (A skinhead ejaculates on “Mein Kampf” in “Skin Gang,” which makes the chest cavity bit in “L.A. Zombie” look relatively tame.)