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TIME OUT / New-York - Feb the 17th Mortem critic's Pick Psychologically damaged gamines, femme fatale doppelgängers, shady encounters in motels: This French movie may owe a huge debt to David Lynch, but word on the street is that the digitally shot thriller is a mind-fuck worthy of the master himself. Mortem le Choix des Critiques La Société de Film de Centre de Lincoln, mardi 1:15pm. 165 W 65ème st. (entre Broadway et Amsterdam Ave) (212) 875- Métro: 1 à 66ème Lincoln st. CtrGet directions Gamines Psychologiquement endommagées, doubles de femmes fatales, rencontres ombragées dans un hotel : Ce film français a une dette énorme vis-à-vis de David Lynch, mais le mot de la rue serait que ce thriller tourné en numérique une chose hallucinante digne du maître lui-même.
TIME OUT / New-York - Feb the 18th Like the bastard offspring of Rainer Werner Fassbinger and Russ Meyer, this midnight-movie-ready mind-fuck follows a vivaciously gorgeous motorcyclist to a schedule hotel, where she does an erotic battle with a brunette doppelganger. Delirious, deranged and never less than spellbinding, this is also one of the highlights for Smith*: "Mortem is a really curious, mesmerizing object, it doesn't have a distribution **.It would be great if there's an audience. » *Gavin Smith : Director of FILM COMMENT SELECT ** In BERLIN a distribution agreement has done with RSQUARED for the distribution of MORTEM in US and CANADA Telle la progéniture de Rainer Werner Fassbinger et Russ Meyer, ce " film de minuit " suit une motarde vive et magnifique à un rendez-vous dans un hôtel, où elle se donne à une bataille érotique avec son double : une brunette. Délirant, dérangé et néanmoins fascinant, Mortem est aussi un des points culminants pour Smith (Directeur de FILM COMMENT SELECT) : "Mortem est un objet vraiment curieux, hypnotisant, il n'a pas de distributeur aux Etats Unis*, ce serait formidable car il y a un public. » *Un accord de distribution avec la société RSQUARED a été conclu à l'EFM de Berlin et MORTEM sortira en salles aux Etats Unis et au Canada. Feb 18th Death never takes a holiday. When a young womans spectral companion manipulates her into stopping at a desolate hotel, it must be all business. However, things get more complicated than either expects in Eric Atlans trippy Mortem (Czech trailer here), which screens during the 2012 edition of Film Comment Selects, hosted by the Film Society of Lincoln Center. Jena and her fellow rider evidently enjoy feeling the wind in their hair as they motorcycle helmetless down lonely country roads. The fog though is a little too much forcing them to stop at truly gothic looking hotel. It seems the proprietors have been expecting them, or at least Jenas companion, whom they can see, but she cannot, yet. It seems the uncanny woman has arranged to do some ominous business at their establishment, once the creepy staff leaves her to it. Viewers soon learn Jena and the strange woman are profoundly connected and once she reveals herself, it is supposed to be curtains for the mortal woman. To the surprise of her ghostly captor, Jenas will to live proves quite strong. Much like the knight in The Seventh Seal (a head- smackingly obvious influence on Mortem), Jena shows great resourcefulness navigating the games and rituals of death. As the fateful night advances, the stakes increase for everyone. Mortem is a very strange stylistic and tonal hodgepodge. The opening scenes play like high camp, but as it cranks up the metaphysics, it gets deadly serious. It is almost like David Lynch took over the helm of Gene Wilders Haunted Honeymoon after the first fifteen minutes. Fortunately though, this is no Lost Highway. Atlan actually wants viewers to follow his story, which seems to follow its internal rules well enough once established. It will still baffle the lowest common denominator, but at least Atlan offers them some steamy distractions. As it happens, Jenas mysterious tormentor likes her a lot, which gives her a weakness to exploit. Indeed, for a surreal and cerebral genre movie mash-up, Mortem is rather hot. Atlan and Marc Bercovitz, the co-producer and co-composer of the deliberately overbearing Bernard Hermann on steroids score, were clearly not concerned about going too far over the top with Mortem. In a way though, that is rather refreshing. It has been a while since a film has really gone for broke, but this one certainly does. Panchenko Daria and Diana Rudychenko are, yes attractive, but also pretty compelling as the supernatural chess players. While their characters could easily be reduced to archetypal cut-outs, they suggest each has a real emotional investment in the face-off. Gorgeously shot by the director-cinematographer in moody black-and-white, Mortem has all kinds of noir going on. No doubt about it, this is a weird film, but mostly in a good way. Frankly, considering how atmospheric and narrative driven Mortem is (not to mention the other attention generating aspects), it is surprising it has not been snapped up by an American boutique distributor yet. Recommended for genre audiences looking for something new, Mortem screens again this Tuesday afternoon (2/21) at the Walter Reade Theater, as part of this years Film Comment Selects. Labels: Film Comment Selects '12, French Cinema posted by J.B. @ 4:00 AM
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