Ari Aster returns to take audiences on an epically wild and decidedly weird guilt trip with his third feature, Beau Is Afraid. Big, bold, and ballsy, this three-hours long Freudian epic is ostensibly Aster’s very own Magnolia; an expensive, stylish indulgence that finds him wholeheartedly swinging for the fences at the risk of alienating his audience for the sake of art. Results will vary, but it’s a total winner to us.
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Country Gold marks another banger for Oklahoma filmmaker Mickey Reece, who steps out from behind the camera to lead the film alongside Ben Hall. The two go entertainingly head-to-head in this well-cooked, country-fried comedy that thoughtfully contemplates ego, fame, and legacy. This one hits all the right notes, creating a near-perfect blend of poignant, wistful, warm, and tender absurdist-surrealist hilarity that is sure to two-step straight into your heart.
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Following the success of his indie feature Sister Tempest, New Orleans writer/director Joe Badon is back, and he’s brought his next wild and wacky vision to Fantastic Fest! Paired with Alex Phillips’ All Jacked Up And Full Of Worms, which screened in the festivals “Burnt Ends” section, Badon’s short, The Blood Of The Dinosaurs, delivered the surrealistic comedy goods and properly primed Fantastic Fest audiences at Tuesday’s afternoon screening.
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The Burglary is the latest project from UK writer/director Michael Houghton. The short film takes viewers on a surrealist and atmospheric ride that will have your head spinning.
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Indie writer/director and strange cinema guru Joe Badon returns with his sophomore feature, Sister Tempest. True to it’s name, Sister Tempest unleashes a relentless, ever-flowing cyclone of creativity. It may be too bizarro for many conventional moviegoers to get behind, but the messy kaleidoscopic phantasmagoria Joe Badon whips up is more than enough for adventurous cinephiles seeking something weird and psychological to sink their teeth into.
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George A. Romero lives! This time, he’s returned from beyond the grave with an early career work which was thought to be lost. Originally produced in 1973 (the same year Romero’s The Crazies was released), The Amusement Park was shelved after the Lutheran Society, who originally commissioned the film as an educational PSA about ageism and the treatment of the elderly, refused to release it due to its disturbing content. Thankfully for all of us, Romero’s decidedly surreal nightmare has been found and is streaming on Shudder for our viewing pleasure!
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