![]() The film has been considered as unfolding "between Coppola's lyricism and Harmony Korine's predation" by IndieWire, for example. ![]() This documentary borders on fiction and examines the generation of 20-year-olds living in Warsaw. "Let's skip ahead to where they die," he says.These positive results do not come as a complete shock, as these two feature films both garnered favourable reactions from audiences and critics alike at Park City, showing up most notably in Rolling Stone and Variety's lists of the best films.Īgnieszka Smoczynska, who told Cineuropa before she left for Sundance (read the interview) that she was counting on the particular tastes of the American festival's audience, had a good feeling that was shared by the members of the jury, who were particularly pleased with The Lure's incredibly dynamic script, metaphoric form, combination of genres and musical-thriller soundtrack.Īlready known for his film Fuck for Forest (which follows an organisation selling internet access for pornographic films in order to collect money to give in support of the environment), Michal Marczak cemented his status with his latest documentary, All These Sleepless Nights. Released in 2011, Frederic Jardin’s severely under-seen Sleepless Night is a French-language brawler with universal appeal bruising, relentless, and blissfully frenetic, it remains a. As the movie opens, we are informed what the meaning of the term 'Reminiscence Bump' is while massive fire works go off. Matt Gourley, one of the creators of the brilliant comedy podcast Superego, has a recurring bit where he uses his uncanny Giger impression to put this kinky vampire in mundane domestic situations, like when his son needs him to sign a school permission slip and Giger won't stop saying things like, "I made an acoustic sex fetus!" My favorite one is where he reads The Night Before Christmas as Giger. 'All These Sleepless Nights' (2016 release from Poland 100 min.) brings the story of two college-aged friends, Krzysztof and Michal. Naturally, he fondles a pussycat, like the one whose hiss and slow retreat signals the mature, full-size alien's entrance - a majestic, slow descent into frame from the ceiling, about 60 percent of the way through the movie. He has a tendency to let his sentences trail off. And I like always to be in the shadow, in the dark." If you have too much sun, then you will be in the shadow. He says stuff like this: "The light, it hurts me. He pronounces dinosaur like "dine-oh-sour." Pasty and pale and prematurely gray, dressed all in black, his Swiss-accented English dropping inflections in all the wrong places, and seated, naturally, in a high-backed chair that looks like it was assembled from the spinal columns of gorillas, he delivers the goods. The reason his interview segments on the Alien Anthology DVD/Blu-ray box sets remain a touchstone in geek circles is that Giger comes off as an even more frightening weirdo savant than his work would indicate. ![]() ![]() The cliche about the makers of violent, horrific or sexually extreme creative work is that they're the sweetest, most approachable people you could ever meet. Along with best friend Michal, handsome and wide-eyed, they roam the metropolis at night, floating from party to party, dancing until dawn in makeshift clubs. Almost inevitably, the film was a letdown. Summary After Kris breaks up with his long-time girlfriend, anything seems possible and Warsaw is his playground. As is so often the case, the solution felt matter-of-fact where the mystery had felt vast and unknowable. Scott's disappointing 2012 film Prometheus was an attempt to answer Alien fans' decades-old questions about the race of creatures to whom this ship belonged. ![]() ( Alien won an Oscar for its visual effects it was nominated for art direction but lost to All That Jazz.) Like many of the creatures in Giger's paintings, these elements all seemed to posit a technology wherein ribcages and sex organs of both genders were the primary building materials. He also designed the horseshoe-shaped alien craft where the unlucky crew of the Earth-based freighter Nostromo encounters a patch of sweaty, translucent eggs. Giger created the first half of his creature's two-stage life cycle - the crablike "facehugger" that affixes itself to its victim's face and then implants a fast-maturing embryo inside the host's abdomen that will later explode from the chest. Giger was in his late 30s when Scott hired him to not just create a monster (based on the one seen in Giger's painting Necronomicon IV) but to design much of the film surrounding it. Even subsequent movie monsters designed by Giger, who became a hot commodity after Alien, can't come close. Decades after Alien hit theaters (the picture will turn 35 Memorial Day weekend), the creature's status as the cinema's most nightmarish beast is untouched. You wouldn't expect this particular creation to become a consensus candidate, but it did. ![]()
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