Lloyd Kaufman, USA, 2020, 94’
Legendary director Lloyd Kaufman celebrates Troma’s 45th and his 50th year making movies, by taking on Big Pharma, addiction and the intolerance of social media in this irreverent musical adaptation of The Tempest. Shakespeare has never been this raw and unfiltered.
Danielle Kummer & Lucy Harvey, UK, 2021, 83’
A very amateur dramatics group led by Dorset Bus Drivers spent a year creating a serious stage adaptation of Ridley Scott’s cult classic sci-fi horror film Alien. Their village-hall show was a crushing flop. But their incredible and inspiring homemade homage took them all the way to the stages of London’s West End.
Nabwana I.G.G., Uganda, 2016, 68′
A slum in Uganda’s capital of Kampala, Wakaliga is home to the grassroots film studio Wakaliwood where director Nabwana aka “Uganda’s Tarantino” and his crew are creating the most insanely entertaining no-budget DIY action extravaganza you’ve ever seen.
Junta Yamaguchi, Japan, 2020, 70’
Kato owns a small café in front of Kyoto’s Nijo Station. One night he returns to his small abode above the café and just when he is about to play his guitar, another Kato appears on his TV screen and says: “Hey, I’m you. Two minutes in the future.” This one-take time travel sci-fi comedy that puts a (very slow) spin on sci-fi is taking fantastic film festivals by storm!
Yûji Shimomura, Japan, 2020, 91′
Not so much an homage to the genre of chanbara, but to sword fighting itself. An homage and at the same time an utter demystification, a mathematical dissection of this martial art. Impressive, boring, sublime, gruelling and increasingly thirsty … A daring conceptual cinematic bravura!
Adam Carter Rehmeier, USA, 2020, 108′
An on-the-lam punk rocker and a young woman obsessed with his band go on an unexpected and epic journey together through the decaying suburbs of the American Midwest. Dinner in America is a proper, old-school American indie. Smart, without being pretentious. Funny, without trying too hard. Anti-romantic, but so darn sexy.
Miguel Llansó, Spain/Estonia/Ethiopia/Latvia/Romania/UK, 2019, 82′
CIA Agents Palmer and Gagano are tasked with the mission of destroying a computer virus called “Soviet Union”. They enter the system using VR but the mission turns into a trap. Billed as a “WTF Thriller” and “The Matrix on Acid”, Miguel Llansó’s second feature steeps Afrofuturism in the retro aesthetics of Cold-War spy thrillers and B-movie actioners.
Johannes Nyholm, Sweden/Denmark, 2019, 86′
After a shattering tragedy, a couple goes on a trip to find their way back to each other. But an old man in a straw hat and his shady entourage await them in the woods. Inventive, eerie and perversely fun, Johannes Nyholm’s second feature is a nightmarish pseudo-surrealist fantasy, a fairy tale for adults, infused with formal experimentation and the darkest of humours.
Nobuhiko Ôbayashi, Japan, 2020, 179’
Master director Nobuhiko Ôbayashi thrusts us into his intoxicating labyrinthine world of cinema with his final masterpiece. His eternally youthful, nonconformist spirit of cinematic experimentation and deep humanism lives on forever!
Isabel Peppard & Josie Hess, Australia, 2019, 71’
After 20 years as a dutiful housewife stuck in a loveless, sexless marriage, Morgana has had enough of her dreary life. Desperately lonely and starved of intimacy, she books a male escort for one last hurrah before ending it all. But her final night takes an unexpected turn. An artistic character portrait of a 50-year-old housewife, who re-invents herself as a sex-positive feminist porn star.
Peter Weir, Australia, 1975, 107′
On a beautiful summer’s day a group of students from the all-female Appleyard College prepare for an outing from which some of them will never return. The sublimely beautiful, enigmatic and eerie chronicle of a disappearance helped usher in a new era of Australian cinema and established director Peter Weir as a major international talent. Closing film!
Brandon Cronenberg, Canada/UK, 2020, 103’
With his second feature Brandon “Son of David” Cronenberg plunges his very own clinical and cold futuristic dystopia deep into the raw and tactile body-horror tradition which is his birth right. Best film and director at Sitges International fantastic Film Festival. Opening film!
Oskar Lehemaa & Mikk Mägi, Estonia, 2019, 88′
The Old Man and his grandkids have just 24 hours to find a rogue cow, before her unmilked udder explodes and unleashes the lactopalypse. On their epic journey, our heroes must face festival hippies, forest creeps, sawmill workers and other dangers commonly found in the Estonian countryside.
Curt McDowell, USA, 1975, 120′
On a dark and stormy night, a party of strangers seeks shelter at an old, dilapidated mansion. To pass the time they will share tragic tales and carnal pleasures. Curt McDowell’s underground masterpiece of cult/camp/queer cinema is a deranged genre mash-up of Gothic horror, hysterical melodrama and hard-core porn, bursting with anarchic humour, delicious arousal and delirious excess. Only in cinema! #fingerscrossed