AND CHILL #2 -
5th April, 2020
Still from Daisies (1966)
Did you watch last weeks recommendations? Every week we’ll be listing several creative and innovative moving image works to keep you inspired and entertained during Quarantine and Chill. Here are the next three:
4. The Tale of Princess Kaguya’ (2013), dir. Isao Takahata
A bamboo cutter finds a tiny nymph inside a stalk who grows to become a beautiful princess, who orders her suitors to prove their love by completing a selection of near-impossible tasks.
From Studio Ghibli and it’s co-founder Isao Takahata comes a truly moving visual spectacle. Its animation is minimalist and fluid, evoking elements of watercolour against charcoal strokes.
The film is based on the Japanese folk story ‘The Tale of the Bamboo Cutter’ from the 10th-century, a narrative its director extrapolated for ‘Kaguya’ .
Takahata explores themes of family, nature and materialism in this sumptuous retelling. Deep at its core, Takahata’s masterpiece deals with how nature can offer more than urbanity and social progression, a theme shared by most Ghibli films.
5. Daisies (1966), dir. Věra Chytilová
Two teenage girls rebel against a materialistic society, and embark on a series of destructive and psychedelic pranks.
Věra Chytilová’s ‘Daisies’ was integral to Nová Vina (Czech New Wave) of the 60’s, which aimed to expose Czech society to the oppressive and incompetent system they were all a part of. It was filmed during a brief period of artistic liberalism following the homogeneity of Czech’s Communist rule, and before the Soviet invasion of 1968.
‘Daisies’ is a visual paradise. The chemistry between its two leads played by Jitka Cerhová and Ivana Karbanová is unparalleled, whilst its cinematography, costume and production design continue to inspire and fascinate today.
6. Naked Lunch (1991), dir. David Cronenberg
A part-time exterminator and full-time drug addict plunges into Interzone - a world of giant talking bugs in a constantly mutating version of Tangier.
Cronenberg remains fairly faithful to William S. Burrough’s source material as he furthers its hallucinatory state.
The result is humorous, surreal and grotesque, the latter having become a signature in Cronenberg’s filmography, in which he knits elements of its novel against incidents from the writer’s own life - resulting in a paranoid, self-reflexive investigation into the creative process.