Tag Archives: subtitled

Bodom (2016)

In 1960 (this is all true) some campers at Lake Bodom in Finland were murdered in a fairly sensationalist fashion, and the crime has never been solved. I’m not sure why this was such a big deal during the past decade, but that crime was the subject of two identically named Finnish horror movies recently, the first found footage, and the second (this one) a… I don’t know. Reimagining? That’s not exactly right, but it’s close enough, I guess.

See, there are these four modern teens, and they are going camping on the site of the famous murders. The nerdy guy wants to go because he’s a crime nerd and wants to do a re-enactment. Maybe to see if he can solve it? Dunno. And his friend is going to be supportive (he has a cabin up there, just ask him), plus for reasons of his own[1], which relate to the girls who are going: one of whom had some kind of recent trouble with a fire[2], and the other of whom had some kind of recent trouble with a bunch of nude pictures of her at a party without her knowledge, or consent, or consciousness, with the result that she’s sort of a school pariah now and also her hyper-religious, overbearing father is slut-shaming her for something that, even were it shameworthy to do, she didn’t even do it. Because religion.

Anyway, there’s a lot of character and backstory going on for four campers in the woods at the site of some brutal unsolved murders of other campers in the woods. And then things start happening.

Long story short: it’s worth it, check it out.

[1] I’m not sure if it’s because of comics, but that phrasing always sounds unnecessarily dramatic and not a little bit ominous.
[2] It’s hard to watch subtitled movies and work. I’m getting better at it, because damn does Shudder traffic in foreign horror, which would be fine otherwise!, but as it is… Anyway, I’m getting better at the balance, but I skimmed the scene where they mentioned the fire, and then it never came up again, so I din’t know how relevant it actually was?

Pengabdi Setan (2017)

Today I learned that Indonesian horror cinema, much like the local version, sometimes goes back to the well. Because it turns out that Satan’s Slaves is a remake of the same title in Indonesian (although Satan’s Slave, singular, in English), made in 1982. I haven’t seen that one, but the IMDB summary makes it clear they’re related.

Anyhow, this version starts with the quiet grief of a family whose once-famous singer matriarch is withering away from a mysterious illness. Not only are they losing their mother (or, in one case, wife), but they’re also losing the things they own and quite possibly their house, in paying for her care. I guess mostly the medicines and old doctor bills, as the mother is in house and being cared for by the family, not a hired nurse or anything.

But then things get flickery at the edge of your vision ghosty, and then they get in your face ghosty, and then things get a lot worse than that, in unexpected ways. (Or, well, maybe not so unexpected, based on the title.) Despite a third act full of running and hiding and fighting with generally about triple the cast of anything that has gone before, the movie as a whole is quiet and meditative albeit with occasional actual scares (and more than a few attempted jump scares). Meditative on how families might dissolve, on the kind of loss that we all someday face, on falling away from your religion, and most especially on how the sins of the past must be paid, even if they weren’t your sins.

Majo No Takkyûbin

MV5BOTc0ODM1Njk1NF5BMl5BanBnXkFtZTcwMDI5OTEyNw@@._V1__SX1859_SY893_The second outing of the weekend was to catch the one Miyazaki movie playing this month at the Alamo Drafthouse that I both had not seen and could fit in my schedule[1]. Hence, Kiki’s Delivery Service, about a 13 year old girl sent out on her own to make her way in the world for a year, in the traditions of her people. Who are witches, I should probably add.

Based on the vehicles and architecture, and other clues, I’m guessing that the never specified timeframe for the film is in the late 1950s or early ’60s, and I’m also assuming the locale is Japan. The latter is more strongly implied than the former, but neither is by any means definitive. For most of the movie, I assumed the point was mostly to showcase the gorgeous animation and soundtrack, via long, contemplative shots of Kiki flying across the countryside on her broom, or walking through her new city, and that the job (she delivers things for people, as you might expect) and relationships she was forming were mostly beside the point.

But then my mental jokes about making a 13 year old run off and earn her own living were translated seriously onto the screen, as she quickly lost her [Japanese phrase that means joie de vivre] in the humdrum grind of using her heritage and passion as a means of keeping herself fed and housed. From that turning point and throughout the final act, the story turned into more of a meditation on whether and how she could come back to herself and find her happiness, and now I think the movie is a love letter to post-war Japan, unsure of herself and finding her footing after a resounding defeat.

But maybe it’s just a feel-good movie about a witch and her sarcastic cat. That’s cool too.

[1] The only other one I’ve actually seen was the only other one that matched up schedule-wise, sadly. (Mononoke.)