Killbillies (Idila)


Slovenia: Land of natural beauty and bored models.

Slovenia: Land of natural beauty and bored models.

(2015) Horror (Artsploitation) Nina Ivanisin, Lotos Sparovec, Nika Rozman, Sebastian Cavazza, Jurij Drevensek, Manca Ogorevc, Damjana Cerne, Matic Bobnar, Damir Leventic, Ajda Smrekar, Liza Marija Grasic, Kaja Janjic, Klemeth Nadler, Polona Torkar, Luka Zivec, Kristof Modic, Jana Nucic, Robert Sercer, Alen Rupnik, Gregor Janez, Tina Jenko, Nastasia Koncina, Nada Bozic. Directed by Tomaz Gorkic

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It is often the most idyllic countryside that is the most remote. Those places that are for the most part unspoiled by modern society seem to be the most beautiful. They can also be the most dangerous.

Zina (Ivanisin) is an amateur model who is very much aware that she is no longer in demand and that the time for career success as literally passed her by. Unpopular with her fellow models for her no-bullshit attitude, she is honest to a fault and sometimes pisses off people with her straightforward opinions. She goes out for a night of drinking with three other girls who also dabble in modeling at a bar that can only charitably be described as a dive, but one of the girls likes the home-brewed liquor they served, all of it coming out of bottles with a curious whorl pattern on the label and nothing else. The ladies gossip amongst themselves until Zina is accosted in the unisex bathroom and has to resort to kneeing the guy who won’t take go to Hell for an answer right in the family jewels.

The next day she has a photo shoot with veteran photographer Blitcz (Cavazza) who also brings ditzy Mia (Rozman) for the outdoor shoot. They are joined by make-up artist Dragica (Ogorevc) who is a former model herself. They head out to a meadow way in the boonies of Slovenia and one has to admit, the location is beautiful but not so well-chosen; they are in short order approached by Francl (Sparovec) and Vintlr (Drevensek), two inbred redneck types whose country bumpkin look belies their sinister intent. They manage to overpower the four of them and transport them to a basement.

It turns out that these two yokels are moonshiners and their liquor is very special – it is distilled from the essence of fluid extracted from the human brain. It is an extremely painful process and one that is fatal to the person unlucky enough to be distilled, so to speak. Zina realizes after one of their number is brutally bludgeoned to death in front of her that they will all die if she doesn’t find a way out of the basement, but beyond it there are miles of forest that her captors know well – and she knows not at all. It will take all her wits and will to live to survive.

I wasn’t expecting much to be honest; I admit I’m not terribly familiar with the Slovenian film industry and I had my doubts that this would be anything more than a Grade Z cheapie. Instead, it turned out to be a suspenseful little action-packed gem with some pretty decent performances, particularly from Rozman and Ivanisin and some pretty spectacular gore effects that would do a big-budget Hollywood film proud.

The movie is pretty much divided between spectacular outdoor shots in the countryside and cramped, claustrophobic interiors. Both look pretty darn good, although some of the interiors are a little too dimly lit. Still, the last twenty minutes or so which is essentially one long chase scene is almost all outdoors and done with extreme effectiveness.

There isn’t a lot of sexuality here, although the ladies are gorgeous and one of the inbreds does seem like he’s going to rape one of the models midway through the movie but for the most part sex here is almost all unwanted by the ladies which makes for some interesting psychology. There is also a clear urban vs. rural divide here that hearkens back to classics like Texas Chainsaw Massacre and House of 1,000 Corpses that clearly have influenced the work here.

The behavior of the models with the exception of Zina is pretty much shallow and irritating, so some viewers having to listen to Mia prattle on interminably might get a little bit done with her before the film is done with her but she is dang pretty to look at. There is also a ton of smoking in the film; I found it somewhat amusing that all the gorgeous models smoke like chimneys but the horribly mutated hillbillies do not.

The effects make-up on Francl and Vintlr are also pretty nifty; Francl has a bulbous nose and a sunken right eye with pock marks and pustules turning his skin into a teen’s worst nightmare, while Vintlr has an elongated face, teeth only a Brit could love and also his share of skin issues. Both of them are about as ugly as you can imagine and while I wish there would have been more use of Mia’s shallowness about good-looking guys be laid bare by her revulsion to the spectacularly ugly country boys, the monsters here are satisfactory, although as things turn out, the worst monsters might be the ones who look normal.

In any case, this is in Slovenian with English subtitles but it’s well worth checking out, particularly this time of year. It’s a really fine film that you’ve never heard of so if you’re looking for something a little different to push your fright buttons this Halloween, this is truly a find you might appreciate.

WHY RENT THIS: It’s a surprisingly well-made film that cranks up the suspense in the last 20 minutes. The locations are beautiful.
WHY RENT SOMETHING ELSE: Some of the acting is a little bit over-the-top. Some of the shallow behavior of the models might be irritating to some.
FAMILY VALUES: A fair amount of gore and violence, some profanity and sexual situations.
TRIVIAL PURSUIT: This is the first full-length horror film to be produced by and in Slovenia.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: Not available.
SITES TO SEE: Amazon Prime, Vimeo
COMPARISON SHOPPING: The Hills Have Eyes
FINAL RATING: 6.5/10
NEXT: Day 2 of Six Days of Darkness!

Front Cover


A handsome, stylish man.

A handsome, stylish man.

(2015) Drama (Strand) Jake Choi, James Chen, Jennifer Neala Page, Elizabeth Sung, Sonia Villani, Ming Lee, Li Jun Li, Rachel Lu, Wayne Chang, Kristen Hung, Scott Chan, Brian Knoebel, Ben Baur, Shenell Edmonds, Benjamin Thys, Tom Ligon, Fenton Li, Julia Sun, Josh Folan, Peter Benson, Hallie Cooper-Novack, Chris Kies, Morgan Wolk, Jack Ferver, John Cramer, Susan O’Connor. Directed by Ray Yeung

 

Culture can be a blessing and a millstone. Not all of us want to be defined by our ethnicity. That also goes for our sexuality, although that is becoming less of a stigma these days. The LGBTQ community has made some big strides in this country over the past few years but sometimes we forget that it isn’t the same situation everywhere.

Ryan (Choi) is a gay Asian man who works as a stylist in the fashion industry in Manhattan. He’s in demand and very good at what he does, but he is tired of being stereotyped for his sexuality and his culture. He wants a certain magazine cover but instead he’s assigned by his overbearing boss (Villani) to work with an emerging Chinese star named Ning (Chen) who is breaking out in the United States and who had specifically requested a Chinese stylist for his important photo shoot he’s getting ready for.

It is not a match made in heaven. Ning is all about his culture while Ryan is trying to distance himself from his Chinese heritage and embrace his American side. For Ning’s part, he is shocked at Ryan’s open homosexuality. It’s simply not an acceptable part of the culture in modern China. The relationship is rocky and nearly gets Ryan fired but eventually the two begin to find some common ground, particularly when Ryan’s parents get involved. And as the two begin to become friendly, an attraction develops as Ning reveals that he is in the closet. Can two people from two disparate cultures make it work?

This is a movie that has admirable ambitions. Not only does it examine a little-discussed subject in film – being gay and Asian – but from two different angles. Bringing the cultural differences into the mix adds a little bit of spice to the lo mein. One of the big positives here is that Yeung has his feet in both communities and brings his own experiences and perspective to the wok. That lends an air of authenticity to the film that money just can’t buy and is a perfect illustration of what is best about indie films.

The movie rests largely on the shoulders of Choi and Chen and the two work really well together. Their initial antagonism leading to romantic feelings feels a bit Hollywood-esque but the two manage to overcome the clichéd nature of the situation and make the relationship feel real. There’s also some great scenes with Ryan’s parents and grandmother.

In a sense although the romance is at the center of the film, it is really Ryan’s story; it measures his growth and revolves around his perspective. We see the events through his eyes, feel his frustrations and his passions. Ryan is so dedicated to assimilating into American culture that he refuses to have romances with Asian men, only Caucasians. It is this cultural denial – not uncommon among second generation immigrants – that I think is the most fascinating part of the story.

I would have liked the romantic part to have been a little more organic but even though it kind of follows a rom-com formula, this is far from typical. And yes, there are comedic elements here, particularly with cultural fish-out-of-water things but I wouldn’t necessarily characterize this as a comedy or even a dramedy. It tackles some serious issues and gives us insights that maybe we wouldn’t come up with on our own, and isn’t that really the best thing a movie can do for us?

REASONS TO GO: Cultural and sexual attitudes are taken on honestly. There’s legitimate chemistry between the leads.
REASONS TO STAY: The romance aspect seems a little cliché.
FAMILY VALUES: The themes are complex; there is also brief mild profanity and some conversation that is a little suggestive.
TRIVIAL PURSUIT: Leung also runs the Hong Kong Lesbian and Gay Film Festival.
CRITICAL MASS: As of 8/5/16: Rotten Tomatoes: No score yet. Metacritic: 49/100.
COMPARISON SHOPPING: Brokeback Mountain
FINAL RATING: 7/10
NEXT: The Tenth Man