The Savage Planet, also called The Fantastic Planet, is an allegorical science-fiction animated movie about morality and the established social order.
The story is set in the dystopian planet of Ygam, where the Draggs, a species of giant blue humans, rule. There is another human species, the Oms, tiny in size, whom the Draags consider a pest and exterminate regularly, keeping some some of them as pets. Terr, one of those pets, is found and kept in captivity by a girl called Tiva. He grows with her master, learns all the secrets of the Draags, and then...
The universe and atmosphere created by Laloux are superb. Mix Salvador Dalí surreal landscapes and imagery, Bosch architectural fanciness
and oniric creatures, add a hint of 19th century botanical
drawings, slowly pour some psychedelic music by Alain Goraguer, and whisk all
energetically with an allegorical story adapted from Stephan Wul's by Laloux and Roland Topor, and you get something unique. The 2-D animation has all the limitations that the genre had in the 1970s, but the creativity and artistry of the drawings and story will make you forget the deficiencies of the animation (especially clear in the poor mobility and reduced facial expression of the characters). Some of the scenes are memorable, and I especially liked the Draag's mating and meditation practices, and some of Tiva's learning trances.
The movie is not apt for children because it has violence, sex, nudity, and elements that are difficult to explain to children. The movie, indeed, touches many adult serious themes: slavery, class
domination, racial extermination, relationship between Theology and Science, relationship between Humans and Nature, cohabitation/conflict between different social systems, colonial and imperialistic attitudes. The movie is complex enough to offer many elements of reflection without being dogmatic, and the viewer will be surprised at finding oneself understanding the good and bad points in both societies and ways of acting and living.
The main problem with the movie is its slow pace, and the emotional frigidity of the characters that don't allow the viewer to empathize with them beyond a pure intellectual or visual level. Furthermore, there is not enough action or thrill, so one gets easily bored after the initial fanciness of the imagery sinks in.
The Fantastic Planet is weird, artistic, psychedelic (even hallucinogenic), naive and delightful, but not always engaging - one of those movies that you want to watch because it is like no other, and sounds too cool not to have in your watched-movies list. The movie wan Cannes Jury's award in 1974.
Ana (Manuela Vallès), a young hippy talented painter living in Ibiza, is discovered by Justine (Charlotte Rampling), an Arts Patron who invites her to join an independent Arts school. Ana's first troubled love and sexual experiences, and her constant nightmares will get Anglo (Asier Newman) to perform hypnosis on her. Ana's past lives will be open to the viewer, but not to Ana, who will have to deal with her life chaos in unknown painful ways not being aware of what is causing it.
Chaotic Ana is a very
difficult conceptual film to watch, called pretentious and pointless by
many, or challenging and profound by others. You cannot watch it as a
linear story. This film requires of you a willingness to accept the odd,
the chaos and the surprising. This film requires of you a willingness to
embrace Medem's personal intimate story as it is related to Medem's late sister Anne, who was a remarkable
painter.
Chaotic Ana touches Universal themes and myths related to the Female and the myths of the Motherland (from Oedipus and Electra to primitive matriarchal mythologies). In his
odyssey of discovery of The Female, Medem takes us from the cave to the
skyscraper using the Ocean as a linking element
Chaotic Ana is -despite some shocking violent scenes- an ode against male violence and
wars, and against those individuals who start them; however, the film
also shows a blind faith in the goodness of Human Kind despite the
tragedies and havoc that we create.
Chaotic
Ana is both a reflection on Death and the void left by the departed -
Medem's tribute to his late sister.
Chaotic Ana is also an
invitation to see Art as a form of individual expression, a timeless
biography of the living, and a living legacy of the deceased. I especially liked some of visual shows shown in the House of the Artists.
The editing is complex and very dynamic. Every small detail in the film has a meaning and it is intricately related to what is happening in the story as a whole. This is one of those films that you need to watch more than once -if you dare or care enough- to get everything. The film continuously
unsettles the viewer, and there are some gory, violent and shock sex
scenes. The international cast members are just OK in their performances, but this is not a movie for them to shine as the script is what matters, and they are, in a way, just Medem's "mediums". Movies like this are never popular or highly rated, and are hated or loved, nothing in between. I loved it, but some of my friends -who are also fans of Medem- totally hated it. I always love a mental challenge, odd stuff, and artistic honesty, and this film has all of those things. However, the mediocre performances, the intellectual complexity of the script, and the length of the film do not help the viewer to connect with the film at an emotional level, just at an intellectual one, and not always. This is a pity, because that emotional connection is what Medem was looking for in the viewer.
This is a film not for the faint hearted. Not easy to watch. Difficult. Complex. Intricate. Interesting, nevertheless.
Conspirators of Pleasure is a surreal comedy and Czech-Swiss-British co-production.
The story focus on the idiosyncratic sensual compulsions and obsessions (aka fetishes) of six different characters: a couple of neighbours, a couple formed by a policeman and a newsreader, a newsagent, and a postmistress. The film mixes surreal
scenes, deadpan humour, hallucinogen and gory images, and human-sized
puppets.The film has no dialogues, the terrific music and street/ambient noise being the only sound. However, the characters express themselves by non-verbal language. Svankmajer's surrealism is both social and individual, not psychological. The exploration of the subconscious world of the characters is not the point of the story; in fact, we see two of the characters hiding in a closet (a metaphor of their personal subconscious), where they find a world of deep secrets that generate their fetishes, but the camera does not go inside and we do not know why, exactly, they develop their specific compulsions. In fact, the fetish
objects in the story are objectively quirky, ridiculous, and comic, made of normal things, but they become something pleasurable and erotic because of the personal wishes of each person. In a way, the personal pleasurable compulsions of the characters appear as a clumsy imitation of the human physical contact that the characters do not have but crave. There is no real
human interaction between them, and invisible walls of lack of communication prevent them from relating to each other, so at least they have their little pleasures.
Despite the story being highly erotic at times, there is not even one sex scene
in the movie, and there is limited nudity. The supposedly raunchy
scenes have nothing explicitly raunchy; all it is hinted, never
explicitly shown. The most brutal scenes in the movie use human-sized
straw articulated puppets with facial movement, so there is a detachment and softening of them.
Despite
its surreal oddity, the story has inner logic and organicity, and the
circular interconnection of the story and of the characters makes
perfect sense; in fact, the ending of the movie is the beginning of another turnaround - The beginning of of a new round of borrowed fetishes.
All the characters are wonderfully played by all the Czech actors: Petr Meissel (as Mr. Pivoine), Gabriela Wilhelmová (as Mrs. Loubalova), Barbora Hrzánová (as the postmistress), Anna Wetlinská (as Mrs. Beltinska), Jirí Lábus (as the newsagent), and Pavel Nový (as Mr. Beltinski).
The movie will unsettle and puzzle you, confront you, visually slap you, and put a smile on your face if you have a wacky sense of humour or you are in one of those days in which you fancy anything weird. The result is a thought-provoking film that is still daring and surprising despite its age. However, I would dare to say that you will not find it that erotic, in the traditional sense of the word.
