THE GREASY STRANGLER: one last 2016 bit of weirdness
Yes, this movie is as strange and greasy as its title, which might make it the perfect last narrative for this weird and painful 2016. Jim Hosking's The Greasy Strangler is a twisted tale of family, fetishes and all the in between connections, possibly right there with John Waters' 197s Pink Flamingos.
The synopsis reads:
An ugly and frequently hilarious descent into all things repellent, the debut feature from director Jim Hosking plants itself firmly in a world of filth and shock. (Hosking co-wrote with Toby Harvard; the two previously collaborated on a segment in “The ABCs of Death 2.”) (via The Wrap)
Check out a few blurbs and a enjoy the trailer below.
"One actor recalls reading the script, putting it down and then uttering aloud, "Hell no." Another said that he called the director and asked him, point blank: "What the fuck is this? Are you making a porno, man?" At its premiere at the Sundance Film Festival this past January, both the filmmaker and his leading man hastily ran out of their in-progress screening to stress-vomit, while a fellow cast member declared that "the first time I saw, I was appalled."" (Rolling Stones)
"So how did this monstrosity come into being? In funding terms, we can thank the support, as executive producers, of Elijah Wood and Brit director Ben Wheatley. In a more practical sense, it sounds like a grimly glorious struggle. “The smells at the various locations were exceptionally challenging,” recalls Hosking. “False teeth would fall out. Grease would get in all the cracks. Fake penises would fall off to reveal their real brothers.” The slippery stuff gets a starring role, they say, for the simple reason that it came up when they were riffing on ideas. “It could have been anything,” says Hosking." (The Guardian)
"Mr. Hosking said he found inspiration for his feature debut in the mysteriously artful films of David Lynch, the punk-inflected 1980s British sitcom " The Young Ones" and “filmmakers who are distinctive and different and who go their own way.” The result, he said, was “a really unfiltered script, something that was perfectly self-indulgent and pushed various ideas of comedy.” But it’s also a contender for the title of Weirdest Movie Ever by tinkering in freshly disorienting ways with gender, language and design. It was shot in Los Angeles, so the locations feel familiar. But the landscape unsettles the eye, as if “Multiple Maniacs” had left Baltimore for Pluto." (New York Times)
"Processing a film like The Greasy Strangler occurs in several stages. First, standing up and walking out of the theater, there’s that initial, unsettled feeling of “what the fuck did I just watch?” Then, somewhere around the concession stand, a buoyant exuberance takes over as you and your friends—don’t see this one alone, unless you want to feel like a total creep—start laughing and shouting the film’s many catchphrases at each other. But by the time you get to the parking lot, close the car door, and insert the key into the ignition, a wave of malaise may overwhelm you as you realize that you’ve been had. You just watched the big-screen equivalent of that “2 Girls, 1 Cup” video that teenagers loved to spring on their unsuspecting friends a few years back. And you paid $10 (or more!) for it, you miserable bastard." (A.V. Club)
"Since debuting at Sundance back and January, The Greasy Strangler has elicited regular gasps, groans, and guffaws from audiences around the world as it made its way through the festival circuit. Some critics saw the film as an exercise in excessive revulsion and some saw it as the herald of a new cinematic provocateur, so imagine my surprise when I found it to be admittedly disquieting, but mostly just delightfully silly. But as it turns out, that’s just what Hosking intended.
“I don’t think of it as gross at all, really,” says the director with an audible hint of relief when I expressed my confusion at the disgust the film has conjured. “I think of it as sort of fun and funny and silly, and quite innocent and liberated. I’m rather baffled, to be honest. I wonder quite what sanitized world everybody else is living in to find this film so gross.”" (Collider)
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