Where to begin with the Belgian occult thriller “The Devil’s Nightmare” (also known under about a jillion other names, including “The Devil’s Longest Night,” “Nightmare of Terror” and–inexplicably enough–“Vampire Playgirls”)? This is exactly the kind of European trashfilm that delights me even as it shaves off IQ points that I will never, ever regain. A half-witted supernatural chiller, a half-assed morality play, and a bare-assed sexploitation film all rolled into a singularly absurd package, “The Devil’s Nightmare” flirts with Satanism, Nazis, the nature of faith and female sexual power while never taking any of those topics in the least bit seriously. It’s only shocking insofar as it’s startlingly fluffy!
Wow! I have been alarmingly in-demand recently, proving that it is good to be the Tenebrous. In addition to some upcoming projects that are still under super-secret wraps, I have a couple of announcements regarding off-Love Train activities.
Over at Kindertrauma, I shared some tasty choices available to Netflix Instant subscribers in this week’s Stream Warriors post. Who needs blockbuster flicks when you’ve got gritty crime dramas, puppet aliens, and Udo Kier?
On March 25th, I will be presenting as part the Meet the Lady: Dream Sequences evening at 92Y Tribeca in New York City. Hosts Tom Blunt and Kevin Maher have put together a fascinating program themed around women’s dream sequences in entertainment. In the program, I will attempt to be as interesting as a burlesque performer, a classically trained harpist, and a culinary aesthete who will provide exciting snacks. I may fail, but I will have a reel of giallo nightmares that may make up for some of my performative shortcomings! Check out more info over at Kevin’s blog and buy tickets in advance–these shows sell out.
There is a really interesting documentary somewhere in the footage that makes up “Until the Light Takes Us,” a 2008 exploration of the Norwegian black metal scene–a fact that makes the jumbled mess that is the final film all the more problematic. Devotees of the music are unlikely to find new insights, and those unfamiliar with the basics of the players and mind-set of the scene will likely be confused by the lack of background information. It’s a big issue that the nature of the relationship between the two (dynamic and well-spoken) key figures in the film, musician and convicted murderer Varg “Count Grishnackh” Vikernes of Burzum and musician and not-murderer Gylve “Fenriz” Nagell of Darkthrone, is simultaneously a focal point and yet never explained. The two men seem to think of each other “good guys” who are “working on their own projects” and who have grown apart. Is this a sad misunderstanding between two close comrades, or an overstatement for the film? I couldn’t sort it out, and I knew who these people were going into the documentary.