jeudi 15 octobre 2015

@EmilieFlory: A Macabre Compulsion by @RiversofGrue

 
EMILIE FLORY : A MACABRE COMPULSION

 
By Keeper of the Crimson Quill @RiversofGrue
 

If there’s one thing that perplexes me in the very best way it is the human brain. This wonderful piece of kit is primarily responsible for every impulse, every thought wave, every feeling we express and, in the correct hands, is a thing of insurmountable majesty. My own cerebrum is a sprawling metropolis of activity and, forty-years on, I’m only now beginning to harness the power beneath the hood. So when somebody comes along with the same inexplicable gift for motoring neurons, I sit up and take notice accordingly. This is not the first time I have spoken of wonderful Parisian pioneer, Emilie Flory, and neither will it be the last. However, today I plan to elaborate further on why the future of modern horror is something she is destined to play a substantial part in.
 
It started when she confided with me her screenplay for Trauma Dolls, a psychological leviathan just bellowing out to be green-lit. As I hung from her every word and soaked up the illumination protruding from the words before me, I also found myself visualizing every conceivable shot, almost as though I had gained access to her mind’s central reactor and was being given a free guided tour. Instantly, I knew I had found my way inside no ordinary sweat shop, and was also aware that she possessed a rather exclusive set of tools which set her apart from her contemporaries. The mind can be a wonderful thing when its owner knows how to speak it succinctly and Trauma Dolls couldn’t have been more concise in its fabrication.


So what does one do when intrigue rears its inquisitive head or three? We keep on burrowing in the hope that we will unearth other suchlike concealed treasures. Over the next couple of months, I discovered a veritable bounty of gemstones, the likes of which would make Aladdin’s lamp seem fit only for the next flea market, and they’re all tucked away in this woman’s trove, positively screaming for the world to discern their dazzle. My case in point is this: we began to collaborate and ordinarily this is a laborious exercise as it pulls me from my comfort zone. However, my prose was decorated so exquisitely by her intoxicating visuals that it felt as though she had been watching it unfurl as I scribed it. Both What’s in The Box? and The Last Waltz sit amongst my proudest achievements since I started out almost three-years back and my words dance that much more freely from the page as a result of her optical infusions.
Recently, Emilie went one better when, after visiting L’Étrange Festival in Paris and being bowled over by both Ben & Chris Blaine’s Nina Forever and the RKSS Collective’s Turbo Kid, she decided to write a double-headed appraisal of these fine works. As a “critic” myself, I understand how troublesome it can be compacting your zeal into a couple of thousand words and making it snap at the readers’ Achilles tendons, as opposed to leaving them anesthetized. When she sent me her draft, translated by her dear friend, Cameron Watson, and I perused said piece of literature, I was promptly upstanding and offered ovation from the opposite side of the English channel. AN EPIC DOUBLE FEATURE REVIEW is so much more than a bunch of synopsis and one-sided reckoning. Her affectionate rejoinder cut deep to the marrow of both films, revealing what could so easy be overlooked by the untrained eye.



I pride myself on the fact that my appraisals can make something appeal when previously you may not have thought to give it your precious time and that is precisely what she achieved here. Moreover, armed with her knowledge, I know full well how to approach both movies and have no doubt that I would echo her exact sentiment. This is no small feat and I have heard it remarked many times that the hardest thing a writer can do is to dissect another’s art as it’s ultimately all subjective and the true answers lie in another place entirely. However, she managed it with considerable aplomb and it proved, once again and categorically, that everything this woman touches is white gold flecked with splashes of deep red.

Trauma Dolls is an ambitious project and needs to be as it possesses far greater scope for invention than your run-of-the-mill horror movie. This is the kind of film which would be right at home at Cannes Film Festival and, moreover, her eye for visual detail gives her the very best positioning behind the lens when this ultimately comes to fruition, and I swear blind it will. Self-taught with the likes of Alfred Hitchcock, Dario Argento, David Cronenberg, William Friedkin, and Paul Verhoeven as spotters, she plucked cherries from each and learned the art of optical storytelling from the true crème de la crème in the process. There will be no such thing as a bog-standard shot in Trauma Dolls or, at least, only when she deems such fit to hit home the humanity. Indeed, her camera will be the most voyeuristic, most probing, and most intrusive piece of equipment imaginable.
 
 
Another reason why Bijou’s tale is such a mouth-watering prospect is that she has first-hand experience of the fashion industry and knows how it feels to be on the wrong side of the single-minded glare of the lens. Drawing from experience like this affords her the opportunity of crafting her chief protagonist almost as an extension of herself and this means gripping the bloody beating heart of Bijou or, in this case, kneading her damaged frontal lobe. If you’re looking for authenticity then try this on for size. Emilie too suffered a near-fatal road accident which left her in critical condition and comatose so, make no mistake, when you look into Bijou’s eyes, it will be Emilie Flory very much staring back at you. This kind of investment reaps the best dividends, especially when it is vital to her that all five senses be engaged as I have mentioned previously.

While Trauma Dolls percolates beneath the surface like a malignant tumor, she has something else planned, and this is set to provide further evidence of her cinematic prowess. Starfucker goes into production in November and is part of the upcoming 60 Seconds To Die compendium currently building its head of steam. Among the directors also attached to this project are Oklahoma Ward, Adam Ginsberg, Jeremiah Kipp, Tony Newton, Michael J. Epstein, the great John Amplas, and yours truly. For Emilie’s segment she plans to take a stab at the Italian Giallo although, her vision will look to turn the whole genre on its head thus giving it a fresh lick of deep red emulsion for us Generation Xers. I promise you it will be very special indeed and, in little over a month, filming will commence. Look out for Constance Pizon in an unforgettable lead role which is sure to turn heads, seasoned professional and close friend Ludovic Berthillot, and also for her supremely gifted Director of Photography, Tariel Meliava, whose style is set to compliment her vision exotically.
 
 
 
I grew up idolizing visionaries and it was fascinating watching on as they realized their trajectories. Right now I truly believe that the future of the industry rests squarely on the shoulders of a few key individuals who have something truly unique to say through their art. More specifically, body horror is due for a good defibrillation. Cronenberg gave us a primarily alpha perspective and it seems fitting that Emilie Flory knows precisely what the other side of the coin looks like. Back to Trauma Dolls for a moment as it promises to be just as intoxicating on a sensual level as the Canadian at his apex.

The body beautiful happens to be something which Emilie knows rather a lot about having been ensnared within the industry’s splenetic gossamer herself and she openly celebrates both the beauty and fragility of the human body in any of its forms. This much will become apparent as this project reaches fever pitch. Then there’s the small matter of both the already written Golden Bodies: Fitness is Business and underway Psychotronic Girl O.S. to push the psychological envelope even farther.

All of this brings me back from bells and whistles to the woman who is Emilie Isabelle Flory. A source of radiant light to so many, she is nary less than graceful in her interactions and, perhaps most critically, has in her possession a rather exclusive perspective. I never need to explain something to her twice as she feeds constantly from any dialogue where the other gives in return. This, in turn, leads to exchanges that bring the very best out of us both artistically and not a solitary word ever feels wasteful. Insight is key and hers is very much bona fide as she knows a thing or two about synapses and how to wire us for pleasure, laced with sweet agonizing pain of course. She has extensive neuroscience research under her belt, has been to the white light and turned her back on it defiantly, and is primed to paint the whole town deep red which just so happens to be a color of which I’m particularly partial.

Click here to read :

AN EPIC DOUBLE FEATURE REVIEW by Emilie Flory

Emilie Flory’s IMDb Page


Truly, Really, Clearly, Sincerely,
Keeper of the Crimson Quill
First Knight of TOK
#BrutalWordWrangler #CrimsonHoneyDripper #CruelWordSculptor #ThePiper
Copyright: Crimson Quill: Savage Vault Enterprises 2013 (Director’s Cut 2015)
 
  FULL ARTICLE:

 
 

jeudi 24 septembre 2015

#NinaForever #TurboKid : AN EPIC DOUBLE FEATURE REVIEW @epic_pictures by @EmilieFlory via @RiversofGrue

 
AN EPIC DOUBLE FEATURE REVIEW
Written by Emilie Flory @EmilieFlory translated by Cameron Watson
 
 
Posted by Keeper of the Crimson Quill @RiversofGrue www.riversofgrue.com
 
“A real journey is the one that teaches you something different from what you expected. You need to change direction, to create and to discover. The real discovery is unpredictable.”
These words borrowed from Michel Serres recently presented the twenty-first edition of the Festival de l’Etrange in Paris, which took place at the Forum des Images as it does every September. Hyped in the press as being superior to the precedent festival, the films selected show a rather invigorating appetite for genre. Just by reading the program (Brand New-U, Baahubali, Tag, Tangerine, Jodorwsky’s Dune, Stung, AAAAAAAAAH! The Invitation, Ruined Heart, Wyrmwood, Tales of Halloween, etc.), we can see the level of originality and excellence of the movies showcased during this surprising festival which once again confirms the upsurge of genre filmmaking.
 
Two movies in competition are worthy of special mention: Nina Forever by UK-based brothers Ben & Chris Blaine and Turbo Kid by Canadian trio François Simard, Anouk Whissell and Yoann-Karl Whissell. It’s also interesting to note that these two movies are distributed by Epic Pictures, one of the finest distribution companies on the market, if not the finest. Their choice of material is extremely specialized and risky (far from the usual formatting) and, while keeping in mind the requisite for entertainment, the studio chooses to distribute and sell movies that are real movies by filmmakers. This key point is one of the reasons for the company’s wide success. Epic has grasped what tomorrow’s audience wants and what will soon be the movies of the future. Among its figureheads is Shaked Berenson, executive producer on Turbo Kid, and a dedicated movie aficionado. When one does things with passion, the public can always tell.
 
 
 
2015 (UK)
Written and directed by Ben & Chris Blaine
Romantic Comedy/Horror
Filmed in Alexa, Format 2.35 – Dolby Digital Sound
With: Fiona O’Shaughnessy, Abigail Hardingham, Cian Barry, David Troughton, Elizabeth Elvin, Bill Holland
Director of Photography: Oliver Russell
It’s always a positive to meet the directors and star of the movie that’s being screened, especially when they are warm and approachable, and the movie in question is presented by the international press as being something of a little gem. Despite the fact festival-goers were lucky enough to meet The Blaine Brothers and their leading lady, Fiona O’Shaughnessy, whose portrayal of bloody Nina is magnificent, they still weren’t prepared for what they were about to see.
The subject of Nina Forever, very original and quite shocking, is absolutely delightful. Holly appears to have found true love when she falls for her colleague Rob. He is nursing a broken heart after losing his significant other in a fatal road accident and she desperately wants to relieve his anguish. However, the couple’s happy union is soon compromised when the restless Nina returns from the afterlife and begins taunting them each time they attempt intimacy. If this sounds like a recipe for success then rest assured it is.
Because it’s treated both realistically and in an off–beat way (we are crazy about that irresistible British humor), the movie has a refreshing and wholesome fairy tale aspect to it. Strangely enough, the love scenes, which could have been the movie’s weak point, actually prove to be its strong suit. Note that in these scenes, both the actors’ performances and the directing are brilliant. It’s quite rare that sex on the screen turns you on. With the exception of Basic Instinct or Enter the Void, onscreen sex often excludes us and can bore us to tears. Here, it’s exactly the opposite. There’s an amazing energy that emanates from these scenes and we really feel involved!
 
 
 
Nina Forever is supported by a fabulous trio of actors (Fiona O’Shaughnessy, Abigail Hardingham and Cian Barry) who make it a wonder of pure, real emotions. Holly’s character, played by Hardingham, transforms in a few minutes from a feeling of emotional deprivation to a spectacular state of true love. Thanks to her sincere and remarkably moving performance, which responds to a turn from Barry full of sensitivity, restraint and depth, we are swept away willingly into their story.
Making one believe in a feeling of real, deep love is not an easy feat, but The Blaine Brothers’ camera captures this emotion exquisitely and ramps it up tenfold. As their directing is perfectly controlled throughout, we see the real theme of the movie emerge rapidly. What we’re talking about here is a certain frustration, a certain feminine harshness faced with the lack of romanticism and the insistent physical desires of their masculine counterparts.
What makes the film fantastic is that by underscoring this frustration, the authors actually express a real masculine distress faced with the opposite sex’s lack of understanding. The intention might seem to be defeatist, but it isn’t. The extraordinary love Holly and Rob feel for one another is what remains when the movie is over. Nina Forever is a declaration of love made to women; the movie’s title speaks for itself.
 
2015 (Canada/ New-Zealand)
Science Fiction – Action
Written and directed by François Simard, Anouk Whissell and Yoann-Karl Whissell
Filmed in Alexa, in Red and with a Sony A7S, Format 2.35
With: Munroe Chambers, Laurence Leboeuf, Michael Ironside, Edwin Wright, Aaron Jeffery, Romano Orzari, Orphée Ladouceur
Music: Le Matos, Jean-Philippe Bernier, Jean-Nicolas Leupi
Our second feature begins in a post-apocalyptic wasteland, where orphaned young daredevil Kid lives on his wits alone, riding his BMX across the barren land as he hunts for tradable items. After coming across the girl of his dreams, bubblegum princess Apple and promptly losing her to treacherous overlord Zeus, Kid is forced to access his turbocharged inner hero and take on the might of Zeus’ masked militia and save the day. Game on!
Like Nina Forever, Turbo Kid played to a packed house when it was screened in the huge, 500-seat movie theater at the Forum des Images. Highly applauded, the movie is a treasure of originality, poetry and freshness. It’s a movie that speaks directly to our inner child. The awestruck look that our hero maintains is the movie’s principal subject and also its raison d’être. The Kid is a hero capable of eradicating evil with an unwavering faith in what is beautiful and pure. His faith in humanity is unchanging even when this humanity, expressed in the guise of unconditional love, comes from his robotic girl friend, the loquacious Apple, admirably played by Laurence Leboeuf.
 
Seeing a magical movie like this emerge in a time as cynical as ours is nothing short of miraculous. The movie’s first twenty minutes are rather critical for any moviegoers unaccustomed to this kind of off-beat eighties show. But the subject’s sincerity and the characters’ power, not to mention the spectacular primary bloodbath in Zeus’s arena, dispels any remaining doubts regarding the kind of movie we’re watching.
Turbo Kid is an entertaining, layered movie which plays the splatter movie card to the max but never once abandons its good humor. While the splatter is a whole lot of fun, it’s the unbelievably powerful emotion which truly makes it resonate. All bases are covered and the ingredients one expects from a movie are present and correct: suspense, laughter, emotions, fear and action. Yet Turbo Kid doesn’t resemble anything we have ever seen. Moreover, one would almost be tempted to show it to kids since its poetic atmosphere is rubber stamped with grace.
 
It’s satisfying to note that one can still achieve fresh results thanks to perfectly assimilated solid references. Of course, the trio of directors know its heritage and we appreciate any nods to Mad Max, The Terminator or Soylent Green. But when Apple and the Kid kiss under an umbrella just as a shower of blood suddenly rains down, we’re elated because, against all odds The Umbrellas of Cherbourg suddenly appears, a romantic musical comedy if there ever was one. And in that resides the esprit of this wonderful movie, just as enchanting as it is utterly surprising. In spite of its wonderfully stylized look, Turbo Kid had surprisingly a limited budget. But the essentials are precisely where they should be and we happily play ball.
While the movie’s sets are minimal, the dryness of wide open spaces serve its subject since water has become a rare commodity and an effective way for Zeus (a brilliant as ever Michael Ironside) to enslave his subjects. Another plus comes with the props, costumes and also hair and makeup. These are very important elements, especially with a film such as Turbo Kid, which optimize the experience markedly. A tip of the hat to a crew aware of how to effortlessly to keep us invested for nearly two hours and inspire our imaginations, making us fully believe in an improbable world. A challenge perfectly met then.
 
Another crucial factor which lends Turbo Kid its magic is its fantastic special effects. They are old school down-and-dirty practical effects and, far from weakening the movie, they ensure a touching sincerity plus a real life expectancy. Fans of genre movies, tired of the clinical nature in which these films present soulless CGI, will certainly value it.
The soul is unquestionably the film’s driving force. It is constantly evident and reveals itself through a killer score, which relays every emotion. Nearly the whole movie is punctuated by audio and, surprisingly enough, it works. The editing and sound mixing, implemented in masterly fashion, brilliantly maximize the impact of every scene in the movie. There are scenes, in particular, romantic exchanges with Apple, where the music amplifies the actors’ performances calling to mind the silent movies of years long passed. In this respect, Turbo Kid is something of a UFO.
As mentioned, the performances are amazing without exception. Turbo Kid gratifies us with its spot-on three-star casting: Chambers is fantastic as the Kid and is ideally matched by Leboeuf, who is similarly exceptional as Apple. As for Jeffery, he’s irresistable as cowboy Frederic and perfectly counterbalances the Machiavellian style of Zeus as presented by Ironside, stunningly cynical and particularly memorable as half-man, half-robot tyrant.
The RKSS collective have fashioned a movie which, despite being massively engaging, does more than simply entertain. It talks frankly about the mess our societies are already in. By drowning ourselves in numbers, the world has let accountants dictate its actions… The leaders themselves have been deceived by the machines which took their place… Prophetic? With ingredients that mesh so well and the soul it bears proudly there’s every chance that Turbo Kid will become the cult classic it deserves to be.
 
 
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mercredi 12 août 2015

#TraumaDolls Fiction “FLATLINE” by Keeper of the Quill @RiversofGrue

#TraumaDolls Fiction “FLATLINE”
 
By Keeper of the Crimson Quill @RiversofGrue #Grueheads
A creative collaboration between Emilie Flory and Keeper of The Crimson Quill
Excerpt
“These words were the only ones which Bijou remembered. The neurosurgeon, one of the most decorated in the business, had worked tirelessly to keep her alive after it had looked as though she would succumb to the extensive injuries after her tragic accident. The last few hours had been critical, touch and go for the fallen professional dancer, and it had appeared that the surgeon’s best efforts were to be in vain. However, there was something else responsible for her plucky resistance; a passion not for life but for something far more sinister had kept her heart beating in her chest.
 
It is widely endorsed that every near-death experience is bathed in a celestial white light but, for Bijou, nothing could be farther than accurate. Her enlightenment was far more grave; tenebrous darkness was all that she could discern as she battled for control of her wantaway soul. However, for as much as her choice appeared unappetizing, the notion of an eternity in swirling limbo was far more distressing. Sometimes, the devil we know is not preferable, whereas the blackened passageway before her at least offered some kind of alternative.”…
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TRAUMA DOLLS: THE UPRISING by Keeper of the Crimson Quill @RiversofGrue

Trauma Dolls:
The Uprising
By Keeper of the Quill @RiversofGrue
Excerpt
“There is a buzz building as we speak. Word is beginning to filter across the worldwide web for a project which I make no secret of my personal attachment to. Trauma Dolls is coming and already people are beginning to salivate over the prospect. This week represents a significant rung in the ladder as we commence our climb. On Friday it was revealed by our very own Gillian Gibson that the first of many Trauma Weeks is now officially upon us. This is an adoring celebration of this magnificent proposition and also a statement of intent as the Grueheads pledge their allegiance to its eternal cause. We don’t do things by halves and thus it seemed only right to make a noise for all to hear. Heads are turning, cogs too, as the world becomes aware of just how exclusive a proposition Emilie Flory is suggesting. This film is going to blow head gaskets like diesel in an unleaded tank. That’s right; the Trauma Dolls are set to annihilate.
This is where we all have an opportunity to ensure that our glorious collective voice be heard in no uncertain terms. For the uninitiated amongst us, and until recently I would have fit this demographic, allow me to introduce you to the art of hashtagging. If, like Keeper, your preferred medium for social networking is Twitter then you should be aware of this new-fangled craze. For as much as it may appear ineffectual, the application of a single hashtag can draw attention to a word or phrase. By entering #TraumaDolls into your search bars, you will instantly be transported to a page dedicated to any similarly themed tweets…
 
Already a number of well-respected artists have begun work on their own interpretations of Emilie’s dark vision. Right now, we are being steadily drip-fed data and there is much still to ascertain about this formidable concept. However, Trauma Dolls is an enigma. The numerous tantalizing promotional posters speak loud and clear about both its verve and vogue. Fashion and passion ooze out of every image; style and guile are present in über-abundance. The horror theme affords Emilie an opportunity to inject depth into an often shallow industry; offering one-part expose and the other intimate insight. By delving so deep into the cerebral make-up of our crestfallen angel Bijou; Emilie affords us personal attachment unbounded and we get to see the world she sees through her magnificent blackened peepers.”…
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#TraumaDolls : Operation Cemetery Winds by Douglas S. Taylor @DarcWorks

OP CEMETERY WINDS
by THE LORD OF THE DARK LEGION @DarcWorks

 


DOUGLAS S. TAYLOR PRESENTS :

Trauma Dolls Movie Project  by ICONE LABEL PICTURES

Excerpt

It is no secret to the social networks at Twitter, YouTube, Google, and a score of other places to include IMBd that this adult horror project is taking off in a grassroots campaign. It would be impossible for me to list every small company, interest groups, fans, supporters, and those promoting Emilie Flory’s dream and vision of making this movie a reality within this brief post.

There is however, a few additional links on where you can get familiar with Icone Label Pictures right now:

·         ICONE LABEL PICTURES WEB

·         All about TRAUMA DOLLS

·         IMBD: Video Presentation




Now that you are aware of this project, it is high time for you to get involved!

Perhaps you’re strapped for cash and we all have lives to live. This we all know and understand. Nevertheless there are things you can do to help. You will be surprised on how much of an impact you can truly make!

Again, there is so much you as an individual can do. You ever heard of “Word of Mouth?” This is still top dog in getting people to take notice and in turn, spread the word further. It’s very easy and here are some things you can do!

1.If you are on Facebook, Twitter, Google+, and other social networks, you can make mention and support this project by RTs, links shares, comments, posts, and the like.

2.If you are a blogger on WordPress, just re-blog this article.

3.If you are a blogger on any other blog, just write a brief post with the information provided here as well as from the official site.

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