To mark the 50th anniversary of The Holy Mountain — and the nationwide return of three Jodorowsky classics to Dutch cinemas — hosts Tom, Kiriko, and Hugo sit with the transgressive, spiritually overloaded cinema of one of the 20th century's most unclassifiable filmmakers. What did the counter-culture actually want from cinema, and did Jodorowsky deliver it? What does it mean that this spirit — of film as initiatory experience — has largely disappeared from mainstream filmmaking? And is it gone, or simply waiting for the right moment to return?
Joined by the programmers of Imagine Film Festival, the largest celebration for fantastic film in the Netherlands, showcasing the best in fantasy, horror and science fiction. Lauren & Stan along with Tom & Hugo reminisce their first turn down spooky lane. Along this nostalgic path of agreeable scarring, they question what really is a horror in today’s film landscape.
Joined by the programmers of Imagine Film Festival, the largest celebration for fantastic film in the Netherlands, showcasing the best in fantasy, horror and science fiction. Lauren & Stan along with Tom & Hugo reminisce their first turn down spooky lane. Along this nostalgic path of agreeable scarring, they question what really is a horror in today’s film landscape.
Joined by the programmers of Imagine Film Festival, the largest celebration for fantastic film in the Netherlands, showcasing the best in fantasy, horror and science fiction. Lauren & Stan along with Tom & Hugo reminisce their first turn down spooky lane. Along this nostalgic path of agreeable scarring, they question what really is a horror in today’s film landscape.
An essay beginning with a bookcase full of pulpy post-war American dimestore novels — Twisted Wives, Satan is a Woman, Girls Dormitory — and the question of why their covers felt like a portal to another world. Film noir, this piece argues, is not a genre but an atmosphere: a way of looking at the world that presupposes guilty men, dangerous women, and a city that will not let you be innocent. An introduction to noir through the images that made it — and the question of whether it ever really went away.
Gaspar Noe has spent twenty years being cinema's most polarising provocateur — and Vortex, his most restrained and devastating film, may be the one that converts the doubters. Speaking with Kiriko, Noe discusses how the film's radical split-screen structure emerged from the truth of dementia: two people living in the same space, in entirely separate realities. He reflects on collaborating with Italian giallo master Dario Argento, his enduring love for Tokyo, and what it means to make a film about dying that insists on looking directly at what everyone else looks away from.
Joined by the programmers of Imagine Film Festival, the largest celebration for fantastic film in the Netherlands, showcasing the best in fantasy, horror and science fiction. Lauren & Stan along with Tom & Hugo reminisce their first turn down spooky lane. Along this nostalgic path of agreeable scarring, they question what really is a horror in today’s film landscape.
Joined by the programmers of Imagine Film Festival, the largest celebration for fantastic film in the Netherlands, showcasing the best in fantasy, horror and science fiction. Lauren & Stan along with Tom & Hugo reminisce their first turn down spooky lane. Along this nostalgic path of agreeable scarring, they question what really is a horror in today’s film landscape.
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