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Days of High Adventure: ‘Conquest’ Liberally Mixes Exploitation and Artistic Ambition

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Putting on an Italian genre movie from the 70s or 80s is like cracking open the proverbial box of chocolates; you never know what you’re gonna get. Will it be something with ambition and artistry, a Keoma or a Suspiria, or something content to wallow in sensationalist shock and sleaze, like The New York Ripper? Usually you can get a rough idea of what to expect if you know your directors. Seeing Dario Argento’s name somewhere on the back of the box generally means you’re in for something a shade classier, for example, but if you see the name Lucio Fulci anywhere, you’d better brace yourself for something high on sleaze and on the gorier side of things, even by Giallo standards. Among his particular caste of filmmakers, Fulci has a particular rep for delivering gore, sex, and overall depravity. That having been said, there’s still room for a Fulci movie to surprise you with its level of artistic ambition….or just plain weirdness – take your pick. The perennial example of Fulci in a more artistic mood might be The Beyond, but today we’ll be looking at something of his that’s even stranger: his lone foray into swords and sorcery fantasy, 1983’s Conquest.

A young hero named Ilias sets out from his mystical homeland into the world beyond on a fairly basic quest for manhood, armed with a magical bow. In the much more dangerous outside world, he befriends a lone wanderer named Mace and battles an evil sorceress called Ocron, who incidentally spends the entirety of the movie nude except for a golden mask. On their somewhat circuitous path to Ocron, the pair battle werewolves, zombies, and various other creatures that defy easy categorization. One of them might just be an angry bush – it’s hard to tell.

Conquest

Conquest plays out like a mix of Fulci at his more lascivious and his more artful. The film has an extremely dream-like nature, even moreso than other Italian films of the time and type, which are often driven by a bizarre logic (or lack thereof) known only to the filmmakers. Everything is viewed through an incredibly soft focus, and further shrouded by an omnipresent blowing mist, so the visuals are very blurry and soft most of the time. The narrative, such as it is, wanders around a lot. Our heroes go from encounter to encounter, battling one group of monsters before moving on to the next, with the end goal of Ocron only ever a vague notion at best. There’s not much in the way of internal logic – not even the quasi-coherent magical systems of other fantasy movies; stuff just sorta happens. So if you’ve seen this movie even a couple of times and try and think back on it, you’ll probably recall a series of disjointed images or scenes, maybe some notes from the funky electronic soundtrack, but not much else. In this sense, it does a very good job in evoking dreams or half-forgotten legends. This could very well be a heroic fable or myth, something passed down in a folktales – bawdy folktales, specifically.

As can be expected of Fulci, the amounts of gore and nudity are fairly high. Ocron, as previously mentioned, spends the whole movie mostly naked, for no other visible reason than titillation. Her spells and summonings also usually involve writing around on a bed, perhaps with a snake draped over her, in case there was any doubt in your mind about what kind of movie this is. On the gore front, Conquest is certainly something. We’ve got stabbings and slashings a-plenty, but also one poor woman getting torn in half from crotch to shoulder in a disturbingly realistic fashion. Like many of Fulci’s movies, Conquest will sometimes have you looking over your shoulder for fear of getting caught by your parents watching it, even if you’re a grown-ass adult who can watch any perverted weirdness you want.

Conquest

So why watch Conquest to begin with, if you’re not a gorehound or much of a fan of gratuitous nudity? Well, you watch it in large part because of how singular it is. There really isn’t anything else like it, certainly not among swords and sorcery movies, which are usually either PG to PG-13 affairs or content to rest on violence and sex and leave anything too weird or artsy to other movies. By the standards of what we’ve looked at so far, Conquest‘s vague, almost impressionistic tone and dreamy atmosphere make it closer to an arthouse film than an adventure romp. At the same time, it’s quite indulgent and excessive, and not in a way that’s part of any artistic intent. Ocron is naked all the time because sex sells, and that woman gets torn in half because violence sells more. It’s an odd little hybrid of artistic aspiration, feigned or otherwise, of dyed-in-the-wool schlock exploitation, wrapped up in a package that was popular at the time. Maybe that’s cynical, but it’s probably also true.

Conquest probably isn’t the first movie you should watch if you’re new to the Italian genre scene of this era – the tone or the exploitation, or both, may put you off given how hard the film doubles down on both of those elements. However, if you’re familiar with Giallo cinema or Fulci in general, and you’re looking to add something weird to your fantasy movie lineup, it’s a great oddball entry into the swords and sorcery genre – even if there aren’t actually any swords, come to think of it.

Beginning as a co-host on a Concordia TV film show before moving on to chief film nerd at Forgetthebox.net, Thomas is now bringing his knowledge of pop-culture nerdery to Sordid Cinema. Thomas is a Montrealer born and raised, and an avid consumer of all things pop-cultural and nerdy. While his first love is film, he has also been known to dabble in comics, videogames, television, anime and more. You can support his various works on his Patreon, at https://www.patreon.com/TomWatchesMovies You can also like the Tom Watches Movies Facebook page to see all his work on Goombastomp and elsewhere.

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‘Rojo’ Takes Carefully Composed Aim at Argentina’s Murky Past

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Getting off to a creepy and crackling start, Benjamín Nasihtat’s Rojo can’t quite live up to its opening promise while admirably trying to navigate a muddied maze of vague suspicion around a small town in Argentina during the 1970s before the coup. Still, though the story bumps into a few dead ends before finally emerging into some light at the finish, exquisite compositions — punctuated by occasional bursts that mimic the time period’s cinematic style — and a quietly simmering performance from star Darío Grandinetti manage to keep things engaging enough throughout this low-key thriller.

Rojo vacation

After a mysterious opening shot in which an abandoned house in a pleasant neighborhood is calmly looted by various locals, Rojo directs our attention to a cozy, upscale restaurant where respectable lawyer Claudio sits alone, waiting for his wife, courteously acknowledged by other similarly well-off patrons. He draws the ire of another customer, who abrasively chides Claudio for occupying a table when he is not ready to order, thus depriving those who are. Pretending to take the higher road, Claudio gives up his seat, but can’t resist also giving this rude young man a lecture of his own — one that despite its refined vocabulary, smacks of hostile superiority. From there, an altercation ensues that will not only haunt Claudio for the rest of the film, but also stand for a certain societal rot that took over a country.

The sequence is chilling in its callousness, the way in which a person is removed from a restaurant — and a community — with nary a blink of an eye; soon, everyone is back to chattering away, enjoying their meals as if a mere pest had entered and was quickly shooed away. Beneath their civilized faces, however, their are subtle signs of deep unease. Rojo expertly creates a tension here that it will then go on to very slowly dilute, as more and more tangents are given prominence in an attempt to reinforce already clear themes without shedding new light on them.

Rojo locker room

The paranoia and guilt lurking beneath nearly every interaction in Rojo serves to bring attention to the various disappearances that take place and are alluded to throughout the story. That fear of being “disappeared” without a trace is a clear reference to the “los desaparecidos” — political dissidents from the era who either fled the country or were kidnapped and murdered in the wake of a military coup that wanted to silence opposition. The premise that one can suddenly say the wrong thing and summarily be erased from society while everyone looks the other way is an inherently scary one, and that pervading atmosphere goes a long way toward making Rojo highly watchable.

However, once the general idea is firmly and skillfully established, Rojo seems to have little place else to go with it. A subplot involving selling the house from the prologue is mildly interesting in how it portrays the opportunistic behavior that capitalized on atrocity, but the process eventually fizzles out. American rodeo cowboys pay a visit, alluding to U.S. involvement during the coup, but not much else. A trip to the beach perhaps shows a bit of the pressure that gets to those who have had to turn a blind eye for so long, but little else is garnered outside a stylish depiction of a solar eclipse that washes the screen symbolic red. A teenage romance seems like it’s reaching for something important to say about dominance and jealousy, but can’t come up with more than another disappearance — and of a character who might as well be a nobody regardless, for the few minutes they are on screen.

A missing doctor, a magician’s act, a church confrontation; the power of the vanishings is undermined somewhat by their frequency. But maybe that’s the point — that we all can be desensitized to injustice.

Rojo teens

Still, whether or not one finds meaning, it’s hard to take one’s eyes off such gorgeously composed images as Nasihtat has crafted here. Though its plot often seems to lack focus, Rojo still emits a feeling of pinpoint exactitude through pictures. Nearly every frame is a joy to examine, creating a palpable sense that angles and staging have been meticulously prepared to convey important information key to unlocking the script’s mysteries. Restrained use of zooms and freeze frames also help inject some period style into the proceedings, and can be effectively startling. Holding it all together though is the repressed performance of Darío Grandinetti, who masterfully finds the quiet fear and hypocrisy in a certain kind of ‘upright’ citizen. As the various pressures grow (including from a big-city TV investigator played by Alfredo Castro), will he be able to hold it together?

The payoff is a bit anti-climactic, but Rojo has already been trending that way since the beginning. Nevertheless, it does conclude on a more explicit note, and there is a great visual pleasure to be had from simply watching this story unfold in such sharp, capable filmmaking hands.

‘Rojo’ is now available on digital formats from 1844 Entertainment.

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‘Queen of Hearts’ is a Frank and Difficult Look at Sexual Desire

Trine Dyrholm is typically brilliant in Danish film ‘Queen of Hearts’ — playing an older woman embarking on an affair with her stepson.

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Queen of Hearts

Queen of Hearts starts with a rather banal scene. Anne (Trine Dyrholm) walks through the woods with her dog. Her children are just outside her large, glass-heavy house. She goes inside, where her husband, Peter (Magnus Krepper), says police have called and he has to go. She looks outside at some barren trees, dramatic strings play, and the title credits come on; it’s a seemingly innocuous moment curdled into something far more ominous. 

This opening salvo with something moody and dark hiding within the banality and reliability of a simple family scene (later revealed to be in the future) sums up the Official Danish Best International Film submission Queen of Hearts as a whole. This is a film of bad decisions, loneliness, and creaky moral boundaries, interrogating the mores of modern womanhood against the backdrop of supposed domestic perfection. 

Our protagonist, Anne, is a lawyer who works with children who have been abused. She knows how to talk to young victims of rape and neglect, balancing a firm sense of what’s right with the necessary language to give these children hope. But she has difficulties switching from work to home, unable to give her twin daughters the affection they deserve. One way for anyone to switch off and focus on life outside of work, of course, is to engage in some form of intimacy; yet, her hypocritical, workaholic doctor husband has little time to give her any attention in the bedroom. 

When Peter’s teenage son, Gustav (Gustav Lindh), turns up to stay for the summer, Anne is immediately attracted to his moodiness and sexual swagger. Their slow seduction scenes seem to all come from different movies: porno (he suddenly comes out of the shower in the towel), summer indie drama (a scene in a lake with splashing water and an ecstatic soundtrack), and eventually horror (a writhing, overly staged sex scene in the dark that is extremely shocking in its frankness). 

These shifts in tone reflect the film’s queasy study in shifting sympathies, making Queen of Hearts a modern morality play baked in typically Scandinavian seriousness. Is Anne simply engaging in a harmless affair, rediscovering her long-dormant sexuality? Or is the age difference simply too far? With echoes of both The Hunt (2012) and the women-focused sex-dramas of Lars von Trier, it is sure to provoke a mixture of praise for its brazen female sexual gaze, and eventually disgust for where this gaze finally takes us. 

Queen of Hearts

Most of us assume that we are good people, even as we are engaging in less than savoury activities. It may look bad to people on the outside, but we have our reasons. The ever-reliable Trine Dyrholm turns in another mesmerising performance here, balancing her own lack of sexual self-confidence against her outwardly authoritative presence as a lawyer. Even if we cannot agree with what she does, Dyrholm successfully conveys her character’s complexity, making her sympathetic throughout. But just as we can never judge ourselves objectively, we can never know the ultimate effect our actions may have on others, especially in a dynamic such as this, leading to some bitter results. 

Queen of Hearts asks the viewer to never make assumptions, to think outside of clichés, and to really dig deep into the true heart of the matter. Director May el-Toukhy knows she has strong actors and a strong screenplay here, employing minimal tricks to just let them get on and really chew into the material. While unlikely to make it into the final Oscar shortlist, Queen of Hearts deserves a lot of credit for its utter brazenness and steadfast commitment to its difficult premise.

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‘Ford v Ferrari’ Drives Fast with Little Under the Hood

A classic Hollywood drama with fast cars and a stellar Christian Bale performance that feels great despite a lack of emotional substance.

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Ford v Ferrari

Many directors always struggle with producers and other businessmen to retain their vision. What might work most for that vision may not be what focus tests and audiences have proven to enjoy, so the film gets reworked and reworked until it becomes a box office hit, and potentially retains a director’s intent. Ford v Ferrari doesn’t necessarily feel like that — this is a James Mangold film in many regards — but by the end of its story of vision and skill versus marketing and business agendas, Mangold’s latest wrestles with placing trust in an individual against an entire body of suits.

When Carroll Shelby (Matt Damon) is approached by Ford Motors to create a car fast enough to beat Ferrari at the 24 Hours of Le Mans (an annual racing event where drivers go all day and night around the same track), he is forced to fight tooth-and-nail to get the best driver for the job: Ken Miles (Christian Bale). Shelby’s fight is singular; he wants to win the Le Mans, and knows that Miles is the only one who can do it. Yet, Ford Motors is still a company with many eyes on them, and employing the hot-headed Miles as a driver could be disastrous. So begins a struggle for Shelby and Miles to have their desires met by a company looking at the bottom line. That struggle — one that underscores every decision made by the characters in the film — is what sits at the core of Ford v Ferrari, and keeps things interesting. Set that aside, however, and the film loses a lot of momentum.

Ford v Ferrari

Still, the racing will grip audiences throughout. The final Le Mans challenge runs for a decent portion of Ford v Ferrari and is engaging throughout, but there are several other races and practices where Mangold’s craftsmanship as a filmmaker shines bright. Miles sits in the driver’s seat of all of these moments, and Bale’s performance is never stronger than when his character has that need for speed. Miles is a passionate driver with pure intentions, and Bale gives him a lot of wit and heart in between huge swings of emotion. It’s a performance that stands tall but doesn’t distract, instead meshing extremely well with the action.

Meanwhile, the other performances are also solid. Matt Damon is very good in the role of Shelby, though his character is quite often reserved because he has to be. When you put him against Bale, however, it’s clear that Shelby pales to the race car driver’s fleshed-out character, as we follow the latter’s family, his rejections and successes, and his pure heart. In the backdrop is a wide array of supporting actors, including Caitriona Balfe as Mollie Miles, Josh Lucas as the thorn in Shelby’s side, Jon Bernthal playing a standard Jon Bernthal role, and Tracy Letts chewing up scenery whenever he can as Henry Ford II. Letts and Lucas in particular give great caricatured performances, planting Ford v Ferrari into a more standard Hollywood drama.

Ford v Ferrari

Largely that’s the problem: Ford v Ferrari is a technical achievement with some incredible craftsmanship and performances that just never feels as great at slow times as it does when it’s moving past 7000 RPMs. It has a need for speed, and the pacing shows that, but it also doesn’t really rise very high above what’s needed to please an audience. Mangold is great at deriving emotional substance out of a subject, but a lot of that in Ford v Ferrari is left on the shoulders of Bale’s performance. Instead, the film focuses heavily on the bureaucratic side of things, and how that hinders talented people from being who they are destined to be. While fun to watch, there isn’t much more that will have Ford v Ferrari lingering with audiences. Instead, this will be a movie that resonates with racing fans and those that struggle against restrictions, keeping general audience satisfied in their big Hollywood dramas for the time being.

Editor’s Note: This article was originally published on September 14 as part of our coverage of The Toronto International Film Festival.

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