settima

@settima@zirk.us

Nattmara [Nightmare] (Arne Mattsson, 1965)

Oct

19

Tue

spoiler warning: click to toggle image Nattmara (1965)
spoiler warning: click to read

Hands hold up a small diary. The camera is focussed on Tuesday the 19th of October, 1965. Handwriting, a chicken scrawl, reads CITROEN A66692 MAJ BERG ✝. Besides that the week is uneventful. DP: Max Wilén.

Au secours ! [Help!] (Abel Gance, 1924)

Oct

18

Au secours !

Au secours ! (1924)

A rather tall ghost struts along a nonplussed Max. DPs: Émile Pierre, André-Wladimir Reybas & Georges Specht.

A [favourite] horror comedy*. This post goes out to Max Linder, who – together with his wife Hélène “Ninette” Peters – took his own life 100 years ago, on October 31, 1925.

 

Max (Max Linder) bets that he can spend one whole hour in a haunted castle without calling for help. In face of all the (in camera!) terrors, Max faces his fears with ease. Until, just minutes before the clock strikes midnight, the phone rings.

“Strange things are happening today.”

– title card

And there was this other bet. One between Linder and director Abel Gance. Linder bet that Gance would not be able to shoot a movie in only three days. With ghosts, skeletons, and wildlife galore, the result is a delightful Grand Guignol à la Max.

 

* the Bales 2025 Film Challenge for October is horror-themed as opposed to date-based, and is all about favourites. Expect non-horror and films I believe to be relevant instead.

1943-1997 ['43 – '97] (Ettore Scola, 1997)

Oct

16

1943

1943-1997 (1997)

The boy (Francesco Cencioni) on the run in a locked down town. DP: Carlo Tafani.

Könnyű testi sértés [Tight Quarters] (György Szomjas, 1983)

Oct

16

Könnyű testi sértés (1983)

Csaba (Károly Eperjes) and Miklós (Péter Andorai) in their reluctantly shared apartment. Every frame is claustrophobically filled with people, including the television. DP: Ferenc Grunwalsky.

仁義なき戦い [Jingi naki tatakai / Battles Without Honor and Humanity] (Kinji Fukasaku, 1973)

Oct

16

仁義なき戦い (1973)

Tetsuya Sakai (Hiroki Matsukata, L) and several of the other yakuza. DP: Sadaji Yoshida.

La vérité [The Truth] (Henri-Georges Clouzot, 1960)

Oct

15

1959

La vérité (1960)

Gilbert (Sami Frey) and Dominique (Brigitte Bardot). DP: Armand Thirard.

The day of the court case. Numerous other dates are mentioned, all in flashbacks.

– The Paris Court of Appeals, meeting on October 15, 1959, pursuant to the charges against Dominique Marceau.

– With a girl like that, truth may be the best defense for once.

0課の女 赤い手錠 [Zeroka no onna: Akai wappa / Zero Woman: Red Handcuffs] (Yukio Noda, 1974)

Oct

15

1937

課0課の女 赤い手錠 (1974)

Rei (Miki Sugimoto) wielding the long red chain of her handcuffs. DP: Yoshio Nakajima.

狂った一頁 [Kurutta ichipėji / A Page of Madness] (Teinosuke Kinugasa, 1926)

Oct

14

silent cinema

Kurutta ichipėji (1926)

A masked inmate (Eiko Minami) dances. The shot of the dancer is superimposed over a shot of her cel's bars, putting the viewer in the position of the husband witnessing – or is he hallucinating – an inescapable nightmare (via). DP: Kōhei Sugiyama.

A [favourite] silent horror film*

 

 

* the Bales 2025 Film Challenge for October is horror-themed as opposed to date-based, and is all about favourites. Expect non-horror and films I believe to be relevant instead.

駅​ [Eki / Station] (Yasuo Furuhata, 1981)

Oct

12

駅 (1981)

Eiji Mikami (Ken Takakura) and Kiriko (Chieko Baishō) watching TV in her quiet bar. She sings along with her favourite song. DP: Daisaku Kimura.

Set 278 days before the start of the Tokyo Olympics.

“One can meet only god at such hour.”

Le mystère Koumiko [不思議なクミコ / The Koumiko Mystery] (Chris Marker, 1965)

Oct

11

1964

Le mystère Koumiko (1965)

The film covers multiple days. Koumiko thinks on October 17. DP: Chris Marker.

“Mr. Everyman explains how to look like a Japanese and thus impress those wild and not very civilized people. Mrs. Everyman replies that for savages, they look remarkably civilized. Meanwhile, Mr. Everyman, seeing more people looking even more Japanese, is reassured. Mrs. Everyman sees soldiers parading in European uniform. She smiles ironically. But now a number of typical Japanese walk into the house. Her irony disappears. And Mr. Everyman is not ashamed to admit… he is mystified.”

– narrator