My favorite movie of the year is The People’s Joker. We all know that Hollywood went too far with the superhero stuff. The past 20 years have been pretty rough, so I can understand any trepidation one might have about this movie, but please let me dispel any feelings of woe you may be having: This is real art. Vera Drew, in her first feature, has created an astounding and ugly digital world that takes no time at all to get lost in. Rare movies like these fulfill the promise of what affordable technology can give us it is applied to a real creative vision. We get extremely personal and strange films like The People’s Joker, which blows my mind every time I see it. This movie is as sharp as Paul Verhoeven, as audacious as Ken Russell, as angry as Spike Lee. And as beautiful as The Wizard of Oz. Or Batman.
If you’ll allow me to have two for #1, let me also mention The Devil’s Bath. The film certainly won’t be for everyone, but to those interested in a historical horror drama focusing on the horrible the living conditions of peasants in 1700s Austria, look no further. We often like to think of what our lives might have been like if we have been born in a different century — this movie provides a very harsh answer. The smells alone would do me in. But beyond the misery on display here, I should also emphasize that this movie looks incredible. Modern film simply doesn’t spend time to conjure an atmosphere like this every day and you can tell this film was made with love and intention. The rewards are evident. Amongst the countless haunting images here to enjoy forever, the final act of violence is truly an incredible cinematic achievement, eliciting laughter, horror and despair all at once. This is a truly special film that deserves to be seen.
And finally, not a movie, but I can’t stop listening to Astrid Sonne’s album Great Doubt. Musically, lyrically, and sonically this is a 10/10. Spreading immaculate pop deconstruction over 26 minutes with haiku-like lyrics that laser in with painful accuracy on the confusing times we live in, Sonne has created a record both shockingly heavy and immeasurably delicate. And the recording? The mix? To say this is a great headphone album would be a huge understatement. No better sounding stereo record for work outside, sitting on the couch at home or driving in the car with the windows down this year, period. Not to my ears. This is the album of the year.
Chat Pile's Cool World is out now The Flenser.
