“Just like you said, the wind’s shifting. Everyone’s gonna get it.”
At the 65th Academy Awards, the Best Foreign Language Film Oscar went to a French film – the historical drama INDOCHINE. I’m sure it was great, but people like me didn’t know to pay attention to movies like that. We paid attention to the French film that we heard was really cool looking and darkly funny and had something to do with cannibalism. That was DELICATESSEN, the feature debut of directors Jean-Pierre Jeunet & Marc Caro, which Miramax released in the U.S. on April 3, 1992, a year after it came out in France.
I don’t know how many screens it played on, because it didn’t make enough to show up on the box office charts, but I think it traveled around for a while. I remember seeing ads for it at the arthouse theaters – it was a much discussed cult movie of its time. Since this is maybe the most interesting of the April releases that kept playing into the summer it seemed like the best way to kick off this 1992 – Weird Summer series. (read the rest of this shit…)
Like the opening of BLACK CHRISTMAS, HALLOWEEN or THE FUNHOUSE, ENTER THE VOID starts out in a first-person-POV. You are Oscar, a young English speaking gwailo living in Tokyo. Oscar’s out on a balcony talking to this girl who’s wearing not much more than a t-shirt. Oscar’s doing it, so I’m doing it, I’m in his perspective. I see everything he looks at, I even see his blinks. He seems to blink alot, too.
