Notes from the Peninsula
On writing, films and living a creative life
Shadow in the Cloud (2020)
Horror stretches across many genres, and you can’t always know in advance how horror-y a film is, so with Shadow in the Cloud we are in war-action-horror territory, in that order.
Lisa and the Devil (1973)
One of the lesser-known corners of the Mario Bava-verse. Telly Savalas as the possible devil Leandro is an amusing presence, and if he is not particularly devilish, the dream-like plot definitely is.
The Addiction (1995)
This is a film thick with social commentary, philosophy texts and existential ideas. The first images we see are piles of dead bodies from the Holocaust and Vietnam.
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Jakob’s Wife (2021)
The irrepressible Barbara Crampton and Larry Fessenden star in this story of a woman’s mid-life crisis being super-charged by an encounter with a vampire.
Werewolves Within (2021)
To kick off this year’s #31DaysofHorror I chose Werewolves Within, a comedy-whodunnit-horror based on a Ubisoft video game. It sounded like a fun October opener.
Horror AND sex!
Here we go again, with my fourth #31DaysofHorror. I’ve talked about this before, but watching these sorts of films makes me feel like I’m hanging out with my dad. This year I just want a reason to watch a lot of horror films.
Stop rushing
Time isn’t real. The future is an abstraction. So says Alan Watts. I do rush things to get to the end of them — not always, but often enough for it to be a thing I’ve noticed over and over again throughout my life.
A seat in the sun
I’m sitting in the sun. August isn’t going to plan, but I’m doing the best I can with it.
Auguste
The Three Colours trilogy marked my move from July into August, and amusingly the fledgling judge in Red is called Auguste.
Inland Empire (2007)
An unusual and meta experience, but after three hours, as the end credits roll, I find I’m crying, because of the joyful music, yes, and because I’m exhausted.
Mulholland Drive (2001)
Events organically unfold, the images are striking, the narrative is confusing, characters are not who they seem to be, and in the last twenty minutes he reveals what’s really going on, sort of.
The Straight Story (1999)
If David Lynch were trying to somehow redress all the darkness of his earlier films in one go, then he would make The Straight Story.
Lost Highway (1997)
Lost Highway is a puzzle. It opens with a jealous husband who thinks his wife is having an affair, and ends with a deadly resolution, but what happens in between is ambiguous and complicated.
Twin Peaks: Fire Walk With Me (1992)
A howl of pain from Laura Palmer, the murdered girl that opened the story of Twin Peaks. It’s difficult, heavy, hard to watch in places, and grapples with incest, rape, drug-taking, murder and domestic abuse.
Wild at Heart (1990)
Wild at Heart is a series of deliberately melodramatic, hyper-violent and sexual scenes stitched together into a road movie, with a tenuously-made connection to the Wizard of Oz.
Blue Velvet (1986)
Blue Velvet has a fearsome reputation but is also culturally beloved. Dennis Hopper’s over-the-top performance has become iconic, and its themes foreshadow those in the massively popular Twin Peaks.
Dune (1984)
I went into Dune thinking I would see something the critics were missing – I mean, how could the director of Eraserhead and The Elephant Man direct a complete dud? – and... it’s so over-the-top, it manages to not be awful.
The Elephant Man (1980)
The Elephant Man is as traditional and straightforward as Eraserhead is surreal and obtuse. Both are black and white, and Lynch does use some dream imagery in The Elephant Man, but they’re at opposite end of the narrative spectrum.
Eraserhead (1977)
So imaginative and pure and watchable and laugh-out-loud funny, which I didn’t expect at all. A psychosexual puzzle about the horrors of unplanned parenthood, marriage, intimacy, capitalism, poverty, dreams – you can take it any direction you like.
