Tag Archives: Vincent Gallo

Hidden Gems: Tarik Saleh’s Metropia

Who loves dystopian SciFi in the tradition of George Orwell? Who also loves fresh, innovative animation styles that bring worlds to life in new ways for the eyes to savour and absorb? Tarik Saleh’s Metropia has both of the above boxes checked and more, it’s a relatively star studded futuristic hidden gem that came and went with no fanfare whatsoever but definitely deserves another look.

Set in a drab, grey saturated Europe of the not too distant future, giant mega corporations rule industry and infrastructure while a vast, sprawling subway system interconnects the entire continent and heralds in a new age of depressingly humdrum office drone jobs and stifling urban monotony. Roger (cult favourite Vincent Gallo) is one of these nine to fivers trapped by the system, stuck in a daily rotunda of riding this mammoth transport system to and from a dead end job, until one day he hears voices inside his head, particularly that of Stefan (Alexander Skarsgard) a mysterious whistleblower and fellow office drone who may or may not be real. Then he’s entranced by Nina (Juliette Lewis) a sultry fellow passenger who seems to know something about what he’s experiencing. This leads him down a spooky rabbit hole of global corruption, conspiracy theories and some of the most dryly hilarious social satire this side of Terry Gilliam.

If you look at posters and promo stills of this you’ll see the intensely specific level of work put into the animation of these characters, a slightly uncanny valley esque devotion to hyper realism that both leaps off the screen and blends in perfectly with the CGI cities, offices and tunnels they exist in. The filmmakers *could* have easily made these people look like their famous and uniformly eccentric voice actor counterparts but instead only threw in the odd glance, mannerism or slight characteristic, letting these talented folks bring entirely unique performances to life. Gallo is a strange dude and always picks off the beaten path projects so he fits right in. Lewis has slinky fun as the sort of femme fatale sort of love interest with her own snaky agenda. Udo Kier, another beloved cult icon, has a ball in a scenery chewing turn as the evil megalomaniac CEO of a company that uses everyday household products for fiendish mind control, and Stellan Skarsgard makes droll, dangerous work of his head of security. There’s oh so sublime and subtle dark humour, a real sense of place and a decidedly European flavour to it all despite the varied cast. If you enjoy unique outings in the animation genre, cerebral SciFi or just a great corporate espionage yarn you’ll dig this, I really want to get it more exposure and eventually the cult pedestal status it rightly deserves.

-Nate Hill

Moscow Zero: A Review by Nate Hill

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Moscow Zero is a chilly little subterranean ghost story, and a favourite for me. It god critically shredded by the few people who did see it, and quickly forgotten. I think this may be because of odd marketing,and the cultural rifts in different areas of both the world, and cinema. It was marketed in North America as a supernatural shocker starring Val Kilmer, which was a cheap shot to fans and in fact false advertising. Kilmer is in it, for maybe ten minutes, and is very good, but the story isn’t his. It’s also supernatural, but in a far more subtle, ambiguous and inaccessible way that the ADHD-ridden audiences over here just aren’t used to. In short, it’s very European, and they just seem to have a better handle on the intuition it takes to make an atmospheric chiller than anyone else, also seeming to be more connected with ghost lore and the spirit realm. The story concerns a priest named Father Owen (hollywood’s resident alien Vincent Gallo, playing it dead straight here). He has traveled to Moscow I hopes of finding his friend Professor Sergey (Rade Serbedzija), who has descended into ancient catacombs and endless tunnels below the surface of the city in hopes of finding a lost artifact hidden during wartime. He joins up with a group of guides and Moscow natives including the beautiful Lubya  (Oksana Akinshina) and a tracker named Yuri (Joaquim De Almeida) to traverse the underside of the city and find his friend. There are long, eerie scenes of Sergey wandering around the dimly lit labyrinth, pursuing his scholarly goal and talking to himself as strange shadows and far away whispers follow him around, gradually letting the viewer know that he’s not alone. Owen and his team rendezvous with Tolstoy (Joss Ackland) the elderly leader of a tribe of tunnel dwellers who won’t go below a certain level of the catacombs, who provides a map. Then they go deeper. Kilmer plays Andrey, a Russian dude who runs a gang that are in control of opening and closing a deep fissure gate that is said to lead to a hell like place. He’s relaxed, in both demeanor and the Russian accent, but he’s clearly having fun in one of his more character type roles. The catacombs have a haunted feel to them, and indeed there are ghosts, but not presented in the way you might think. The way the human characters see them is quite different from how they see themselves, and how the audience sees them, which is a nice touch. The story keeps itself mysterious, right up until it’s puzzling, creepy conclusion, buy I prefer that open ended, almost experimental style over desperate attempts to scare us. It’s atmospheric, strange, unique, thick with ideas and altogether a bit of brilliance. Definitely an aquire taste, though.