In the meanwhile, just watched Guy Maddin’s Cowards Bend the Knee. Doesn’t seem to be a trailor around. This film has no problem passing the Bechdel test.
It is, like Von Trier films, a work that is so utterly non mainstream that it makes you reexamine the very basics of cinema. It is no less than an aesthetic tsunami.
Imagine if you will a mixture of early Dali/Bunuel, David Lynch, Peter Joel Witkin, and silent melodrama in general. He breaks all the rules and forms a new language. Images are repeated and resequenced in such a way that their very repetition adds resonance and seems to engage on some very primal level. Its like flowing myth. At the same time, he breaks from the convention of perfect exposure and focus to generate dynamic and powerful images that derive that power from their blurred edges and the ways that they flash out or recede into the background.
I think I still prefer My Winnipeg but this is quite something.
See the short Madden film below, Rooster Workbook, which illustrates how he uses images. It is clearly his work but it does not really give you a good idea of Cowards Bend the Knee. Its a rather insane blend of roosters and sex, pornographic and pastoral imagery. (I think it is brilliant but it is not for polite company really).