We shall see.
Abertoir is always a mix of the retro and the you'll-not-see-this-anywhere-else. This year the main theme is giallo and on Tuesday we were treated to big screen showings of Sergio Martino's YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY and ALL THE COLOURS OF THE DARK, sandwiching a lengthy on-stage interview with the great man himself.
One of the great attractions of Abertoir for us is the themed cocktails. Here I am with Mrs Probert & our friend Alan Hoare (thanks to Merlyn Roberts for taking the picture) enjoying The Killer Must Drink Again (J&B, Grenadine and Orange Juice) and The Red Queen (J&B and Red Vermouth). Oh yes, all this year's cocktails have J&B in them, and J&B are sponsoring the festival - hurrah!
My intention with these despatches is that, rather than write about films I've banged on about before, I'm going to flag up the new movies shown at the festival that are worth looking out for. So here we go, starting with:
VAMPIRE CLAY (2017)
Coming across as a blend of the graphic novel horror of Junji Ito and the special effects lunacy of Screaming Mad George, here we have the tale of a lady who runs an academy for prospective students who want to apply for the prestigious Tokyo Art College. Unfortunately she digs up a bag full of clay that happens to be the mortal remains of an insane sculptor whose final piece was a clay boy made out of the man's own blood. The clay exhibits vampiric tendencies and is soon turning the academy students into pliable fleshy lumps. Deliriously creative despite not always successfully treading the razor blade's edge between utterly horrific and ludicrously daft, VAMPIRE CLAY deserves points for getting enough things right that it's definitely worth a look.
MON MON MON MONSTERS (2017)
The title on the poster translates as REPORT TO THE TEACHER! STRANGE STRANGE MONSTER! which I think is still better than the Western (?) release title of this picture from Taiwan. Lin She-Wei (Deng You-Kai) is constantly bullied at school by both teachers and students. When he has to do community service with three of his tormentors, they end up capturing one of two female flesh-eating ghouls who are terrorising the city. They tie her up and torture her, extracting teeth and blood to do terrible things to, amongst others, one of their teachers. Lin tries to make friends with the creature, but is he sincere or is he just another kind of bully?
Relentlessly nihilistic in its view of schoolchildren and humanity in general, the movie does not so much ask the question 'Who are the real monsters?' than ram 'Humans are the real monsters' in your face pretty much from the get go. Searing social satire with monsters and plenty of memorable imagery, catch this one if you can.
THE SLEEP CURSE (2017)
Opens with camcorder footage of a man slowly losing the ability to sleep, with audience-pleasing gory results. Then we're introduced to insomnia researcher (and potential mad scientist - he's depriving white mice of sleep after all & that's never a good sign in a movie like this) Dr Lam Sik-Ka (Anthony Chau-Sang Wong). When his research funding falls through he's approached by the daughter of the man from the opening scene. She has a huge cheque and the concern she may go the way of her father. In a (too) lengthy flashback sequence, we learn of the curse that has led to what is happening.
THE SLEEP CURSE does manage to go deliciously crazy at its climax, and if you fancy some uncomfortable taboo-busting gore then it's probably worth the wait. Otherwise THE SLEEP CURSE is just a bit too drawn out, with too little of the running time spent on the 'modern day' (it's set in 1990) plotline.
BETTER WATCH OUT (2017)
Loved it at Frightfest. Loved it again on a second watch here. Best watched knowing nothing about it so I won't say any more, except that this is getting a UK cinema release at Christmas. Go and see it.
HOUSEWIFE (2017)
Absolutely the highlight of Abertoir so far for me. Can Evrenol was responsible for nightmarish horror BASKIN (2015) and HOUSEWIFE is better. If you loved the delirious weirdness of Argento's SUSPIRIA & INFERNO and Fulci's THE BEYOND then you'll get a kick out of this as well. The deliberately 'rubber reality' plot line is graced by some terrific visual compositions and a healthy dose of disturbing imagery, culminating in a final scene that's pleasingly Lovecraftian. But is any of it real, or is it all in the central character's head as she tries to justify and explain to herself the appalling act we see before the opening titles? As with all the best art house horrors, it's entirely up to you. I can't wait to watch this one again.
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