The Eternal Search for Paradise

What is it about human nature that makes men want to climb the highest mountains, explore unknown regions in search of a rumored paradise or challenge their perceptions of the world in the name of self-discovery? It is this eternal quest that drives the narrative of  La Vallée (English title: The Valley, 1972), Barbet Schroeder’s second feature film after More (1969), a drug addiction drama that explores a similar theme of people who go too far in seeking ultimate experiences and sensations. Both films were made at a time when the youth culture of the late sixties was becoming more pessimistic and cynical about the hippie lifestyle. While More is a deep dive into hedonism that has the structure of a traditional drama, The Valley is a stranger affair. It combines ethnographic documentary elements with a loose storyline about a small group of hipster explorers who are intent on discovering an unexplored area on a map of Papua, New Guinea that is marked as a valley obscured by clouds.  

Continue reading

The Lovely Bones

Often relegated to the ranks of sexploitation filmmakers, French director Jean Rollin has enjoyed a critical reassessment in recent years that he never experienced during his prolific filmmaking years in France, where he was mostly dismissed by the country’s leading critics. Many of his films utilized horror film conventions (graveyards, vampires, zombies) as well as exploitation tactics (gore and nudity) but combined them in a way that were uniquely his own. The Iron Rose (1973, aka La rose de fer), however, was a complete departure from Rollin’s previous efforts and was unlike anything he would ever attempt again. Closer in form to an experimental film than something that would fit comfortably into the horror genre, the movie is a macabre mood piece with poetic touches that recalls the films of Jean Cocteau and Georges Franju.   Continue reading