Jan Nemec’s Diamonds of the Night

The Czech film poster for DIAMONDS OF THE NIGHT (1964), directed by Jan Nemec

In what must be one of the most astonishing opening scenes in a movie, two young men jump off a moving train and flee into the surrounding woodlands, racing up a ravine, over mud, rocks and uneven ground. And the cameramen follow them both in their lunging, zigzag movements from the front, side and behind as they race deeper into the darkness accompanied by sounds of their heavy breathing, gun shots, cries of “Halt!” and a steam engine train chugging slowly into the distance. The viewer is immediately pulled into a grim tale of survival and human endurance which alternates between stark realism and dreamlike imaginings. Flashbacks from the escapees’ past life also interrupt the narrative to create a haunting and ambiguous portrait of two men on the run during the Nazi occupation of Czechoslovakia during WW2. Demanty Noci (English title, Diamonds of the Night, 1964) was the feature film debut of Jan Nemec and it remains one of the defining masterpieces of Czech New Wave cinema in the 1960s.

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Ants in Your Pants and Worse!

There have been killer ant movies before – Them! (1954), The Naked Jungle (1954), and Empire of the Ants (1977) come to mind – but Phase IV, released in 1974, may be the first and only killer ant art film. With its abstract, almost experimental approach to narrative and character development, it’s a much closer cousin to something like…say, Last Year at Marienbad (1961) than Them! While it was marketed as a science fiction film and clearly belongs in that genre, the film was both puzzling and disappointing to a certain sector of that audience that expected a killer ant movie to deliver thrills, chills and a satisfying ending.  Yet, once you accept the fact that Phase IV is not a conventional sci-fi film and will not conform to the genre conventions that you expect, you may find it absolutely chilling and brilliant. 

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No Exit

The dinner guests in Luis Bunuel’s THE EXTERMINATING ANGEL (1962) are in for an unpleasant surprise in this strange mixture of surrealism and black comedy.

Almost everyone has attended a dinner party at some point in their lives that was mandatory as well as a memorably bad experience. Maybe it was a communal meal with the boss and co-workers or a formal affair with an annoying in-law or relative. Just be glad you were able to leave the event when it became convenient. The assembled guests in Luis Bunuel’s surreal satire, The Exterminating Angel (1962), don’t have that option but the reasons for their entrapment are never clear.

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