cinema

The Skiffy and Fanty Show Podcasts

859. Deaf Crocodile + Dead Mountaineer’s Hotel (1979; dir. Grigori Kromanov)

https://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/sand-f-859-deaf-crocodile_202605/SandF_859_DeafCrocodile.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | iHeartRadio | Podchaser | Podcast Index | Email | TuneIn | Deezer | RSSAlien discos, mysterious resorts, and film restoration, oh my! Shaun Duke and Daniel Haeusser join forces to talk w/ Dennis Bartok and Craig Rogers about Deaf Crocodile Films. Together, they talk about how they got into film restoration, the trials and wonders of the process, global cinema, their upcoming Roy from Space release AND their latest release, Dead Mountaineer’s Hotel. Thanks for listening. We hope you enjoy the episode!

Movie poster for Touch Me (2025), directed by Addison Heimann, featuring a woman's tilted-down face, mouth open in ecstasy or pain, in pink-purple lighting.
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Movie Review: TOUCH ME (2025), directed by Addison Heimann

Joey (Olivia Taylor Dudley) and Craig (Jordan Gavaris) are two Millennial (Gen Y) friends/roommates who slip through life in a codependent relationship that avoids past trauma or current responsibility in shared coping mechanisms of alcohol, vaping, and dark humor. Until Joey meets the bizarre and entrancing Brian, a tracksuit-wearing self-professed extra-terrestrial who can calm Joey’s anxiety with a simple touch. Brian tells Joey that he is an orphan and refugee from a planet lost to climate change, but that he brought with him special trees that will help rescue Earth before it is too late. Joey rapidly falls under Brian’s seductive spell, until a moment of intense tentacle-filled cross-species sex drives her from him in fear. Joey relates this story in an engrossing, almost-ten minute monologue that opens Touch Me (2025) as the camera slowly zooms in on Joey’s face as she responds during a psychiatry session to her therapist’s suggesting of combating anxiety with absurdity. Then the film gets weirder.

Poster image for Exorcismo: The Transgressive Legacy of Clasificada "S" (2024), a documentary, featuring a revealingly clad blond woman holding a blooding blade above her head, with a huge, heavy cross/sword (?) in the background, and people (?) in masks or with leathery skull-faces.
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Movie Review: EXORCISMO: THE TRANSGRESSIVE LEGACY OF CLASIFICADA “S” (2024)

From 1939 until 1975 Spain existed under the fascist dictatorship of Francisco Franco, general of the Nationalist forces during the preceding Spanish Civil War. For close to four decades Spanish citizens lived under an oppressive, authoritarian regime that governed in cooperation with the National Catholic Church to promote and enforce a conservative Roman Catholic society and to censor or suppress anything deemed transgressive and deviant. Absolute state control extended into artistic endeavors such as film production and release. However, by the early 1970s an aging ruling system and Franco’s waning health emboldened voices and action of dissent and resistance, including filmmakers who were able to start pushing against the limitations of state censors, at least in cuts of films produced in Spain for release in foreign markets (national cuts for release in Spain remained heavily censored.) Upon Franco’s death in 1975 the floodgates of suppressed societal emotion opened, relaxing censorship more as the nation tried to find political footing in a post-Franco reality. Depictions of violence and sex in films increased, both for their own transgressive sake under new freedoms and to use for exploration/reckoning with atrocities going back to the Spanish Civil War and past, events that were all but ‘erased’ from mention under the fascist state. By 1977 in this Transition period, the political powers in control decide to create an “S” classification rating system to label films being released that might offend public sensibilities. After decades of suppression, most of the Spanish public seemed to crave all the “S” classified films they could get. A label meant to be stigma quickly became a badge of honor and guaranteed commercial success whether simple titillation or provocative artistic works. Eroticism and horror flourished in particular. Plots could now include criticism of Catholicism or the State, painful historical memories avoided could now be confronted. Characters outside ‘traditional’ family structure or heterosexuality could be included.

Dolly (2025) movie poster, featuring a creepy eyeless doll (or person wearing a doll mask) reaching into a cradle, from the Baby's POV. Tagline: Mommy knows best.
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Movie Review: DOLLY (2025) Directed by Rod Blackhurst

Normally I try to keep features covered here within the confines of speculative or fantastic fiction, particularly when considering things classified as horror. From what I initially read about Rod Blackhurst’s new slasher feature Dolly, I somehow thought that there was some supernatural or fantastic element to it, but it turns out not. I imagine there still may be some readers of this with general horror interest though, even if within mundane fully human realms of ‘monstrosity.’

The Skiffy and Fanty Show Podcasts

854. Krakatit (1948; dir. Otakar Vávra) — At the Movies

https://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/sand-f-854-krakatit/SandF_854_Krakatit.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | Email | TuneIn | Deezer | RSSSurrealist apocalypses, power games, and WMDs, oh my! Shaun Duke and Daniel Haeusser join forces to discuss Krakatit (1948; dir. Otakar Vávra), recently re-released by Deaf Crocodile. Together, they explore the film’s gorgeous visuals, its surrealist dream logic, its politics and ideas about mass destruction, and much more! Thanks for listening. We hope you enjoy the episode!

The Skiffy and Fanty Show Podcasts

849. In the Mouth of Madness (1994; dir. John Carpenter) — At the Movies

https://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/sand-f-849-inthe-mouthof-madness/SandF_849_IntheMouthofMadness.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | Email | TuneIn | Deezer | RSSLiterary apocalypses, cosmic abysses, and Sam Neill, oh my! Shaun Duke and Daniel Haeusser join forces to discuss In the Mouth of Madness (1994; dir. John Carpenter). Together, they explore the film’s treatment of cosmic horror, its themes of literary-induced madness, what makes it distinctly a Carpenter film, and much more! Thanks for listening. We hope you enjoy the episode!

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