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The 10 Most Crazed Movies Of All Time

Sit back, relax and enjoy the strange and sometimes psychedelic road to weirdsville.

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Mix-Up ou Meli-Melo (1985)

It’s a striking achievement of cinema (that can be found on YouTube) that utilizes each family as a group that looks through surfaces, through windows and glass, to understand the truths of their lives. Many sections of the film literally involve members of each of these families as they move from one side of a window to another, reinforcing the film as one about cutting through the glass that provides a barrier between the known truth.

Endorsed by the great critic Jonathan Rosenbaum, an uncanny documentary that stylistically proves its all too complex narrative. The film is about babies that are switched at birth and the mothers and families that dispute whether or not they have been given a daughter that is not theirs, but of another family.

Dreams That Money Can Buy (1947)

In 1920, in pursuit of a “Universal Language” Richter and the Swedish painter Viking Eggeling wrote a manifesto which defined abstract art as a language understood by all through basic human perception, transcending known language and political barriers. A film that has been grossly forgotten, this 1946 gem is a work of many notable authors. Hans Richter, who is credited as the film’s director, was famously one of the members of the Dada art movement, producing paintings for Dada events between 1917 and 1919.

This artistic abstract language Richter desired proved the basis for the ultimate vision that is Dreams That Money Can Buy, a film about a man down on his luck who decides to sell people dreams for cash.

Of the authors, as mentioned earlier, are legendary artists such as Max Ernst, Fernand Leger, Man Ray, Marcel Duchamp, Alexander Calder. These men made art in their lives ranging from painting, sculpting, writing and, of course, filmmaking. Each authored one or two of the “dream sequences” that occur in the film.

As a result of this conglomeration of artistic authorship, the film proves to exist far from anything produced in cinema prior to or after. An unparalleled feat of abstraction that does in fact speak a language, understood through the combat of sight and sound.

Pregnant (2015)

Forcing the viewer to come to terms with their own technology addiction is probably what caused the riot which happened at an early screening of this schizo film.

The movie begins with a shot of a VHS tape being put into a VCR, some static fuzz then a montage of still images: a gun wrapped in Christmas paper, Beverly Hills, a funeral, graffiti, celebrity mug shots, a man asleep in a room of computer screens; all click past as if we are browsing the internet. Consequentially when filmmaker Fabrizio Federico called himself a ''DJ Director'' we have to agree with him.

This is a movie created in the modern mindset, its short attention span leaps between experiences and associations before quite finishing what it was saying. Although Pregnant is even less structured and has even less plot than Black Biscuit it is not certain whether it falls under the controversial Pink8 Manifesto but the nature of the films topic gets turned on its head by having strange scenes such as an LSD recluse roaming around Derek Jarman's house intent of revenge, and then an office worker, casually tell a co-worker a story from his childhood where he and his friends violently killed a bunch of geese in a park.'

Chelsea Girls (1966)

The key to understanding "Chelsea Girls," and so many other products of the New York underground, is to realize that it depends upon a cult for its initial acceptance, and upon a great many provincial cult-aspirers for its commercial appeal. Because Warhol has become a social lion and the darling of the fashionable magazines, there are a great many otherwise sensible people in New York who are hesitant to bring their critical taste to bear upon his work. They make allowances for Andy that they wouldn't make for just anybody, because Andy has his own bag and they don't understand it but they think they should.

And so Warhol, month by month, looms larger in the press and in the minds of the young people who want to be part of what's happening, whatever it is. And the really tragic thing is, hundreds and hundreds of hippies and teeny-boppers put on their uniforms and march in to see "Chelsea Girls" and think maybe they enjoyed it, or should have, and to the degree they convince themselves they will have weakened their senses of what makes a film well-made and artistically competent.

What Warhol has done here, first of all, has been to put all of the appearances of meaning into his film. It's got to be meaningful because: it has no titles or credits; you can hardly understand the sound track; it has a split screen with two different scenes happening simultaneously; it starts out in black and white and ends up in colour; the pictures go in and out of focus incessantly, almost as a reflex action; the film is often overexposed or underexposed; the zoom lens is used to zoom in on insignificant details while significant ones are ignored; all the action is improvised, and a lot of the people in the film are perverted or sado-masochistic or addicted to drugs or like to undress in front of a camera.

Synecdoche, New York (2008)

Intensely paradoxical and dense, full of humour and classic Kaufman jokes concerning mortality and shame, regret, this work is uncategorizable.

The pinnacle of Charlie Kaufman’s work, finally directing his own script, is this absurdly complex and emotionally draining opus. About a theatre director, played by Phillip Seymour Hoffman in quite possibly his best performance, named Caden Cotard that begins to discover his life is crumbling around him. His wife, played by Katherine Keener, Adele explodes into greater success than Caden ever has had himself and takes their daughter with her to Germany, showing off her miniature painted portraits in galleries.

Caden though gets a surprise grant to put on a great work, opting to stage his life, and the world around him, in the form of a play. This staged life grows bigger and bigger and the production begins to have characters playing other characters, as they play other characters. New York City itself is replicated in Caden’s production, never ending in its expansion to encapsulate the entire world as Cotard knows it and wants others to know it.

Naked Lunch (1991)

William S. Burroughs is widely regarded as one of America's greatest writers of fiction. A friend and mentor to Jack Kerouac and Alan Ginsburg, Burroughs helped to create the genres of 'beat' - American literary high modernism, and/or post-modernism. He provides highly tactile ironic, seductively repulsive descriptions of the everyday which are at once accurate, fragmented and surreal - in other words - Burroughs recreates the feeling and mood of his time and his experience with hermeneutic precision.

Cronenberg's Naked Lunch is an amalgamation of Cronenberg's interpretation and experience of reading Burroughs, Burroughs own life, and Burrough's legendary novel, Naked Lunch. There are six or more plots operating in six or more interacting layers throughout the film, and the action centers exclusively on Burrough's alter-ego, Bill Lee, as he attempts to discover the relationships between all of these plots. The plots I identify (and an interested viewer will generally be able to identify many more that this) are Burrough's relationship with Joan, Lee's relationship with Joan, Lee's drug addiction, Burrough's drug addiction, Lee's investigations into the secret society of drug trafficking at the edge of the world in Interzone, Burrough's struggle to create/discover himself. However, the theme of the film is more an issue of the Lee/Burroughs character trying and, in the end, failing, to make sense of the connections between these plots.

It is a very self-conscious, personal, brilliantly developed and visually intense film. Yet, despite its self-exposure and openness, the film maintains a certain distance from its audience, as if it has taken on the life given it by Cronenberg and Burroughs and established its own unique personality, which will keep its audience at a certain distance. To really appreciate this, you must watch the film at least a few times.

F For Fake (1973)

What is so unique about the film is how tangled Welles as a person becomes with its material as what starts as a dense portrait of an art industry built on accepted lies, transforms into an investigation of Orson’s own life and career as a “deceiver” of sorts. So, fact and fiction really blur together in this paradoxical puzzle piece in cinema history.

One of the later films of Welles’ titanic filmmaking career and without a doubt one of his best, F for Fake is a genius work of cinematic invention and introspection.

The film has often been called the “essay film” in that it functions as a classic documentary that informs on the world of art forgery, specifically the art forger Elmyr and the characters that surround him. Yet Welles himself also participates as an on-screen narrator and guide, attempting to grapple with the endless lies and deceits that occupy Elmyr’s world, and therefore, the contemporary world as a whole.

The Holy Mountain (1973)

From the totally distinct surrealist mind of Alejandro Jodorowsky came his incredibly ambitious film, one that can be appreciated as a satire of human beings as a species.

The Holy Mountain is a work of continual bewilderment which follows an unnamed, Jesus-like figure called the Thief as he explores the wildly unpredictable, unimaginable world. Eventually he comes across a tower the people offer food to and grapples up its side, using a giant hook to pull him to its top. There he discovers the Alchemist, played by Jodorowsky himself. The Alchemist proceeds to teach the man how to become immortal, how to transcend his human existence.

Symbolically dense, The Holy Mountain does work as a breakdown of humanity and all its groups and religions. Shocking in its bluntly absurdist twist on what is clearly an absurd world we all live in.

Kaili Blues (2015)

An amazing experience that entraps audiences in its slippery, fog-ridden world, Gan Bi will ascend to the pantheons of world cinema, informing the audiences of his distinction from all other filmmakers for years to come. Look out for news on any and all of this up and coming artist’s work going forward.

Perhaps the only film similar to Horse Money in its slippery conception of how time, of objects and characters that gain different names and are found in different places, cannot be pinned down and consumed.

Radically different from Costa’s style though, Gan Bi’s film visual approach considers the fog of the filmmaker’s town, the trains that pass by, in informing what is pursued. In other words, the visual style is difficult to pin down, difficult to retain its rhythm in its pursuit of disorienting audiences. It can be noted, but not revealed, a major stylistic shift in the language of the film occurs quite abruptly into the film’s running time, proving to be a gashing symbol of disorientation.

Taxidermia (2006)

We take a short trip to Hungary now where things are about to get very weird indeed. Gyorgy Palfi’s anthology film dips its toes into three different genres. The first story is a kind of surreal drama about a sexually frustrated man during the Second World War; who lives under the heel of his lieutenant. He fantasises about having sex all the time, but the closest thing he comes to intercourse is sticking his penis through a hole in his shack, only to have a hen come and peck it (or should I say, cock!) However, fantasy begins to blur with reality and he ends up getting the lieutenant’s wife pregnant. Oh, and did I mention that he can shoot fire out of his penis?

The second (and weakest) segment follows the sexually frustrated man’s bastard child and the film decides to head towards the comedy route. He grows up to be a terrific speed eater and all this segment is keen on showing us is him and his obese wife eating and vomiting in equal measure. The final story enters into the horror route. It follows the obese man’s son, who is ironically anorexic and a taxidermist. He cares for his father who is now literally bigger than Jabber-the-hut and overfeeds his cats. Things take an extremely disturbing turn when the taxidermist decides to use his talents on creatures other man animals. Taxidermia is incredibly surrealistic. It develops a rich tapestry of striking and unforgettable images. The film is also very well directed (the 360 degree camera sequence is particularly impressive) and acted. It’s just a shame that the second segment is so dull, and it takes up most of the film, unfortunately. Taxidermia is also ultimately pointless, but it’s undeniably fascinating and utterly unforgettable. I’ve only seen it once; roughly 4 years ago and I still remember it vividly.

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