Movie: Litan (1982)

Premiere: February 24, 1982
Country of origin: France
Director: Jean-Pierre Mocky

Writer: 
Jean-Claude Romer, Jean-Pierre Mocky, Patrick Granier, Scott Baker, Suzy Baker

Production Companies: Films A2, M. Films
Genre: Psychological Thriller, Surreal Fantasy
Runtime: 1h 28min
Starring: Marie-José Nat, Jean-Pierre Mocky, Nino Ferrer

If you mix Roy Andersson’s minimalistic style with Dario Argento’s stylistic horror language, you get something close to this one.

This story takes place in a small French mountain town called Litan during a strange local event known as Litan Day. From the very first moments, the film refuses to settle into a traditional narrative rhythm. Instead, it presents fragments that feel like a trailer structure, as if we are seeing glimpses of events that are already in motion or not yet fully formed.

 

The story then follows Nora (Marie-José Nat), who awakens from a dream in this town and moves through an environment where instructions, encounters and destinations never fully stabilize into clear meaning. People she meets often behave in ways that feel slightly off, not in an overtly surreal way at first, but in a subtle emotional disconnection that slowly builds unease. Conversations feel functional rather than natural and reactions do not always match the intensity of the situations unfolding around them.

 

The setting itself plays a major role in this effect. The mountain landscape, heavy stone architecture and fog filled open spaces give the town a mythological quality. There is a growing sense that the environment is part of the narrative mechanism, where caves, factories, hospitals and event sites feels connected.

It is recorded in Saint-Victor-sur-Loire in France, a small historic area near Saint-Étienne shaped by steep rock formations and reservoir landscapes. That real geography feeds directly into the atmosphere, giving the place a grounded sense of terrain that still feels detached from normal everyday orientation. From the very beginning, the massive surrounding rock formations and narrow streets give the entire setting a Lovecraftian feeling of isolation and something ancient pressing in from the edges.

What makes the film especially striking is how it layers different cinematic languages on top of each other. There is a strong European art film foundation, where space, silence and observation carry much of the weight. At the same time, it repeatedly interrupts this calm surface with bursts of horror energy that feel more aligned with genre cinema, especially Italian giallo traditions. The score shifts between ritualistic tension, classic suspense cues and sudden sharp horror stings, creating the sense that multiple film traditions are colliding inside the same narrative space.

There is a clear sense of fragmented storytelling, instead of strict cause and effect, events feel like symbolic pieces that gain weight through recognition. It shares some structural similarity with Alejandro Jodorowsky’s surreal storytelling, although this film is more grounded in connected scenes and clearer spatial continuity. There is also a strong echo of Picnic at Hanging Rock (1975), where meaning almost forms before dissolving again, leaving behind only traces rather than answers.

At the same time, the film feels close to how the games Limbo (2010) and Little Nightmares (2017) construct their worlds. You are not guided through explanation, you are moved through space and understanding comes from observing the environment itself. Background details, repetition and atmosphere become the primary way of reading what is happening, while the story continues forward without pausing to clarify itself.

The film rarely gives space to process information before introducing the next fragment. Each moment arrives while earlier ones are still unresolved. Because of this, understanding never fully stabilizes, it constantly shifts just out of reach while the narrative keeps moving forward.

It can feel overwhelming at times, with so much happening in such a short span of time, but overall it is a very unique and refreshing experience. I found myself constantly trying to make sense of what was happening, but at a certain point I just let go of that and accepted the film for what it is, rather than trying to fully decode it. Even with all the confusion, it was a memorable watch and worth the experience.

I give it a solid 7/10.

This was an interesting trailer, it is kinda just the start of the movie , Noras dream, in the movie it played out as a trailer so make sense to have it as a trailer then. 
 

This next trailer was a bit strange, it show a scene at the start that was not in the movie.

 

IMDB
https://www.imdb.com/title/tt0163716/


Article written by: Sonny Mikszath

Movie: La rupture (1970)

(The Breach)

Premiere: August 26, 1970
Country of origin: France, Italy, Belgium
Director: Claude Chabrol
Writer: 
Charlotte Armstrong, Claude Chabrol
Production Companies: 
Ciné Vog Films, Euro International Films, Les Films de la Boétie
Distributed: A.R.T.E.
Genre: Psychological Drama, Thriller
Runtime: 2h 4min
Starring: 
Stéphane Audran, Jean-Pierre Cassel, Jean-Claude Drouot, Michel Bouquet   

I randomly came across the streaming site A.R.T.E. (Association Relating to European Television), a European cultural platform that shares films, documentaries and curated programming for free. While browsing there I found this film and decided to watch it without knowing much in advance. I just found it interesting to randomly find a French film from 1970 there.

The film opens with a domestic rupture that already feels slightly out of rhythm with expectation. A violent incident involving Hélène (Stéphane Audran), her husband,Charles (Jean-Claude Drouot) and their child, this sets the tone, but even this moment is not framed in a fully conventional dramatic way. Emotional reactions feel slightly displaced and the scene carries an odd calm underneath its surface intensity. From the beginning, the film seems less interested in clarity and more interested in perception.

What follows is not a linear unfolding of events, but a gradual shift in where meaning sits. Hélène becomes the center of an attempt to influence the outcome, where her father in law, Ludovic (Michel Bouquet) brings in Mr. Thomas (Jean-Pierre Cassel) to construct a case against her. From there, Thomas gradually moves into a central focus position, sometimes even more present than Hélène.

A large part of the film takes place in a contained environment, a boarding house near the hospital becomes the main setting, where different lives overlap, observe each other and slowly affect one another. Over time, it takes on a quality similar to an Agatha Christie setup, not because of a classic mystery structure, but because of how contained it is and how much meaning comes from interaction rather than action.

  

Within this house, a small ecosystem of personalities forms. The Pinelli couple run the space, with the woman acting as the main social anchor while the man is more the janitor. Three gossiping women dominate much of the social rhythm, spending their time playing cards and exchanging judgments that quietly shape the atmosphere. 

An outspoken actor moves through the space with a louder presence, shifting attention whenever he enters a scene. A doctor connected to the nearby hospital appears in fragments, sometimes grounding events in a more factual register. Among them is Elise, a socially distant young woman who initially feels peripheral but gradually becomes drawn into the same network of influence and pressure.

In terms of tone, the film reminded me of works like Repulsion (1965) and Persona (1966) in the way identity and emotional stability feel unstable and hard to pin down. At the same time, the way information is revealed through small interactions and controlled framing gives the film a very particular flow. There is an unexpected ease in how people behave and speak, even when the situation underneath is tense or unclear. Combined with the slow, slightly mysterious unfolding of events, it creates a rhythm that oddly recalls The Adventures of Tintin, not in content, but in how straightforward interactions carry the story forward through movement, encounters and timing rather than explanation.

What stands out most is how the film trusts fragmentation. It rarely gives full answers in dialogue or exposition, instead letting meaning emerge through partial views, shifting context and what is left unsaid. Understanding is always slightly delayed and interpretation becomes part of watching rather than something done after the fact.

One of the most memorable tonal shifts comes with the scenes involving Elise, especially a sequence built around a 16mm projection of a very authentic looking erotic film, likely made by Thomas girlfriend that seems to be play an erotic actor. It appears almost out of nowhere and changes the atmosphere in a way that feels both unsettling, very dark and strangely detached. It is always interesting to see a film inside a film. The 16mm film was some erotic ritual short. 

It was an interesting experience following this manipulative thread and seeing where it leads, even as the perspective keeps shifting and certainty never fully settles. The film is well acted and the stakes are high, especially around a child’s future and a mother pushed into instability. That gives it a darker weight underneath the shifting social dynamics and interpretations. I enjoyed it,
7/10

Would had love to see that 16mm film separated in full. I found the ritual aspect of it adding an interesting layer.

Links:
Watch it on arte.tv - Available until 14/07/2026
https://www.arte.tv/en/videos/127428-000-A/the-breach/

IMDB
https://www.imdb.com/title/tt0066318

Check out this very interesting trailer, with clapperboard present. 

Article written by: Sonny Mikszath

Movie: Myths & Mutants 2: Slaughter Grindhouse Edition (2026)

Premiere: March 31, 2026 
Country of origin: USA
Director: Ryan Cavalline
Writer: Ryan Cavalline
Production Companies: Legend Hunters Films
Distributed: Legend Hunters Films
Genre: Fantasy, Horror, Grindhouse
Runtime: 1h 33min
Starring:Peter Blessel, Nikki Carlson, Tommy Cooper

Some films connect, some films do not.
Some invite you in, some push you away.
Some feel effortless, some feel heavy in ways that are hard to define.
That is part of what makes cinema interesting in the first place.

In 2021 came Myths & Mutants, written and directed by Ryan Cavalline. I started watching it with curiosity, but it did not fully work for me. It presents itself as a kind of fake documentary about Myths & Mutants in Pennsylvania, but I struggled to stay engaged.

I tend to enjoy mockumentary style films, like Gummo (1997) or Forgotten Silver (1995), where the format creates something layered or unexpected. This one did not quite reach me in the same way. It might connect more with viewers familiar with Pennsylvania or more invested in its specific setting and tone.

This year 2026 came the follow up, Myths & Mutants 2: Slaughter Grindhouse Edition.
Yes, “Grindhouse Edition” is part of the actual title.

Thriller: A Cruel Picture (1973)

The poster immediately leans into a gritty, dirty visual style, clearly aiming for an exploitation inspired aesthetic. Like old kung fu films, damaged film prints, missing frames, burn marks, heavy grain. The kind of texture associated with underground genre cinema, where imperfection is part of the language.

The Karate Killer (1973)

Grindhouse itself was originally not an art movement, but inspired by films shown in cheap theaters. Often exploitation films that pushed boundaries in violence, nudity and shock value. Over time it evolved into a visual language of its own, later influencing filmmakers like Quentin Tarantino, who revisited that aesthetic in a modern context.

They Call Her… Cleopatra Wong (1978)

At the start of Myths & Mutants 2, the creators include a kind of dictionary style definition of the words myth, mutants, and grindhouse. 

The first story, Hans Trapp: The Cannibal Scarecrow, presents a folktale that at times feels inspired by figures such as Dracula and Elizabeth Bathory. Hans Trapp is portrayed as a greedy ruler living in a castle atop a hill who makes a deal with the devil and develops a thirst for human blood. As expected, such bargains come with consequences and Hans Trapp soon transforms into a relentless killer.

In the present timeline of the story, he moves through the world wearing a scarecrow mask, wandering through nature and killing anyone he encounters. He also appears to have a connection to the surrounding environment, with an ability to influence and manipulate vines, using them to trap and restrain people.

At the same time, we also follow a radio host trying to track down the truth behind the legend, attempting to uncover whether Hans Trapp is real. A kind of hunt for a story that may very well become lethal in itself.

 

In some ways, this reminded me of In a Violent Nature, where long stretches of quiet movement in natural surroundings are broken up by sudden bursts of extreme violence.

Some of the gore effects were genuinely impressive, while others were less convincing. What pulled me out of the experience, however, was something much more specific.

Having worked in some cinemas and having a fair understanding of how film projection works, I found myself distracted by the artificial film damage effects. Real film damage, frame jumps, scratches, or burn marks happen for specific reasons. I still remember the first time I saw a frame begin to burn in a projector. For a brief moment, I thought the projector itself had caught fire.

Because of that background, I struggled with the way the film mixed pristine digital imagery, modern visual effects, 4K quality, random scratches, static and damaged frames. To me, the effect felt inconsistent rather than authentic. That was clearly an artistic choice by the filmmakers, perhaps intended to create a certain atmosphere rather than accurately recreate a grindhouse print. Unfortunately, my own experience kept pulling me back to how these things would actually appear on film, making it harder for me to become immersed in the story.

Between the two segments, there is also an intermission presented in the form of a trailer for a fictional film titled Jesus Christ vs the Evil Clown from Dimension X – Vol 1.

It is exactly what it sounds like, a campy, over the top concept that leans heavily into 1970s style exploitation humor. Jesus Christ facing off against an alien clown figure, somewhere between science fiction chaos and horror parody. There is also a clear inspiration from Killer Klowns from Outer Space (1988) in its tone and visual absurdity.

In a way, this short trailer is one of the more consistent examples of the film’s grindhouse identity. It fully commits to the style without hesitation. It is a shame it was only a trailer rather than a full feature, because it had a strong sense of direction within its own campy framework.

The second story is called The Legend of the Pigman.

It is said a family was involved in an accident and now still moves around the borders of the farm, carving through the land. The warning is simple: stay away from that place.

This segment feels more grounded in its setup. There is a clearer motive from the beginning, following a man searching for a girl who is already shown early on to have been killed. Because of that, it follows a more traditional narrative flow compared to the first story.

At the same time, it still carries the same stylistic elements, with occasional missing frames and that familiar grindhouse texture. In terms of influence, it clearly draws from films like The Hills Have Eyes (1977), The Texas Chainsaw Massacre (1974) and Wrong Turn (2002). The killer is a masked figure in a pig mask, armed with a chainsaw, though he is not alone.

Compared to the first segment, this one felt easier to follow. The first story was more difficult for me to sit through, while this one felt slightly more controlled in its pacing and tone, even if the violence was still present and often quite graphic. Overall, it leans more toward a crime-like structure than a mythological one.

I guess I am more on the “mutants” side than the myth side when it comes to this kind of film language. Sadly, it did not fully work for me. I enjoy grindhouse style films, but this one did not quite land in the way I hoped. Still was somewhat fun to check it out, some of the gore was fun.  

3/10


Links:
IMDB:
https://www.imdb.com/title/tt39924102

IMDB to first movie
https://www.imdb.com/title/tt15180274

Homepage:
https://legendhuntersfilms.com

Facebook:
https://www.facebook.com/groups/1512567775625534

Article written by: Sonny Mikszath

Movie: Obsession (2025)

Premiere: September 6, 2025 
(Toronto International Film Festival - Canada) 
Country of origin: USA
Director: Curry Barker
Writer: Curry Barker
Production Companies: 
Capstone Pictures, Tea Shop Productions, Under the Shell
Distributed: Capstone Global
Genre: Drama, Psychological Horror
Runtime: 1h 48min
Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson

My guess is that many people reading this have felt rejection at some point. Some may even recognize the darker thought that follows it, the idea of wanting someone to love you completely and only you. That is not a healthy place to stay in, but it is a very human starting point.

That is where Obsession begins.

Before getting into the film itself, it is worth noting the production context. The film was made on a very small budget with a largely unknown cast and crew. After its unexpected success there has been discussion about compensation for those involved. My view is simple. Agreements made before production should be respected. If extra rewards are given after success, that is a gesture of goodwill rather than an obligation.

In this film we follow Barren (Michael Johnston), a young man deeply in love with Nikki (Inde Navarrette). The story builds around a wish that feels like a darker mirror of the concept seen in the movie Big (1988). In that film the wish is playful. Here it becomes something far more dangerous. Barren wants Nikki to love him above everyone else in the world. This wish comes true and what follows is where the film changes shape completely. The romantic tone collapses into full on psychological horror. 
 

What makes it stronger is that the film lets you feel both sides of the situation. You understand Barren’s obsession, you also feel Nikki’s fear and loss of control. That dual perspective makes the emotional impact heavier.

Barren is played with strong emotional intensity. His performance carries a quiet instability that builds rather than explodes. There is a magnetism in how he moves and how he speaks, that reminded me of Jake Gyllenhaal. It is not about imitation, but about that same controlled intensity that slowly pulls you in.

Nikki becomes increasingly unsettling as the story progresses. It is not only what she does but the shift in presence that makes her feel unpredictable. At times she feels like a victim of the situation, at other moments she feels almost detached from normal behavior in a way that is hard to read. Inde Navarrette delivers a performance that feels controlled and unsettling throughout, especially in how her character shifts between vulnerability and something harder to define.

As the film moves toward its later stages it does not hold back. There are scenes of intense gore that are brutal and very explicit. This is not a film that softens its impact.

One of the most interesting choices is the music. Even during tense moments the score often stays calm. That contrast creates discomfort because what you hear does not match what you see. It reinforces the feeling that something is wrong beneath the surface.

What surprised me most is how real the film feels. There is no constant reminder that it is a low budget production. The pacing holds attention from start to finish. I was fully locked in throughout the entire experience. The lighting also deserves mention. Nikki is often framed with parts of her face hidden in darkness. That simple choice adds unease and strengthens her presence in many scenes.

Overall this feels like a modest horror film that delivers far beyond expectation. Strong performances, confident direction and a consistently unsettling tone carry it throughout. It fits naturally within the type of horror films associated with Blumhouse.

I initially assumed Blumhouse had a direct production role because of the branding at the start and the overall style of the film. However, when checking the credits, the production companies are Capstone Pictures, with Jason Blum listed as a producer. That clarified the situation and explained why the association felt stronger than the actual credit structure.

This film starts as something familiar. It ends as something far more disturbing. The core message stays clear throughout: be careful what you wish for. This was a fully engaging experience from start to finish.
10/10

 

 

Trailer

IMDB
https://www.imdb.com/title/tt37287335

Article written by: Sonny Mikszath