From Light-Saraf Films: Calvin Black was a folk artist who lived in California's Mojave Desert and created more than 80 life-size female dolls, each with its own personality, function, and costume. He also built the "Bird Cage Theater," where the dolls perform and sing in voices recorded by the artist. The film works on two levels. One is the documentation of the artist's legacy and commentary on women: grotesque female figures moving in the desert wind and the theater with its frozen "actresses," protected by his widow from a world she views as hostile. The other is the re-creation of the artist's vision through the magic of film, as the camera enables the dolls to move and sing and brings theater to life as the artist imagined it.
Of the many movies on my very long yet-to-see list, I was able to shorten it by one on an evening that, as I would soon learn after a quick internet search, was only several weeks after its director, Juan Luis Buñuel, had passed away. While he will not enter into the horror pantheon with the likes of Tobe Hooper or George Romero, who sadly both passed away in 2017, Juan Louis Buñuel nevertheless made a meaningful contribution to, and arguably left an influence on, horror film in the form of Au rendez-vous de la mort joyeuse (1973), aka At the Meeting with Joyous Death, or Expulsion of the Devil in the US. The film is certainly more than a mere footnote in Gérard Depardieu’s acting career or simply interesting for no better reason than having been made by the son of the great Luis Buñuel. In fact, I think Au rendez-vous de la mort joyeuse was recycled into countless horror movies that followed. It’s a safe assumption that Au rendez-vous de la mort joyeuse wa...
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