thread of mandy (2018), melted psychedelic drone directed by panos cosmatos

hope ur in a better place now obv

Of all the indelible moments in the film, the bathroom scene is the one that has lodged itself most firmly in my brain. If for no other reason, I'm glad Cage portrayed Red so he could gift us with that moment.

I think I can convince my wife to watch this as long as ilxors can confirm that no one's children are murdered in this movie (yes I know everybody is "somebody's* child but you know what I mean)

can confirm

the (i think) youngest character is spared death, even!

thx

it was between watching this tonight on my own or waiting til she's back in town in a couple days

I thought my gf was gonna hate this (she generally won't watch anything horror-ish with me) but she thought it was fantastic. Everyone I watched it with was just in kind of a speechless daze afterwards.

my wife is down for the gore and the horror and trippy weirdness (she *loved* "A Field in England") but parent-losing-a-kid trauma is a bridge too far for her

nah she’s in for a treat

Mandy is the best :)

It's really great!

I didn't vote in the film poll because I didn't see enough 2018 films to make it worth anyone's while but if I had Mandy would've been my #1, no question.

came #5 in the film poll yesterday btw folks: I Just Wanted To Take Another Look At You - the 2018 ILX Film Poll Results Thread

this was prob the best time i've ever seen it, they cranked the volume at momi and it was almost uncomfortably loud and i was so high, waves of vibrations, total sensory overload

in the q&a aaron stewart-ahn referred to magic mike xxl as a masterpiece, my kind of person

I follow him on twitter! I can’t remember when I did so, but it was way before Mandy. I think he interacted with or knows s1ocki?

magic mike xxl is a fucking marvel

excited to fry my friends' brains w/ this today

also apparently the shared cinematic reference between stewart-ahn and panos for this film was cyborg

well this certainly delivered

in a funny way it felt like every scene was better than the one before it

not untrue imo, it just keeps building in about fifteen different ways as it goes on

Friend introduces me to "panos"

Me after shaking his hand to friend: "panos cosmatos?"

In hindsight he could totally hear.

How not to be.

so was it

Yes

I saw a midnight screening of Mandy last night. (Sadly underattended; The Room and Rocky Horror proved to be bigger draws. And I brought a flask to drink along with the bathroom scene.) What got me is that both Mandy and Midsommar culminate in triangular structures, built for ritual purposes. Was this a coincidence, or do such buildings commonly occur in vernacular architecture?

Also, between these two movies I'll never look at folkloric embroidery the same again. But then I never was the customer for such garments.

How is it that I'm only just now realizing that the director of Mandy is the son of the director of Cobra?

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OMG what if Mandy's demon bikers are just Cobra's axe-clanking cultists after thirty years of drug-induced mutation? I don't care if it's incoherent, I declare it to be so.

cobra is definitely batshit in a not-entirely-dissimilar way to mandy but its derangement is based in hyper-reaganite leather-glove-fetishism instead of melted psychedelic drone

wait until you find out his first film was paid for by dvd residuals from Tombstone

Love is showing off your Cheddar Goblin t-shirt to your out-of-town guests only to learn that they've each arrived with their own different Mandy-related t-shirts.

🥰

really love the whole story about cage insisting that he play red

Well, when I first met with Panos, he told me he wanted me to play Jeremiah Sand, and I said, “Why?” And he said, “Well, I see him as the California Klaus Kinski.” And I said, “Well, I am the California Klaus Kinski, but I want to play Red.” ... I did not want to play Jeremiah Sand. I felt that I had gone through enough life experience. Not that I can’t work from the imagination, I normally do, but I had enough life experience contending the failure of my third marriage and still trying to recover from the loss of my father after many, many years. Still not just quite over it. As I look at these footnotes here from the talking points that coincide with Panos himself, that I … having had experiences with loss, certainly family loss, I was in step with that.
I felt I could play Red authentically and organically and put those feelings of loss in a productive place as opposed to a destructive place, and a constructive place. And so, that’s why I gravitated towards Red. I just felt that I could go after the cult and the demon bikers in a way that was in his world, but had some sort of sound of truth.

― american bradass (BradNelson), Thursday, June 27, 2019 8:31 PM (three months ago) bookmarkflaglink

This is why I love Nic Cage and why this movie really works. There’s such a genuine core of raw emotion underneath the fantastical trappings

It's amazing how many different faces Andrea Riseborough is able to adopt.

Watched Mindhorn yesterday and she looked kind of familiar but it was a while before it clicked, oh hey, Mandy! Same with Oblivion which I liked her in.

mandy fans, seek out Brandon cronenberg's Possessor immediately.

I had a DVD of Antiviral but have a feeling I never watched it all. Can't remember if because I found it a bit rubbish or too unpleasant.

it's much better than Antiviral

but possibly even more unpleasant

https://www.youtube.com/watch?v=KAZiUYql2oE

Sacred Bones Records
65.9K subscribers

'Lift It Down,' the unearthed album by Children of the New Dawn leader Jeremiah Sand, is out October 30.
Preorder: http://sacredbonesrecords.com/product...

In 1974, Jeremiah Sand and his nascent cult The Children Of The New Dawn decamp LA for the Shasta Mountain region and Redding, CA. They set up shop, begin printing leaflets, hold gatherings and start growing their ranks through recruitment. Jeremiah and the Children are not necessarily an odd addition to Redding in 1974. Since the 1930s, psychonauts and spiritual seekers have been drawn to this area in Northern California under the shadow of the dormant volcanic cone of Shasta. By 1974, urban California hippies worn down by direct political engagement with state security forces have started drifting North and the towns along the border with Oregon state are filled with ad-hoc spiritual organizations, commune builders and lost souls. Jeremiah and the Children fit right in. A few years prior to assembling his flock, Sand had self produced and released an album of psych-folk that was unremarkable in almost every way, save for the unrelenting vanity and egoism on display in the lyrics. This early album is one of the only existing documents of Sand. The commercial failure of the album became the catalyst for Sand to leave Southern California and settle in a place where his "truth" would be "received by pure and open hearts". By mid 1974, the Children have grown in rank and Jeremiah becomes obsessed with recording "his masterpiece"...a musical message to the world, communicating a “Truth” that only he has been given spiritual access to. This project becomes the central focus of the Children. His lieutenant Brother Swann overhears that there is a small recording studio just North of the city. He arrives one day at the reception with a large gym bag full of cash and instructs the owner to cancel all sessions on the books. The studio will now focus on one thing and one thing only: helping Jeremiah realize his vision. Tents and rough structures appear on the surrounding property as the Children make the studio and its grounds their new home. They hold recruitment meetings where Jeremiah evangelizes in between endless recording sessions. The owner and his staff begin to feel as though they're being held hostage but the money is good and the Children keep paying. Overpaying. This goes on for years. New members drift into the sessions. A disgraced professor from the Electro Acoustic Music program at Evergreen state arrives with a full Buchla system he's "liberated" from the university, Jeremiah is entranced by it and for a few weeks the only sounds coming from the studio are blasts of atonal, corroded noise underpinned by ominous chanting. The mood changes. The town begins to turn against the Children. A few people have gone missing. Some teenagers. A studio engineer. By the Spring of 1977, the entire session has broken down into hallucinogen and cocaine fueled chaos. Bad vibrations. One night in early March, after a particularly grueling mixing session, the producer and owner of the studio is startled awake by an extremely agitated looking Brother Swann. Swann is sweating and wild eyed, casually holding a gun, explaining to the producer that "plans have changed" and that Jeremiah has "heard a calling and a Great Summons". They are leaving. All of them. That night. Swann directs the producer to put the existing reels in a lock box along with a short 16mm film, lyrics, album art and scribbled notes. Swann tells the producer Jeremiah will be back to finish his masterpiece. It all goes in the box and it's not to be opened until the Children return. They never do.

In 2018, wildfires rip through Redding, CA and burns it to the ground. Over a thousand of homes are incinerated. One rough structure north of the city is partially saved. There's a massive concrete basement filled with smoke and water damaged recording equipment and in the back...a lockbox.

No one knows who originally took the tapes out of the charred ruin of the studio but in a few months, a very strange album is making the rounds in the more esoteric circles of the underground. A long and confusing chain of custody ensues. A lost artifact of the transitional period between the late 60s and late 70s. A flawed and malignant sounding unfinished thing, clearly the product of a psychotically inflated ego and hubris. The album is by turns: amateurish, haunting, deranged, ridiculous and (for those attuned to these things) filled with crackling negative psychic energies. So much so that Light In The Attic flat out refuses to reissue it. Eventually, it lands in Calebs lap and Sacred Bones decides to restore the audio and give it a general release all in the name of preserving a historical document of a very weird place and a very weird time.

Pitchfork = 7.8/10, just missed BNM.

omg they did it

The album is by turns: amateurish, haunting, deranged, ridiculous and (for those attuned to these things) filled with crackling negative psychic energies. So much so that Light In The Attic flat out refuses to reissue it.

:D

er, sorry, in itt :D =

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the film was shown on Film4 in the UK a few days ago, so i caught it for the first time.
yeah, its not like anything else i have ever seen.
absolutely loved it.
definitely on the hunt for the DVD/blu-ray during my charity shop adventures from hereon.

Mandy is discussed on the latest Horror Vanguard podcast.

joe bob briggs' shudder show the last drive-in showed mandy (w/ dead and buried) on friday; joe bob doesn't really provide a lot of new insight for me because i've already read a lot about the making of this movie but it's still fun to watch him talk about it

his episode of cabinet of curiosities rules

It really does! Best of the bunch by a long shot.

Peter Weller absolutely kills it, in a good way I mean

watched this last nite, loved it

Thought it was a long build-up to not much, unfortunately. Weller was fun, can't remember the last time I saw him in something. Eric Andre and Charlyne Yi also very good.