Celebrate Madness and a Decade of Dread at Synchronicity Theater With the 10th Annual Buried Alive Film Festival!

Posted on: Nov 12th, 2015 By:

By Aleck Bennett11.14
Contributing Writer

The 10th Annual Buried Alive Film Festival; Saturday, November 14, 12:00 p.m. – 11:50 p.m.; Sunday, November 15, 12:00 p.m. – 9:30 p.m.; Synchronicity Theater; Tickets $10 per screening block / $50 all access pass; Schedule for each screening block here; Tickets here.

Halloween might have been two weeks ago, but there’s no reason why Atlanta’s horror community shouldn’t claim the entire month between it and Thanksgiving to create a haunting holiday season. That’s why having the always-amazing Buried Alive Film Festival right smack dab in the middle simply makes sense. In its tenth year, the band of morbid mad doctors behind the scenes (including ATLRetro Kool Kat Blake Myers) has assembled a monster of a festival and is bringing it to rampaging life at Synchronicity Theater! Venture in to witness horrors, paranormal and psychological, ranging from the frighteningly funny to the atmospheric and haunting. And, given the people involved, expect buckets of blood served up with every course.

The festival kicks off on Saturday with Shorts Program 1: Tentacles, Slime, and Problems. A series of shorts delivers on the program’s title, with a host of unsavory creatures on display—none so disturbing as our fellow man, however, as depicted in the Southeastern premieres of HEIR and Florian Frerichs’ adaptation curtain_posterof Roald Dahl’s gruesome classic IN THE RUINS. Also be sure to catch the contemporary eldritch horrors of 666 SQUARE FEET, which was picked as an official selection at the H.P. Lovecraft Film Festival, Cthulhu Con, the New York City Horror Film Festival, NecronomiCon, Filmquest and more.

Follow that up with Feature Program 1: CURTAIN, which is preceded by the short film HAG, featuring THE EXORCIST’s Eileen Dietz and CHILDREN OF THE CORN’s John Franklin in a tale of the downsides of sleep paralysis and somnambulism. CURTAIN is…well…it’s about disappearing shower curtains in an ex-nurse’s tiny New York apartment. But as with many of the other subjects on offer, don’t leap to any conclusions from that short summary. With maniacal energy and flourishes of wacky humor, we’re plunged headlong into an epic story of cults, portals, unlikely friendship and the hazards of showering.

After a quick break to gather your nerves, return at 4 p.m. to leave the live-action world behind with Zerch_PostalAnimation/Puppet Program: Drawn, Quartered, and hands stuck up our butt. We’re treated with a series of surreal short subjects that take us places that flesh and blood cannot alone. This ranges from the Victorian ghost story of THE MILL AT CALDER’S END (featuring the voice talents of Barbara Steele and Jason Flemyng, and performed using bunraku rod puppets) to the stop-motion shorts of local filmmaker Britain Cramer. Also worth checking out is the dramatic shadowplay of MONSTER and the Southeastern debut of the delightfully dreadful BUNNY BIZNESS.

Haven’t had enough? Of course you haven’t. That’s why you’re sticking around for Shorts Program 2: Violent Crimes. Each short deals with the bloody transgression of social codes, whether from the perpetrator’s point of view, or the victim’s. Whether it’s climbing the corporate ladder of organized crime in the hilarious BAD GUY #2 or the horrors awaiting a person on the other end of the scalpel in SURGERY (based on legendary British writer/producer Brian Clemens’ last story idea), you’ll find more than enough gore to satiate your bloodlust.

HEAD (Poster)Ready for more long-form entertainment after all those shorts? Well, sit back and enjoy Feature Program 2: BUNNY THE KILLER THING. The program is introduced by the world premiere of the short film HEAD, in which a grieving widower does anything in his power to keep his wife with him. BUNNY follows, a gruesome exhumation and insanely funny send-up of 1980s horror tropes, from the secluded cabin in the woods, to the sex=death equation, to the man-in-a-monster-suit menace. In this, a horrific half-human/half rabbit monstrosity stalks a group of Finnish and British youth while in pursuit of anything resembling female genitalia.

We close out the night with a special feature presented by the inimitable Splatter Cinema crew: a 40th anniversary screening of Dario Argento’s classic giallo, DEEP RED. Be sure to see the accompanying Retro Review of this title (Coming soon!), but rest assured that this is an absolute must-see.

After a night to recover from the horrors of the previous day, we find ourselves back at the crack of noon for Shorts Program 3: A Lighter Shade of Blood Red. As the title suggests, this is a good-humored set of Chompshorts. From the love of a vengeful family pet in LITTLE OLD CAT LADY FROM RANCHO CUCAMONGA to a mother’s love for her undead son in ZOMINIC, from the tasty trap of I AM CANDY (in its Southeastern premiere) to the delicious set design of EAT, to zombie kidnapping in CHOMP, there’s a little something for the twisted side of everybody in this program.

From one extreme to another (in a festival of nothing but the extreme), we come to our next shorts program, Shorts Program 4: Gross People and Their Problems. Again, the program’s title lets you know what you’re in for with this set: the troubles that beset those who don’t quite fit in. There’s the health-crazed satire of RECIPE, the Wes Anderson-ian nightmare comedy of CRUSH, the American premiere of the disturbing family horror FROM THE GUTS, the extremes of VHS horror found in NASTY, and much more. Twisted people, twisted lives, twisted problems and twisted nerves are what you’ll find onscreen.

The next program explores the outer bounds of horror and filmmaking technique, in Shorts Program 5: psychoticExperimental and Music Videos. Split fairly evenly between experimental shorts such as BIRTHDAY’s Satanic ode to silent-era cinema, experimenting with serial killers in PSYCHOTIC! and the symbolic odyssey across the rivers of HADES, there are boundary-pushing music videos from artists such as Vyla Vice’s “Come With Me” and Atlanta’s own Gunpowder Gray and Casket Creatures with “Saints” and “GKMF!” (the latter directed by some guy named Lucas Godfrey (ATLRetro Kool Kat article here), who might just also happen to be the festival’s Event Director).

Then it’s time once again to focus on the long-form with Feature Program 3: THE INTERIOR. We transition into the feature-length section this time with two short subjects. First up is local director Brian Teague’s 1580 AM, which documents the GoPro footage found after four friends disappear in in the woods. It’s followed by THE FISHERMAN, about a Chinese fisherman who ventures out of the harbor and into the pits of horror when he catches something unexpected in the deep. Then our feature THE INTERIOR receives its Southeastern premiere. It’s a tense, atmospheric journey into the isolated woods of British Columbia as we follow a young man who has recently been diagnosed with a grave illness. As he seeks TerryBrendaTeaserPoster2_WEBrefuge and retreat, he finds that something else is in these woods, and it’s pursuing him deeper and deeper into the interior. A building sense of unease and tension, coupled with gorgeous photography and a great central performance makes this one you must check out.

We close out this year’s festival with a palate cleanser in the form of Shorts Program 6: Closing Night Shorts. A little bit of everything for those who have made it through the horrors of the previous two days, you’ve got demented comedy in the form of SISTER HELL and LARRY GONE DEMON, haunting and atmospheric horror in THE POND, mind-melting action in EL GIGANTE and THEY WILL ALL DIE IN SPACE, and the aptly-titled THE END. A fun and frightening serving of sadism: your treat as you prepare to leave this chamber of horrors and venture out into the real world where you can let your guard down and rest easy. Because surely none of the fantastic horrors on display could possibly manifest outside the walls of Synchronicity Theater, could they? Could they?

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com.

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30 Days of The Plaza, Day 30: Dario Argento’s SUSPIRIA Provides a Grand Guignol/Giallo Finale to the 2012 Buried Alive Film Festival, Courtesy of Splatter Cinema

Posted on: Nov 8th, 2012 By:

SUSPIRIA (1977); Dir: Dario Argento; Starring Jessica Harper, Stefania Casini, Joan Bennett; Sat. Nov. 10 9:30 p.m.; Plaza Theatre; Presented by Splatter Cinema for the Buried Alive Film Fest; trailer here.

By Andrew Kemp
Contributing Writer

The fine folks over at Splatter Cinema are offering gorehounds and the gore-curious a chance to see SUSPIRIA on the screen this coming weekend as the grand finale of the Buried Alive Film Fest (Read our full festival preview here). They’re advertising this screening as a “Special Restored Edition” which suggests that this beautiful film will be presented without all the marks, scratches and chemical bleeds that might get in the way of the full SUSPIRIA experience. If you’re going, be sure to arrive on time, as SUSPIRIA also sports one of the best taglines in movie history: “The only thing more terrifying than the last 12 minutes are the first 92.”

For hardcore horror fans, SUSPIRIA hardly needs an introduction. For many, just the first few notes of the main musical theme are enough to send them into vivid memories of their favorite scene, the most gruesome death, or the way they felt when they finally saw that famous last reel. “Cult” is a term that gets thrown around too easily with genre flicks, but SUSPIRIA is one of those movies that earns the title. There’s a church of the converted for this film. Critics overwhelmingly support the movie, and some (such as The Village Voice) even say it’s one of the greatest movies of the entire 20th century. That’s quite a lofty position for a film that’s more about mood than plot, lives on extraordinary violence and willingly, gleefully makes little sense.

What story there is revolves around Suzy (Jessica Harper), an American ballet student who arrives in Germany to attend a prestigious dance academy, only to gradually discover that the school is infested with a coven of witches. And while “a school full of witches” might invoke pleasant thoughts of Potions Class and mail-by-owl, Hogwarts this ain’t. These witches, led by headmistress Madame Blanc (Joan Bennett, DARK SHADOWS), conjure dark forces and engage in sadistic rituals, pursuing bloody, prolonged murder for anyone who gets in the way of their sinister, yet oddly vague schemes.

Jessica Harper in SUSPIRIA (1977).

SUSPIRIA (the title translates loosely into “Sigh”) is one of the best-known titles from Italian horror maestro Dario Argento and helped to cap the short, intense heyday of the Italian giallo picture. The history of Italian cinema is built around trends, with hordes of opportunistic producers chasing any large success by flooding the cinemas with lookalike content. Just as the smash hits A FISTFUL OF DOLLARS (1964) and DJANGO (1966) launched a tidal wave of violent, sweaty  (spaghetti) Italian westerns in the 1960s, the 1970s belonged to the Italian thrillers and early slasher films. Originally spinning off from the works of Alfred Hitchcock—the movie usually considered the first giallo, Mario Bava’s THE GIRL WHO KNEW TOO MUCH (1963), was an obvious and unlicensed Hitchcock homage—the giallo genre increased the intensity and cheapness of the thrills, placing their usually-female protagonists in the path of knife-crazed killers, and combining the elements of a whodunit mystery with murder scenes extended beyond belief and buckets upon buckets of blood. Argento made his international name in the genre, and the artistic ambition and style of his films, such as THE BIRD WITH THE CRYSTAL PLUMAGE (1970), inspired a rash of imitators and launched giallo’s peak in the early 1970s, when it extended into all areas of Italian culture, from film to music and literature. In fact, the term giallo itself means “yellow” and refers to the cheap, yellow covers of the typical Italian pulp slasher novel.

By the time Argento made SUSPIRIA, the giallo picture’s moment was nearly over, and the genre had drifted into some very weird territory by embracing the supernatural. Giallo had always favored style over story. Directors like Argento and Bava realized that the plots of their films were usually too silly or too convoluted to hold an audience, and so they treated the films as exercises in image and technique. For SUSPIRIA, Argento took this philosophy to its logical end, drenching the movie in vivid, saturated colors and horrific, grotesque gore. These elements, combined with the odd twists and turns of its story, give SUSPIRIA a dreamlike quality, like a nightmare you’re only half-aware isn’t real. These elements steer SUSPIRIA away from its exploitation roots and into a cinema of the surreal, a deeply affecting and harrowing journey through a landscape that should make sense, but doesn’t.

Joan Bennett as Madame Blanc in SUSPIRIA (1977)

Backing up this feeling is the film’s famous score, created by the prog rock group Goblin. The infectious, haunting music is as inseparable from the mood and effect of SUSPIRIA as “Tubular Bells” is from THE EXORCIST (1973) or John Carpenter’s main theme from HALLOWEEN (1978), itself heavily inspired by Argento’s work.

SUSPIRIA is an entertaining film, but it’s also an experiment into the effects of extreme cinema on something as primal as the horror movie. Unlike the blunt, mostly artless slasher films it inspired in the states, SUSPIRIA remains one of the prime examples—perhaps THE prime example—of the horror movie as art. There’s been talk of a Hollywood remake for the last several years, but it seems to stall at least in part because the act of remaking a film is largely about the story and the premise, and what makes SUSPIRIA so noteworthy is everything else.

Andrew Kemp is a screenwriter and game writer who started talking about movies in 1984 and got stuck that way. He writes at www.thehollywoodprojects.com and hosts a bimonthly screening series of classic films at theaters around Atlanta.

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The Horror! The Horror! Unearthing the 2011 Buried Alive Film Fest Nov. 11-12 at the Plaza Theatre

Posted on: Nov 2nd, 2011 By:

You thought the Halloween season was over? Think again, because the Buried Alive! Film Fest (BA!FF) is about to invade ATLRetro’s favorite movie palace, the Plaza Theatre, over the weekend of November 11-12 and unleash a slew of weird, wonderful horror films on lucky attendees.

Founded by horror fanatic Luke Godfrey (Atlanta’s Godfather of Gore, who started the Zombie Walk Atlanta, as well as one of the sick minds behind Halloween attraction Chambers of Horror and the award-winning monthly Splatter Cinema screenings at The Plaza), Buried Alive! has been generating international attention as the coolest, strangest movie festival in Atlanta. Since we’ve interviewed Luke (here)and Festival Director/filmmaker Blake Myers, (here), we decided to go after Programming Director (and our own contributing blogger) Philip Nutman. Despite his insane schedule, ATLRetro managed to get a few minutes of his time…

ATLRetro: Describe this year’s festival.

NUTMAN: “Psychotronic” – a whacked selection of crazy short films and some cool features. Comedy, gore, zombies, disappearing cats, resurrected goldfish, amputees, killer sperm; this year’s selection of films defy classification. The range is from the bizarre to the very serious, from the downright demented to very funny. Every program block is different. We have a terrific selection of local shorts. But the feature I’m most excited about showing is CHILLERAMA. It is the sickest, most freakin’ insane anthology film I’ve ever seen. It’s a total reinvention of an early 70s grindhouse movie…*very* retro. And I mean *in-f***ing-sane*

Let’s come back to CHILLERAMA. But first, how about the short films? And how do you program them?

My title as “program director” is an honorific; the BA!FF board all watch the movies and we selected them together. Last year was the festival’s most successful to date. This year we received a ton of submissions and we had to make some tough choices. Please don’t ask me to name favorite films; they are all different and we’re excited to show them. ‘ Nuff said…but, check out the program listing at the official website.

Understand this: we do this for love of Independent filmmaking, not money. None of us involved – Luke, Blake, Alyssa Myers, Mark Malek – make a dime off the festival. This is about supporting people who make movies and deserve to have them screened; bringing the best shorts and features we can find to Atlanta; entertaining the audience…and supporting The Plaza, which is a nonprofit and an Atlanta treasure.

Writer/director Ryan Lieske is your guest filmmaker and Patrick Rea is your “featured filmmaker” this year. Why?

Because they are two of the most talented, diverse filmmakers out there. Ryan is coming into town on his own dime – we have no funding to be able to afford to fly people into Atlanta. We screened the fake trailer for CLEAN BREAK  and the actual short last year. Ryan and the Collective Studios gang came into town at their own expense and had a great time. But if DOWN TO SLEEP, his most recent short, which we’re screening, was crap, we would have rejected it. He’s coming back to Atlanta because he loves the festival.

Patrick Rea's EMERGENCY PREPAREDNESS.

If all goes to plan, we also will have the world premiere of the trailer of British filmmaker Ashley Thorpe’s new short, BORLEY RECTORY. He’s so hard at work, he doesn’t have the time to come to the festival this year. (Editor’s note: Thorpe won the BA!FF Visionary Award for three animated shorts, including the haunting highwayman story SCAYRECROW, last year.)

Patrick Rea is a prolific filmmaker. He submitted three films last year and we rejected two of them. This year we accepted three out of five. His films keep winning awards and getting better. He’s a director to watch out for. So, since we’re screening three of his films, all of which are different, he deserved to be “featured filmmaker.”

But everything in the festival is solid gold. I’m especially delighted we’re screening Eddie Ray’s SATANIC PANIC: BAND OUT OF HELL, which is totally nuts. And Chris Ethridge and Jayson Palmer managed to pull off what I thought was an unfilmable Stephen King story with SURVIVOR TYPE. These are in the local shorts section. The quality of talent in Atlanta keeps growing, and we want to support that.

So back to CHILLERAMA…

It’s going to blow the audience away. It’s sick, totally twisted and hilarious. It’s a contemporary retro grindhouse anthology film that takes place in an old, about-to-close Drive-In. The four films are written and directed by Adam Green (who made the HATCHET flicks), Joe Lynch (WRONG TURN 2, which was better than the original), Tim Sullivan (2001 MANIACS) and Adam Rifkin (DETROIT ROCK CITY). It’s a love letter to ’50s/’60s/’70s exploitation movies. Sullivan’s I WAS A TEENAGE WEREBEAR is like a ’50s AIP teen monster movie crossed with a Frankie & Annette BEACH BLANKET BINGO film. It’s a musical with gay leather boy werewolves and is hysterically funny. Adam Rifkin’s WADZILLA is the biggest “come shot” on film; giant killer sperm – what’s not to love? Adam Green’s THE DIARY OF ANNE FRANKENSTEIN is like what if Ed Wood made a Jewish anti Nazi propoganda movie starring the Golem. It’s nuts. Joe Lynch is responsible for the wraparound story at the Drive-In which turns into a totally demented narrative with sex-crazed zombies. Words don’t do the flick justice. It’s totally retro with post-modern humor. (I can’t believe I just said that; damn, that sounds pretentious!). Watch the trailer online and “come” see the movie – we have a stunning print. I nearly puked up my dinner with laughter after I first watched it.

And final words?

NUTMAN: If you love independent filmmaking, horror, weird shit – you need to come to the festival and support The Plaza.

Check out the full frightening film schedule here.

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