By Tristan Bishop
Anyone who has been to Abertoir will tell you it isn’t like other film festivals. In fact I lost count this year of the amount of people I overheard talking about this. Why? Well some of the newcomers were praising the non-commercialism of the event. There are no corporate sponsors here, for instance, and there’s no feeling that the fest is in direct competition with any other fests – in fact, holding it in an arts centre high on a hill on the middle of the Welsh coast gives it a feel it would be impossible to emulate in any other location. For me, though, it’s about a ‘family’ feel – not in the sense that you could bring your kids along (unless they’re really into classic Fulci), but in the all-in-it-together sense – the same faces tend to come back year after year, and having one screening or event at a time means everyone has a similar experience, and everyone can talk about it afterwards (unless they’re sleeping off a hangover until late afternoon of course). You’re guaranteed to make friends here.
This November was the 8th year of Abertoir (and my 4th in attendance), and it continues to go from strength to strength. The basic formula has remained the same since I have been going – mostly films, interspersed with a music night, a stage show, a handful of lectures, a pub quiz and a live score to a silent film, and it works like a dream – in fact, the slight disconnect from reality (you don’t tend to see much of the surrounds of Aberystwyth unless you miss some of the stuff or go drinking in the early hours of the morning) makes it FEEL like a dream. Although that might also have something to do with the custom cocktails and beers served every year.
This year kicked off as usual with a classic film – Abertoir’s official 2013 theme was Peter Cushing’s centenary, and a screening of the newly-restored Hammer version of The Mummy (1959) was a great way to start proceedings – The film looks as fresh and colourful as the day it was made (although I was slightly disappointed that the legendary tongue removal scene was not in this print – it may only ever have existed in still form), and, although it is now over 50 years old the brilliant performances of Cushing, who gets to indulge in some more physical stunt work and Christopher Lee (proving his worth as an actor by pulling off some excellent work under a ton of make-up with no dialogue whatsoever) make it a joy to behold.
Any refined mood the audience may have slipped into was immediately dashed by the next film, Discopath. A garish and intentionally ropey French Canadian homage to the 1970s. Given my love of both disco music and the era in question (and a great many dodgy films of the time), I had a blast with this, although the rest of the audience sadly did not seem quite so enamoured. I did wonder whether it may have worked slightly better in a later time slot.
Thankfully All Cheerleaders Die (which I previously reviewed in full) proved a much bigger hit with the Abertoir crowd, with its mix of black comedy, gore and social comment. Also the crowd may have been a little bit tipsy at this point. A state I was definitely in for the midnight screening of Fulci’s City Of The Living Dead – preceded, as happened last year, by an episode of the hilarious Australian war/spy spoof TV series Danger 5, which is becoming so interlinked with Abertoir that two of the three custom cocktails at the bar this year were Danger 5 themed (the joke would not make sense if I had to explain why). I’ll admit I’ve never been the biggest fan of City Of The Living Dead – it has some awesome gore scenes, but it’s one big nonsensical mess of a film. Of course, the same criticism could be levelled at The Beyond and House By The Cemetery, but whereas (for me at least) those films attain an operatic craziness that bears repeated viewing, City Of The Living Dead feels flat. However, after several gins it was still a very enjoyable experience, but possibly for the wrong reasons.
Wednesday (the day sponsored by the adjoining university’s Department of Theatre, Film and Television studies) kicked off in grand style with an extremely rare screening of the Peter Cushing/Vincent Price starrer Madhouse. Regular BAH readers may possibly remember my raving about this hidden gem in the epic article about Cushing at the ‘lesser’ horror studios earlier this year, and so it was a real treat to see it on the big screen – especially as it turns out the screening was from perhaps the only 35mm print in existence – found by chance in a private collection and loaned out (probably on pain of death should it break) to the festival. To reiterate – it’s nowhere near a perfect film, but in its self-referential narrative it predates the postmodern horror of Wes Craven’s 90’s work by a whole 20 years. And, well, Linda Hayden has never looked lovelier.
This was followed by The Court Of Cult, presided over by festival organiser Gaz in a rather fetching judge’s wig, whereby four learned academics made the case for who was the greatest British cult horror star (obviously British was essential as unofficial patron saint of Abertoir Vincent Price would have walked with it). Russ Hunter sang the praises of Christopher Lee (who I was certain would be the sure-fire winner); Johnny Walker gave the funniest speech in praise of the great Sheila Keith (if that’s not a familiar name I would suggest an immediate course of Pete Walker films); Matt Hills plumped for Hammer stalwart Michael Ripper (a fine actor, but lacking the star power of the others perhaps, despite his versatility); and Peter Hutchings presented the case for everyone’s favourite gentleman Peter Cushing. Whether it be the centenary celebrations, or sheer sentimental love for old Pete, the audience cheers took it by a landslide. Do you think they’ll let me eulogise Donald Pleasence next year?
The next film, Across The River – a UK Premiere (preceded by subtle and extremely dark short Grandpa), split the audience somewhat – a brand new Italian horror film, about a lone ethologist uncovering creepy goings on in the wilds of Slovenia, it relies almost solely on atmosphere to create a sense of dread. It’s pretty successful for the most part, although I found it dragged in the second half, and for all its ultra-realism (possibly inspired by the found footage cycle) it perhaps leaves too many unanswered questions.
Now I love a good Spanish film, be it the comedies of Alex De Iglesia, a silly Paul Naschy monster romp or one of Almodovar’s more mature pieces, so I was very excited to see Painless. I went in knowing nothing about it and ended up being extremely impressed with the depth and scope. It may only be a borderline horror film – dealing with mutant children who feel no pain, and one man’s investigation of their history, which mirrors WWII and the Spanish civil war – but I found it fascinating and moving, and (despite arguing over it with one or two people who found it boring) I was obviously with the majority as it got voted the number 2 film of the festival.
A film that didn’t get voted into the top 3, but would easily have made my picks of the festival, was The Station – a film which could easily be summed up as ‘the Austrian Thing’. Austria doesn’t throw up that many monster movies (unless you count the original Hands Of Orlac), so I wasn’t sure what to expect, but the film won me over from the opening scenes – This is quite a rarity, a horror film with a cast of several likeable, colourful characters, and you’ll find yourself cheering them on and gnawing your fingers at their possible fates. The film also benefits from some imaginative creatures. Do anything you can to see this one, it won’t disappoint!
Tuesday finished off with more Danger 5 and Troma’s latest, er, masterpiece, Return To Class Of Nuke ‘Em High Vol 1. If you’re familiar with Troma, you know exactly what to expect – gore, boobs, sick laughs, topical jokes and pot-shots at anyone and everyone. It’s gleefully offensive from the off and does not let up. Would I recommend it? Well, if you’ve got a big group of mates, aren’t sensitive about jokey references to recent tragic news events, and are drunker than a 14 year old on their first night out of the house, then yes. If not, then, nah, leave well alone.
Thursday started on a high for me with a big screen treat – an episode of the Hammer House Of Horror TV series entitled Silent Scream, starring a certain Mr Cushing. If you’ve not seen it, it’s an absolute corker, with a startlingly original concept, big cats, Brian Cox (not that one) and what may be Cushing’s most sinister performance. A confession – I suggested this for screening this year, and it’s quite a buzz to see an audience (although somewhat small, but it was early in the day) enjoying something you’ve had a hand in programming.
Thursday brought us TWO UK premieres, and first up was a film with a fascinating background Chanthaly. Not only the first horror film from Laos, but also the first film from Laos directed by a woman (interesting fact – there were four films showing this year with female directors, something that can only be applauded). The festival programme contained a fascinating and lengthy interview with the director, Mattie Do, and I was fascinated to see what this ghost story could bring to the table. Unfortunately, it turned out to be the least enjoyable film I saw this year, and, whilst it has a very unusual focus in the second half of the film, it lacks chills, direction or much of interest beyond cultural intrigue. However, on learning of the process behind the film and the incredibly limited resources that were used in making it, I respect what was achieved.
Kiss Of The Damned was up next – one of the two films I had been most looking forward to (along with The Strange Colour Of Your Body’s Tears), and was another where I did not share the taste of the majority of the audience, who found it laughable and/or dull. However, if I were to pitch it to you as a Jean Rollin film as remade by the people behind True Blood, you’ll know immediately if it’s for you or not. It’s certainly a steamy proposition, and Roxane Mesquida puts in a sizzling performance as the bad girl vampire coming between her more refined sister and recently ‘turned’ new vampire Paolo (played by Heroes’ Peter Petrelli AKA Milo Ventimiglia).
I skipped the book talk by David Towsey despite the lure of free wine as I wanted to grab some dinner and some fresh air, but was back in time for The Many Faces Of Peter Cushing – a talk by Peter Hutchings, who made a heartfelt, personal and moving tribute to the great man, resulting in some damp eyes in the audience.
Next on the bill was the film that won the audience vote of the festival, Spanish ghost comedy Ghost Graduation – despite being more a mainstream comedy than a horror film, it was a real treat, with pretty much every joke hitting the spot, and a feel-good factor which transcends the theme of wasted lives. Also responsible for ear-worming me with Total Eclipse Of The Heart for a good few hours.
Next we had a break from the films for the pub quiz! A legendarily shambolic (and great fun!) event which never fails to overrun. Unfortunately my team broke with winning tradition this year by coming second, but you can’t win ‘em all.
Thursday night’s midnight movie was HK: Forbidden Superhero (or Hentai Kamen to give it the original Japanese title) – a hilarious, sweet and slightly subversive spoof of Marvel films featuring a hero who gains powers when he puts a pair of women’s pants on his head. I had already seen this so skipped in order to socialise, but I did pop into the cinema to see the audience reaction at some scenes, and their appalled hysterics were as much fun as the film to watch.
I’ll hand over coverage of the second half of the festival to UK editor Ben, as he arrived on Friday, and I’ll see you the rest of you at the bar next year for a Danger 5 cocktail!