There’s an odd sense of deja vu to Bruce Labruce’s latest provocation, recalling not just some of his own prior joints (notably 2004’s “The Raspberry Reich”) but tongue-in-cheek fantasies of much earlier films featuring the overthrow of patriarchy — the nearly half-century-old likes of John Waters’ “Desperate Living” and the Warhol-Morrissey “Women in Revolt,” in particular. The absurdist tale of “The Misandrists,” about a lesbian separatist army cell threatened by the arrival of a lone male strains “The Beguiled” through a funnel of camp comedy, variably explicit sex and Godardian radical-politic sloganeering.
Like every Labruce film before it, this German-produced, English-language enterprise doesn’t boast a plot so much as a concept, one whose steam runs out well before the (laboriously prolonged) end titles. Still, that happens later than usual this time, and “The Misandrists” further benefits from technical and design contributions more polished than are its auteur’s wont.
Like every Labruce film before it, this German-produced, English-language enterprise doesn’t boast a plot so much as a concept, one whose steam runs out well before the (laboriously prolonged) end titles. Still, that happens later than usual this time, and “The Misandrists” further benefits from technical and design contributions more polished than are its auteur’s wont.
- 5/22/2018
- by Dennis Harvey
- Variety Film + TV
Following a world premiere at Berlinale and screenings at Karlovy Vary, Sitges, Raindance London and Guadalajara, iconic Canadian filmmaker Bruce Labruce is bringing The Misandrists to America. The Misandrists will begin its national rollout on May 25th, with a weeklong run in New York City at the Village East Cinema. The following week, the film will switch coasts for a week's showings in Los Angeles at the Nuart Theatre starting June 1st. Labruce will introduce screenings at both openings. Then, The Misandrists will continue to open throughout Pride Month in Washington DC, Austin, New Orleans, Seattle, Denver, Philadelphia, Cleveland and more. Balancing social commentary with campy, satirical entertainment, Labruce’s The Misandrists tells the story of Volker (Til Schindler), an injured...
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- 4/19/2018
- Screen Anarchy
Man-haters, rejoice! The Female Liberation Army is here to save us. Or at least, keep us fired up and entertained. Fresh off a run at Europe’s top film festivals, including a premiere at the Berlinale, Karlovy Vary, and Panorama, comes “The Misandrists.” Directed by legendary gay filmmaker Bruce Labruce, “The Misandrists” follows the dissidents of the Fla, a militant lesbian separatist cult whose primary goal is to dismantle the patriarchy — by any means necessary.
Set in 1999, “Somewhere in Ger(wo)many,” the film follows a young radical named Isolde (Kita Updike) who falls in love with boy dissident Volker (Til Schindler). Stowing him away in the basement of the Fla’s country manor so she can nurse his wounds, Isolde fears discovery by Big Mother (Susanne Sachsse). No men are allowed on the commune, and lesbian sex is encouraged, as Big Mother believes it is the only way to female liberation.
Set in 1999, “Somewhere in Ger(wo)many,” the film follows a young radical named Isolde (Kita Updike) who falls in love with boy dissident Volker (Til Schindler). Stowing him away in the basement of the Fla’s country manor so she can nurse his wounds, Isolde fears discovery by Big Mother (Susanne Sachsse). No men are allowed on the commune, and lesbian sex is encouraged, as Big Mother believes it is the only way to female liberation.
- 4/16/2018
- by Jude Dry
- Indiewire
If Jill Soloway’s declaration of “topple the patriarchy” at the 2016 Emmy Awards represented the mainstreaming of radical feminism, here’s the film to make it scary again. “The Misandrists” is the latest film from Canadian provocateur Bruce Labruce, a low-budget, high-fantasy tale of radical lesbian separatists living a cult-like existence. It’s a wild romp with all the campy noir you might expect in a film by the father of queercore.
For the uninitiated, Labruce is a queer filmmaker, actor, critic, and self-described reluctant pornographer. He came up as filmmakers like Gregg Araki, Todd Haynes, and Cheryl Dunye established the New Queer Cinema, but Labruce embraced a strictly anti-establishment queer aesthetic aligned with the underground punk scene. His aesthetic weds sexually explicit images, stilted B-movie acting, and cult film tropes like zombies and vampires, along with more traditional narrative filmmaking techniques. Kurt Cobain famously called Labruce’s 1991 debut, “No Skin Off My Ass,...
For the uninitiated, Labruce is a queer filmmaker, actor, critic, and self-described reluctant pornographer. He came up as filmmakers like Gregg Araki, Todd Haynes, and Cheryl Dunye established the New Queer Cinema, but Labruce embraced a strictly anti-establishment queer aesthetic aligned with the underground punk scene. His aesthetic weds sexually explicit images, stilted B-movie acting, and cult film tropes like zombies and vampires, along with more traditional narrative filmmaking techniques. Kurt Cobain famously called Labruce’s 1991 debut, “No Skin Off My Ass,...
- 2/15/2017
- by Jude Dry
- Indiewire
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