21st Anniversary Edition. Full of new extras and some old ones too we had to keep. Here is the Cover of the DVD.

From Monster Pictures. More on this release soon.

You can pre order it here: http://www.dvdwarehouse.com.au/bloodlust-9342424003107.html

Rescheduled Event:

Where? Mana Bar, 336 Brunswick Street, Fitzroy, Melbourne AUSTRALIA.

When? March 1st, 6.30pm to 8.30pm

“Plenty of Reasons to Stop Worrying and Love Pornography: Can Pornography Save Cinema?
(In conversation with Richard Wolstencroft, Australian Filmmaker and Festival Director)
Screening: Trailer Richard Wolstencroft’s The Last Days of Joe Blow (2012)

Synopsis: Controversial filmmaker, curator, festival director and cultural and political trouble maker Richard Wolstencroft will delve into the wonderful world of pornography. He will advocate for the social, artistic, cultural, aesthetic and political significance of what is arguably the most neglected product of latter day Western Capitalist culture. In addition, he will demonstrate how Australia has one of the worst Free Speech records when it comes to pornographic material. Wolstencroft will also show footage and a trailer from his up-coming feature on the pornography business The Last Days of Joe Blow and discuss the making of this new documentary and his personal experience witnessing the porn biz in LA’s The Valley.”

MUFF 12 Winners

August 31, 2011

Chosen by jury head Jimmy The Exploder in consultation with The MUFF team.

BEST FILM

A Serbian Film (Srdjan Spasojevic)

BEST ACTOR

Michael Dorman (Needle)

BEST ACTRESS (Tie)

Viva Bianca (Holly Rowe ‘X’)

& Hanna Mangan Lawrence (Shay Ryan ‘X’)

BEST DIRECTOR

Larry Wessel (Iconoclast)

BEST DOCO

Iconoclast (Larry Wessel)

BEST SCREENPLAY

James Harkness (Birthday)

SPECIAL JURY PRIZE

Needle (John V Soto)

BEST GUERILLA FILM (Tie)

Boronia Backpackers (Timothy Spanos)

& Garth Lives in a Van (Gregory Pakis)

BEST SUPORTING ACTOR (Winner)

Richard Wilson (Birthday)

BEST SUPPORTING ACTRESS (Winner)

Kestie Morassi (Birthday)

BEST CINEMATOGRAPHY

Needle

SHORTS:

BEST SHORT FILM

Good Taste

RUNNER-UP BEST SHORT FILM

Gumby’s New Tit

BEST SHORT FILM DIRECTOR

Michael Adams/Charlotte Squires (Grandma’s Gift)

BEST SHORT FILM ACTOR

Paul Yardley (Don’t Ya Wanna Dance)

BEST SHORT FILM ACTRESS

Deanna Ortuso (A Tale of Obsession)

BEST SHORT SCREENPLAY

Michael Adams/Charlotte Quires (Grandma’s Gift)

BEST POSTER

Needle (Horror Version)

 

 

MUFF 12 catalogue in all its brutal and beautiful glory at: http://www.muff.com.au

New MUFF blog by JJ DeCeglie. http://notesfromundergroundmuff2011.tumblr.com/

Opening night a nice little piece of Eastern European Cinema, A Serbian Film.

The MUFF 12 Press Release:

SourceURL:file:///Macintosh%20HD/Users/richardwolstencroft/Desktop/MUFF%2012/MUFF%2012%20Press%20Release.doc

MUFF 12 is here! The most controversial and confronting film festival, even arts event, this fine country has to offer. Yes, all you screen zombies… we are back in 2011 to: Destroy All Movies!

“Destroy All Movies” can be taken as a query, a question and even a complaint about cinema itself. How often do we question our passion in this kind of ontological sense and depth?  At MUFF 12 we go there.

Australia’s premiere film festival for anything left (or right!) of centre, Indy or underground is back with a vengeance. In 2010 they tried to shut MUFF and renegade film festival director Richard Wolstencroft down, over LA Zombie, with a MUFF Raid and court trail over our Free Speech advocacy and action. But like the proverbial Phoenix MUFF is back in 2011 to cause more mayhem.

Festival dates are: August 19 to 27. We have two ace venues this year: the amazing re-opened art deco cinema venue St Kilda Memo at 88 Acland st St Kilda (behind the RSL) and it’s sister venue Dog’s Bar Art’s Hub just down the road from Memo at 54 Acland Street.

We have four great sections: MUFF Neu – presenting a range of low budget and Indy underground and genre cinema with highlights like Needle, Iconoclast (on Boyd Rice by Larry Wessell), 2012 and Birthday, MINI MUFF – presenting new short films from Australia and abroad, with highlights The Basher, Hooked, 6ft Hick, Payload and Garth Lives in a Van; our themed retrospective DESTROY ALL MOVIES – featuring the anti-aesthetic of Paul Morrissey, Joe Dellasandro and Andy Warhol, and the MUFF ACADEMY is back! At this year’s academy we have the Billy Marshall Stoneking intensive acting seminar and a screening of Pier Paolo Pasolini’s “Saló” followed by a discussion panel on the film’s merits (or lack thereof) as well as a broader discussion on the sense of censorship.

Plus our notorious gala Opening Night film “A Serbian Film”, one of the most fiendish movies we have ever played at MUFF. And, keeping with our Tribute to Serbia theme for Opening/Closing our Closing Night film is “The Life and Death of a Porno Gang,” followed by the esteemed MUFF 12 awards.

Check out the program online or at any good store or shop in yo’ hood. 24 sessions, over 9 days, all at two venues with a bonus Mystery Screening. What more can you ask? Streamlining is the name of the game.  Check it out and join the local cinema screen revolution.

Best Regards

Richard Wolstencroft

Melbourne Underground Film Festival Director

Full program online now: http://www.muff.com.au/

MUFF 12: The Poster

July 20, 2011

The Poster for the 12th Melbourne Underground Film Festival is here. Dates are: August 19 to 27. Venues: St.Kilda Memo and Dogs Bar Arts Hub. More very soon!

Best Film

 

– The Tunnel (Carlo Ledesma)

 

 

 

Best Director

 

– Chris Sun (Come and Get Me)

– Josh Reed (Primal)

 

 

 

Best Actor

 

– Damian Walshe-Howling (The Reef)

 

 

 

Best Actress

 

– Kelsie McDonald (Come and Get Me)

 

 

 

Best Supporting Actor

 

– Michael Rooker (Penance)

– Steve Davis (The Tunnel)

 

 

 

Best Supporting Actress

 

– Kerry Ann Reid (Family Demons)

 

 

 

Best Screenplay

 

– Ursula Dabrowsky (Family Demons)

 

 

 

Best Editor

 

– Michael Gilbert (Come and Get Me)

 

 

 

Best Cinematography

 

– Shing Fung Cheung, Steve Davis (The Tunnel)

 

 

 

Best Special Effects and Make-Up

 

 

– Chris Sun (Come and Get Me)

 

 

Best Cult Film

 

– Starship Invasions

 

 

 

Best Short Film

 

– Meth to Madness (Chris Mitchell)

 

 

 

Best Short Film Director

 

 

– Chris Mitchell (Meth to Madness)

 

 

Best Short Film Actor

 

– Jeremy Kewley (Shepherd’s Hill)

 

 

 

Best Short Film Actress

 

– Jamie McDowell (Home)

 

 

 

Bloodfest Genre Innovation Award

 

– Someone’s Knocking at the Door (Chad Ferrin)

 

 

 

Special Short Film Jury Prize

 

– Flow (Scott Dale)

 

 

Special Jury Prize

 

– The Reef (Andrew Traucki)

 

 

Best Documentary

 

– Video Nasties (Jake West)

“I know you alone understand the people I use to help me in these things, understand that they are only elements undergoing change to fuel the radiance of what I am Becoming. Just as the source of light is burning.”
– Francis Dollarhyde – Michael Mann Manhunter / Thomas Harris Red Dragon.

Transformation and metamorphosis. Change and evolution. The transcendence. These themes are at the heart of most horror and science fiction films. We are all just elements undergoing change to fuel the radiance of what we are becoming. And what we are becoming at present is Bloodfest Fantastique!

Welcome to Bloodfest Fantastique, an event we hope will become Australia’s first national festival of horror and science fiction cinema.

After the success of MUFF 11 I decided it would be a kick to start a new spin off festival that specifically dealt with two of my favorite cinema genres, horror and sci-fi. Bloodfest will be focused purely on these two wonderful genres and avoid the local film politics and other issues we deal with at MUFF. It will be a conduit of cinematic wonder and terror aimed at genre fans, cinephiles and movie geeks everywhere.

We will have a theme at Bloodfest as we do at MUFF. Why? Because that kind of thing is not done at Australia’s so-called “quality” film festivals. Most totally lack any personality and curatorial direction and distinction and we like to buck that trend. The theme of Bloodfest is futurism and barbarism. As we move further in to the 21st Century we see a lot of disharmony, discord and violence all around the world. The horror and dystopian science fiction film totally examines this situation and prepares us for what could be a bleak future. Harlan from Videodrome described it thus, “The West is getting soft, patrón, and the rest of the world is getting tough. Very, very tough. We’re entering savage new times and we’re going to have to be pure and direct… and strong… if we’re going to survive them.” It is in the spirit of these words from horror master David Cronenberg that we thematise our first festival. 

We have an amazing program of films that speaks for itself. 21 sessions, over 9 days, at one venue. Streamlining is the name of the game. Just check them out here in our smorgasbord of cinematic mayhem and trouble making to whet even the most depraved genre fan’s appetite. 

Enjoy the festival. I look forward to discussing cinema and existence with any of you during the festival. Just come up and say “hi”.

Best Regards

Richard Wolstencroft


Check out the Bloodfest Fantastique website.With downloadable catalogue. Full interactive website up this week.

See: http://bloodfest.com.au/

“The Horror, The Horror” – Kurtz once said. All he missed out on was, “The Sci Fi, The sci fi”…

Come to Bloodfest Fantastique 2011 or Micheal Rooker will come and get you !

Tomorrow in Bendigo I am speaking at an event called Freedom’s Undead (about censorship and contemporary cinema) presented by La Trobe University at their Bendigo campus. If your a country type and you are around come along!

Details above!

I got sent some questions originally posted here on my new feature film, The Beautiful and Damned:

https://ideafix7.wordpress.com/2008/09/23/cassavettes-and-knightley-go-the-beautiful-and-the-damned/

I have responded.

I’ll reprint questions and answers here.

From Candace Grissom:

Richard,

I completely agree with your statement that Fitzgerald’s works are very appropriate for translation into the 21st century and that he had an almost prophetic visionary sense about the future of youth culture.

I attended the screening of your adaptation of The Beautiful and Damned at the Fitzgerald Festival in Baltimore, and am including a study of it in my PhD dissertation, which discusses the evolving ways in which Fitzgerald’s works have been adapted for film as part of a larger discussion on how the status of how literary celebrity affected his writing.

I get what you were going for by including the sexual and substance abuse issues from the original text, by updating their excesses to maintain the same level of shock factor that Fitzgerald’s original must have had for a 1920s audience.

However, I continue to be puzzled by the political implications of your film, especially since Fitzgerald studies tends to focus specifically around how very “American” his conception of the wasting effects of capitalist excess can be on those young people who aspire to progress through achievement, only to find that, after they reach a certain plateau of wealth, there is no goal left for which to strive.

After reading your blog and statements about a new sort of fascist political system, I find myself wondering whether any of your ideas on this topic found their way into the film as political commentary and if so, do you see any cultural differences related to capitalism in America versus Australia that influenced your opinions? (Personally, I read it to be more of a universal, global issue that is indicative of postmodern society as a whole.)

Also, I find it fascinating that you have written a Manifesto for Ontological Cinema, and I was wondering how the ideology for the goals of this style guided your creative process for The Beautiful and Damned in particular?

Last, I noticed that, although there was a good bit of Fitzgerald’s original dialogue included in the film, there was also a very 21st century mannerism of inserting “fuck” and various other profanities into conversation in a seemingly random fashion, and I was wondering whether you simply intended their inclusion to mimic today’s speech patterns, or if they had any deeper sociological implications?

(I tended to include them in the overall sense that the film conveys to me, which is that modern society has made a saleable commodity out of the sexual act, making it less emotionally meaningful for individuals like Anthony and Gloria who are trying to maintain a relationship. Thus, I interpreted the profanity as mirroring a devolution of linguistic sensibilites in youth culture that parallels the devolution in regard for the maintenance of meaningful sexual relationships.)

Sorry about all the questions, but I thought that you would like to know that your film has been a really interesting piece of cinema to work with as I attempt to contextualize it within the larger history of Fitzgerald film history. It truly does represent a completely new path in the field which I think, given the upcoming major studio projects currently in the works, will be well-trodden by other filmmakers in the future.

My response:

Dear Candace,

Thank you for your letter. I will attempt to address some of your questions and the issues raised by them in this letter.

It was a great pleasure to adapt F.Scott Fitzgerald’s The Beautiful and Damned. I was inspired by the Ken Russell adaptations of DH Lawrence, the cinema of Lars Von Trier, the contemporary writings of Bret Easton Ellis (who I have subsequently met up with a few times) and JG Ballard. The later two I dedicated my new film too.

There has been a cinematic resurgence of interest in Fitzgerald and I think I had my finger on the right cultural pulse to make this film in the late 00’s. I felt adapting the book was like working with a contemporary, albeit one of great genius.

To your questions:

Regarding American-ness it seems in our globalized world that today everywhere is America. So Fitzgerald’s America and critique of the American Dream can apply to where ever globalization/later day Capitalism has had an impact. This covers a vast swathe of the planets surface and population. Capitalism is now the worlds number one religion and is a positive and at times negative phenomenon that can have negative effects on the soul of a people. This is becoming universally evident. So, to me setting the film in Melbourne Australia in the 00’s (though it could be ‘anywhere’ in the West) was an easy and non contradictory decision. Many things held up and adapted perfectly. Fitzgerald has always struck me as a timeless author whose work can survive moving from his milieu like Shakespeare and others.

RE: Politics in book and film. Many writers consider Fitzgerald to be a Left Winger and I had an interesting discussion with Scott Donaldson at the conference who is of that opinion. I gave a copy of my film to him as well! But I beg to differ. As research in the texts I studied, like many modernists, I found in Fitzgerald an attraction to many Right Wing/fascist ideas. One of the major clues is his interest in Spengler, a major Right Wing/fascist writer. Same his attraction to conservative poet TS Eliot. Fitzgerald also mentions the likes of outright racists like T. Lothrop Stoddard and others who is obviously familiar with. While Fitzgerald is critical of the upper class and Capitalist elite in many ways like Bret Easton Ellis he clearly admires them, also. He is a romantic idealist and elitist in essence from my reading and I think such ideas lend themselves to fascist or other Rightist discourses. My interest in Right Wing and Fascist politics did attract to me to Fitzgerald oddly enough. He spoke admiringly of Mussolini in an interview I read and never lived to see the major human rights atrocities of fascism. So, much like say Lawrence, Eliot, Pound or Yeats I detect a reactionary Right Wing vein in Fitzgerald. This can also be applied to Fitzgerald’s alleged anti Semitism. I naturally left the reference intact from the book in the film. Though it is a minor issue in The Damned and I did it so as to remain true to the novel and the Bloekman character. I think Anthony’s anti Semitism shows his weakness at that moment and that overall I find Fitzgerald is not really a racist or anti-semite. Though he has some Southern sensibilities, I would suggest…

The Manifesto for Ontological Cinema I wrote around the time of shooting The Damned and it comes from my reflections on making this film. It’s often what is left out in a film that makes it good, as much as what is put in. Kubrick is a master at this. So, too, Lars Von Trier. I am merely following in the footsteps of my cinematic idols to distill a new kind of 21st century digital ontological cinema. A lot of the thoughts come from my study of Martin Heidegger. A major figure in 20th century thought and the most important philosopher of our epoch, in my humble opinion.

In updating the book I tried to bring a level of shock to it that the book must have had but not be too excessive as to be an orgy or depravity and debauch which was not Fitzgerald’s book. Whether I went too far, or got it right, often depends on ones sensibilities. The use of “fuck” and other curse words stems from that as does other sexual scenes and the drug use, etc. I do feel I got it almost right. Some friends say I didn’t go far enough!!!… which tells me so. It’s not that bad given the scenes of sex and depravity on our TV every night but neither does the film shy away from portraying upper class decadence, debauch and entropy.

I hope these answers address some of your concerns. I am happy to answer any more if you have them?

Best Regards

Richard Wolstencroft

PS. The book on Anthony Patch’s lap (below 2nd photo) is Thomas Malthus’s famous treatise on population control.