Undergods
- 2020
- 1 Std. 32 Min.
IMDb-BEWERTUNG
5,4/10
1694
IHRE BEWERTUNG
Eine jenseitige Reise durch ein Europa im Niedergang - eine Sammlung von dunkelhumorigen, phantasievollen Geschichten über unglückliche Charaktere und verdammtes Glück.Eine jenseitige Reise durch ein Europa im Niedergang - eine Sammlung von dunkelhumorigen, phantasievollen Geschichten über unglückliche Charaktere und verdammtes Glück.Eine jenseitige Reise durch ein Europa im Niedergang - eine Sammlung von dunkelhumorigen, phantasievollen Geschichten über unglückliche Charaktere und verdammtes Glück.
- Auszeichnungen
- 6 Nominierungen insgesamt
Empfohlene Bewertungen
I once read a John le Carré novel in which, early in the action, a spy, who was gut-shot and bleeding out on someone's carpet, was first and foremost profoundly apologetic about the mess, more than he was concerned with his own demise. Carré painted this as a quintessentially English approach to being in a state of profound distress. I must say: a fair enough stereotype, at least in those awkward cases where the carpet might be antique, and even for the aspirational masses too.
During the first ten minutes of this movie, I wasn't sure if I was watching something good. If you watch you'll see why--although the acting was really great then and throughout. Things were just so uncomfortable, inhibited, and so obviously sure to turn out badly in a predictable way. However, suddenly the movie took various hard, unexpected, and pleasantly intriguing turns. The slow start became, for me, canvas and backdrop to some actual stories. What ensued was actually pretty interesting and unpredictable.
Ultimately, despite the uncomfortably dystopian mess it drops on your proverbial carpet, this film owes you no apologies beyond the naked grotesqueness of it's own dark, forlorn, and pathological message. To me it's quite the interesting, last-minute suicide note of the languishing English soul.
My final verdict: well acted, interestingly plotted, very stark and dystopian, and it even offers a bit of futurist s/f backed up by completely convincing special effects. Absolutely worthy of a watch.
During the first ten minutes of this movie, I wasn't sure if I was watching something good. If you watch you'll see why--although the acting was really great then and throughout. Things were just so uncomfortable, inhibited, and so obviously sure to turn out badly in a predictable way. However, suddenly the movie took various hard, unexpected, and pleasantly intriguing turns. The slow start became, for me, canvas and backdrop to some actual stories. What ensued was actually pretty interesting and unpredictable.
Ultimately, despite the uncomfortably dystopian mess it drops on your proverbial carpet, this film owes you no apologies beyond the naked grotesqueness of it's own dark, forlorn, and pathological message. To me it's quite the interesting, last-minute suicide note of the languishing English soul.
My final verdict: well acted, interestingly plotted, very stark and dystopian, and it even offers a bit of futurist s/f backed up by completely convincing special effects. Absolutely worthy of a watch.
No, no, i'm not asking for the "writer/director" of this...thing...to be forgiven, no. What i want to say is that this is yet another pathetic excuse of meaningless self-indulgence under the excuse of "postmodernism". This piece of manure is so pretentious and pointless that it's hard to write anything more than this. There is absolutely no plot, and obviously the aforementioned guy thought he can fool people into believing this is art. There is no plot, only the vehement desire to spread a nihilistic view of human behavior. Probably, he's another new world order lackey, that is all. AVOID THIS IF YOU RESPECT YOURSELF.
The oddest thing about this film to me was how heavily it borrowed from Max Headroom: 20 Minutes Into The Future. A whole section of it was almost a straight lift from Bruegel and Mahler cruising the ruins in search of lucrative deposits to be cashed in at Nightingales Body Bank. This couldn't have been an accident, as the end theme music was almost identical. Elsewhere it was a hotchpotch of borrowed themes, probably starting at Eraserhead and working its way through any number of long-forgotten dark films and TV episodes.
Of the cast, only Johann Myers was immediately recognisable to me, from his underplayed yet still chilling role as David Harewood's enforcer in the truly terrifying Criminal Justice. One or two others looked vaguely familiar, probably having bit-parts in The Bill in the 1980s. This didn't matter, as no stars were needed or even wanted in this film, for which the main requirement was to invest in the project with the slightly bewildered detachment required to pull it off. The party scene was strangely reminiscent of the currently popular style of many TV comedies, which instead of good old-fashioned jokes, rely on provoking feelings of extreme embarrassment and discomfort.
The film itself seems to have come to life in a strange and unusual way, being an Estonian project but using a mixture of British and European actors with National Lottery Funding. I thought the original Max Headroom film was a ground breaking classic, but I can't make my mind up whether it being flattered in this way should be viewed in a positive or negative way. I can't even make my mind up whether being a homage to one of my favourite films made me mark it up or down.
Of the cast, only Johann Myers was immediately recognisable to me, from his underplayed yet still chilling role as David Harewood's enforcer in the truly terrifying Criminal Justice. One or two others looked vaguely familiar, probably having bit-parts in The Bill in the 1980s. This didn't matter, as no stars were needed or even wanted in this film, for which the main requirement was to invest in the project with the slightly bewildered detachment required to pull it off. The party scene was strangely reminiscent of the currently popular style of many TV comedies, which instead of good old-fashioned jokes, rely on provoking feelings of extreme embarrassment and discomfort.
The film itself seems to have come to life in a strange and unusual way, being an Estonian project but using a mixture of British and European actors with National Lottery Funding. I thought the original Max Headroom film was a ground breaking classic, but I can't make my mind up whether it being flattered in this way should be viewed in a positive or negative way. I can't even make my mind up whether being a homage to one of my favourite films made me mark it up or down.
10wydwhkg
This film is a dark satirical dream of interwoven stories within a dystopian hellhole. It's a grim fairytale book of Orwellian doom yet oddly hilarious at times. Undergods is flawlessly written, perfectly casted, creatively scored and a true hidden gem of cinema. The world parallels our own with its depiction of "normal" society in which a mistake could easily kill you or throw you into the dark hell of society's underbelly. A place unthinkable until you are trapped within that nightmare. I truly hope that one day this beautiful masterpiece will find its proper place within the halls of cult cinema.
Undergods starts with K and Z, a pair of corpse collectors trolling the bombed out streets of a European city in a dystopian future. Although this was shot before the Ukraine war, the setting could easily be Bakhmut or any city in the Ukrainian east today. Were the writers prophetic?
From there the story bounces about into thinly connected mini-stories, back to the past, the present, and even into what may be alternative worlds (or is it K's and Z's imagination).
The next story is of a couple, the only residents in a new, sterile apartment tower, who are tricked in to allowing a stranger to board with them for a weekend. Needless to say, bad things happen.
We quickly segue into another tale -- there is a thread-like connection --- this one of a father who tells scary bedtime stories to his young daughter.
One story is about a greedy merchant whose love of money causes him to cheat an old eccentric inventor out of a mysterious machine that might make him rich. The setting looks to be Serbia, circa 1980s. The run-down art deco office building is amazing.
From there we jump -- again there is a connection with the last story -- to a hellish underworld of the future where slave labor is the norm. And then on to a man, dressed in slave attire, who returns home to the present after a long absence to find that his wife has moved on with her life. Chewing gum and a lottery actually figures into this segment. Then back to K and Z.
The Undergods is a dark and disturbing film, creepy even, yet it is also powerful and thought-provoking. The film explores themes of alienation, despair, loyalty, love of family, and the nature of power. It's a film that will stay with you long after you watch it.
The set designs, the overall visual style are stunning. Everything is grey, depressing, or in the "today" segments, cheap and artificial looking. The humor is dark and very twisted often with a dagger like edge.
The characters are complex, and for the length of the movie surprisingly well fleshed out. Their motives are, for the most part, clear and you feel their torment, their alienation and despair.
This is NOT a film for everyone. But if you like dark, strange fantasy, yes, give it a watch.
From there the story bounces about into thinly connected mini-stories, back to the past, the present, and even into what may be alternative worlds (or is it K's and Z's imagination).
The next story is of a couple, the only residents in a new, sterile apartment tower, who are tricked in to allowing a stranger to board with them for a weekend. Needless to say, bad things happen.
We quickly segue into another tale -- there is a thread-like connection --- this one of a father who tells scary bedtime stories to his young daughter.
One story is about a greedy merchant whose love of money causes him to cheat an old eccentric inventor out of a mysterious machine that might make him rich. The setting looks to be Serbia, circa 1980s. The run-down art deco office building is amazing.
From there we jump -- again there is a connection with the last story -- to a hellish underworld of the future where slave labor is the norm. And then on to a man, dressed in slave attire, who returns home to the present after a long absence to find that his wife has moved on with her life. Chewing gum and a lottery actually figures into this segment. Then back to K and Z.
The Undergods is a dark and disturbing film, creepy even, yet it is also powerful and thought-provoking. The film explores themes of alienation, despair, loyalty, love of family, and the nature of power. It's a film that will stay with you long after you watch it.
The set designs, the overall visual style are stunning. Everything is grey, depressing, or in the "today" segments, cheap and artificial looking. The humor is dark and very twisted often with a dagger like edge.
The characters are complex, and for the length of the movie surprisingly well fleshed out. Their motives are, for the most part, clear and you feel their torment, their alienation and despair.
This is NOT a film for everyone. But if you like dark, strange fantasy, yes, give it a watch.
Wusstest du schon
- PatzerAt the birthday party Dominic sits in something on the table, leaving food smeared on the back of his jacket. Seconds later he stumbles and his jacket is immaculate.
- Zitate
Horatia The Young Daughter: This is a boring story
- VerbindungenFeatures Xtro (1982)
Top-Auswahl
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Details
Box Office
- Weltweiter Bruttoertrag
- 7.759 $
- Laufzeit
- 1 Std. 32 Min.(92 min)
- Farbe
- Seitenverhältnis
- 2.39:1
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