Undergods

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.

A series of vignettes, connected in weird and unsuspected ways, painting the picture of a dystopia that reminds us of daily life more often than is comfortable. Powerful imagery and intriguing stories, though it perhaps lacks purpose and direction at times. Worth watching if you enjoy movies like About Endlessness but prefer a bit more grit.

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.

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.

Cinematography and visual effects: stunning.

Wardrobe and backdrops/sets: jaw-dropping perfection (I wanted much more of the crumbling dystopian cityscapes).

Casting and performances: exceptional.

Music/score: on point.

Directing and camera angles/shots: great (especially for a newb).

The overall feel and tone as a dark dystopian science-fiction fantasy: outstanding.

Newb filmmaker Chino Moya certainly is a visionary, and sharing his breathtaking vision through his eyes was a huge success. His style and design of the film is to be admired and marveled at.

But his writing was rather dull and random, with stories that don't go anywhere, feel disconnected, and have an uneven narrative that made them feel incoherent. I do get his many dark-humor satirical metaphors, and although ambitious, the underwhelming domestic anthology dramas leave you with more questions than answers. His stories had plenty of style, but not much substance, and what was under the surface, needed much finessing and attention.

Overall, there were so many brilliant qualities to Moya's feature film, that it would shame some seasoned filmmakers recent films. I just wish his screenplay was just as great. Nevertheless, a must watch for dystopian/sci-fi fans, even if just for the atmosphere and visuals.