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Cracktown eschews the bouts of surreal and graphic violence of Combat Shock in favor of a more realistic style, with a stronger script and an impressive ensemble cast. Life is Hot in Cracktown revisits the urban squalor of Combat Shock and concentrates on the interconnected lives of four sets of characters touched in varying ways by the cycle of drugs, poverty and violence (an example of what scholar David Bordwell has christened ‘network narratives’). Also playing at Fantasia was his most recent American film, Life is Hot in Cracktown (2009), based on his own same titled 1993 collection of short stories. As a rare treat, director Giovinazzo brought his personal uncut 16mm print of Combat Shock to screen at Fantasia.
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Accurately described by Giovinazzo as a “cross between Erasherhead and Taxi Driver ” Combat Shock is a 1986 film that attempts to capture the social horror ambience of American films of the 1970s, lauded, referenced, and invoked by contemporary directors such as Quentin Tarantino, Eli Roth and Alexandre Aja. Giovinazzo is best known to horror fans for his low budget cult favorite Combat Shock (aka American Nightmare), a searing, gritty urban study of an ex-Vietnam’s psychic meltdown. An ‘auteur’ of the former was one of the many invited guests of 2009, the New York based filmmaker Buddy Giovinazzo, who is interviewed in this issue. In this year’s servings I noted an unusual somewhat dialectical aesthetic pattern of films dealing with urban squalor, and films relying on an aesthetic of ‘purity’ through a mise-en-scène of all-white walls, white clothing, saturated lighting and overexposed, blinding light.
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Fantasia 2009 Report 2 Urban Squalor Meets the ‘Im/Purity’ of Whitenessīy Donato Totaro Volume 14, Issue 5 / May 2010 42 minutes (10454 words)įantasia always come serving a full plate of succulent morsels for the new and faithful fans of this ever growing (in size and importance) international genre festival.