When it comes to film viewing, most people seek comfort in movies that offer escapism and a soothing experience. However, there is another side to cinema that challenges our emotions and pushes the boundaries of discomfort. The BFI Southbank is set to host a season called “Discomfort Movies” from 1 to 31 July, featuring a collection of films that induce fear, stress, anxiety, or despair. These movies go beyond genre conventions and explore ideas through discomfort, leaving a lasting impact on the audience.
The Concept of Discomfort Movies
The concept of discomfort movies is to offer an alternative film experience that delves into the darker aspects of the human experience. Kimberley Sheehan, the BFI events programmer and curator of the season, has carefully selected films that have personally affected her. She is fascinated by their power to unsettle and provoke strong emotions. The goal is to confront audiences and tap into their visceral reactions, while also providing a cathartic experience. The craving for darker material and the need to feel extreme emotions have inspired this season of discomfort movies.
The Programme Highlights
The programme for the Discomfort Movies season includes a diverse range of films that push the boundaries of discomfort. From psychological breakdowns to societal critique, each film offers a unique perspective on challenging aspects of the human experience. Let’s take a closer look at some of the highlights of the programme:
ERASERHEAD: A Disturbing Nightmare
The season kicks off with a screening of “Eraserhead,” directed by David Lynch in 1977. This black and white film with its oppressive industrial setting and unsettling sound design presents a unique and disturbing nightmare. It showcases Lynch at his most unfiltered, leaving a lasting impact on the audience.
THE LOST WEEKEND: Unsettling Portrayal of Alcoholism
Billy Wilder’s “The Lost Weekend,” released in 1945, offers a landmark portrayal of alcoholism that retains its power to unsettle and disturb. Ray Milland’s performance as the alcoholic Don, combined with Miklós Rózsa’s brooding score, creates a tense and gripping experience. The film explores the destructive nature of addiction and the toll it takes on loved ones.
THEY SHOOT HORSES DON’T THEY?: A Critique of Capitalism
Sidney Pollack’s “They Shoot Horses Don’t They?” released in 1969, serves as a searing critique of capitalism and a portrayal of a society on the brink of collapse. The film follows exhausted dancers forced to compete in a grueling cash-prize competition, highlighting the exploitative nature of the system. Its ‘derby’ sequences are extraordinary and leave a lasting impact on the audience.
A WOMAN UNDER THE INFLUENCE: Uncomfortable yet Vital
John Cassavetes’ “A Woman Under the Influence,” released in 1974, is an uncomfortable yet vital depiction of a woman’s psychological breakdown. Gena Rowlands delivers a raw and compassionate performance as Mabel, a blue-collar housewife struggling with societal expectations. The film explores themes of identity, societal pressure, and mental health with authenticity and vulnerability.
POSSESSION: Violent and Visceral Exploration
Andrzej Zuławski’s “Possession,” released in 1981, is a violent and visceral film that pulsates with anxiety and explores jealousy, sexuality, and alienation. Isabelle Adjani’s emotional and physical performance as a woman seeking a divorce without explanation is riveting. The film challenges our psychological and physiological boundaries, leaving a lasting impression.
THREADS: Shocking Realism of Nuclear Conflict
Mick Jackson’s “Threads,” released in 1984, imagines the unfolding of a nuclear conflict and remains one of the most shocking and devastating films to air on television. Combining documentary realism with kitchen-sink drama, the film follows a working-class family in Sheffield as they face the looming threat of nuclear war. It provides a stark and horrifying portrayal of the consequences of such a conflict.
FUNNY GAMES: Questioning our Consumption of Violence
Michael Haneke’s “Funny Games,” released in 1997, is a home invasion thriller that questions our consumption of violence as entertainment. The film forces the audience to confront their complicity in the horror that unfolds, offering a startling rumination on the senselessness of violence and the cruelty of human nature.
AUDITION: Unusual Lengths for a New Partner
Takashi Miike’s “Audition,” released in 1999, tells the story of a lonely widower who goes to unusual lengths to find a new partner. What starts as a seemingly innocent audition process for a fake film takes a dark and disturbing turn. Miike’s film challenges our boundaries with scenes that explore the violent sexualization of women.
REQUIEM FOR A DREAM: Harrowing Depths of Addiction
Darren Aronofsky’s “Requiem for a Dream,” released in 2000, follows the lives of heroin addicts Harry, Marion, and Tyrone as they do anything for their next fix. The film’s devil-may-care attitude is reflected in its style, employing a multitude of cinematic tricks to capture the harrowing depths of addiction. It leaves an indelible mark on the audience with haunting images and a powerful narrative.
BUG: Claustrophobic and Anxiety-Inducing Chamber Piece
William Friedkin’s “Bug,” released in 2006, is an impressively claustrophobic and anxiety-inducing chamber piece. The film centers around Agnes, a lonely waitress with a troubled past, who finds herself connecting with a drifter named Peter. As their relationship intensifies, so does the paranoia and anxiety. “Bug” is a deeply unsettling and underrated psychological horror.
CLIMAX: Rising Anxiety in a Dance Horror Fusion
Gaspar Noé’s “Climax,” released in 2018, is an inspired fusion of modern dance and art house horror. The film follows a group of dancers who throw a party in their rehearsal space, only to have it turn deadly after the sangria is spiked. “Climax” is a masterclass in rising anxiety, creating intense and disorienting atmospheres that leave the audience on edge.
STRASBOURG 1518: Intense and Nauseating Atmospheres
Jonathan Glazer’s “Strasbourg 1518,” released in 2020, is a short film depicting a real-life dance epidemic. It showcases Glazer’s ability to create intense and nauseating atmospheres through its grainy night-vision visuals. The film offers a micro demonstration of the discomfort that can be evoked through precise filmmaking techniques.
SKINAMARINK: Terrifying Slow Burn
“Skinamarink,” directed by Kyle Edward Ball in 2022, is an unsettling debut that replicates the uncanny feeling of childhood nightmares. The film follows two young siblings who wake up to discover the doors and windows in their home have vanished. This terrifying slow burn captures the essence of childhood fears and leaves a lasting impression on the audience.
The Body Horror Double Bill: CRASH and TITANE
The Discomfort Movies season also shines a spotlight on the body horror subgenre with a double bill featuring David Cronenberg’s “Crash” (1996) and Julia Ducournau’s “Titane” (2022). “Crash” explores the fetishization of car crashes and the transformative power of bodily experiences. It delves into sexual desires and identity, challenging societal norms. “Titane,” the Palme d’Or-winning film, takes viewers on a bizarre and unpredictable journey after a dancer has an intimate encounter with a vehicle. Both films shock and intrigue, providing unique perspectives on bodily transformation.
The Discomfort Movies season at BFI Southbank offers a thought-provoking and challenging cinematic experience. Through a carefully curated selection of films, the season explores the darker aspects of the human experience, pushing the boundaries of discomfort. From psychological breakdowns to societal critique, each film offers a unique perspective and leaves a lasting impact on the audience. Whether shocking, unsettling, or thought-provoking, these films provide an alternative film experience that is not easily forgotten. Get ready to be confronted, to tap into strong emotions, and to explore the more challenging aspects of the human experience.