Peter Glahn is released after years of incarceration as a political prisoner and is now returning to his homeland, the mythical Mandragora where the sun never sets. On board the ship home, ... See full summary »
Guy Maddin reluctantly returns to his childhood home, an abandoned Canadian island, where his parents ran an orphanage. As Guy fulfills his dying mother's request to paint the lighthouse ... See full summary »
In a future world where Earth's ozone layer has been completely destroyed, a brilliant but obsessed scientist, Hank Symes uses illegally obtained biological materials for an experiment that... See full summary »
An artist (Moira Kelly) decides to put her troubles with men and evictions behind her by moving to a convent, so she can work for her keep. Is her art an opportunity for the sisters to save the convent from closure?
In the World War II, in a small Italian village, Nunziata is an easy woman married with the cuckold tailor Gioacchino. Her teenage daughter Miluzza teases men with her clothes and gets men ... See full summary »
A father and son ride the rails in their powerful locomotive. Witnessing a crash between two other engines, they rescue the lone survivor, Berenice, and make her a part of their family. All... See full summary »
Peter Glahn is released after years of incarceration as a political prisoner and is now returning to his homeland, the mythical Mandragora where the sun never sets. On board the ship home, he meets the mysterious Juliana Kossel who vanishes after stealing his heart. Once he arrives on the island, he goes to the family ostrich farm run by his sister Amelia. He finds Amelia living with a farmhand named Cain Ball who fears that Peter's return will endanger the agreement he made with Amelia that will see him inherit the farm. Amelia has since fallen for the vain Dr. Isaac Solti who controls the island and has a hold on both Zephyr Eccles, the widow of a local fisherman, and Juliana, Peter's dream girl from the ship. Solti's true obsession is a recently discovered statue of Venus that possesses strange powers. All the characters meet at Solti's lab where the sexual tensions erupt. Written by
Mandragora. There is no night there now. Daylight shouts in your ear. Did night-time hold you down by the wrists? Where did you get those bracelets, bracelet-scars?
Prison. Prison. Prison...
You have the look of a cornered animal, very menacing. Did you go mad?
And what now? Now that you're free.
Home. To Mandragora.
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Lead credits contain a stylised question mark under Frank Gorshins name (in reference to his previous role as The Riddler) See more »
I've became addicted to Guy Maddin films lately. I'd heard many negative things about "Twilight of the Ice Nymphs", how it had nearly destroyed his career as a filmmaker, but I decided to give it a go anyways, if only because it was available on a DVD with both "The Heart of the World" and "Archangel". I'd love to say this film is underrated, but to be honest I can see why it attracted all the bad hype. Its uncompromising to be sure and often looks terrific, but is overall really boring. Mainly, Maddin's typically droll sense of humor seems to be present, but it doesn't work at all. Where the offbeat lines in "Careful" and "The Saddest Music in the World" were hilarious in how left-field they were, the dialog here is merely off putting. Also, the film's plot is completely impossible to keep track of. Maddin's other films, as bizarre as they are, usually have some kind of linear story. I had no idea what was going on in this one.
To add insult to injury, the acting here is pretty dire. Nigel Whitmey (uncredited due to disputes with Maddin) is really wooden in the lead role and doesn't know how to approach the tongue-in-cheek material at all. R.H. Thomson is far too bombastic and over-the-top in his part as well, while Pascale Bussieres and Alice Krige are completely forgettable. The only saving spot of the film is the feud between Shelly Duvall and Frank Gorshin. Their sequences are generally really entertaining and prevented this film from being a complete loss. Even so, its easily the weakest Maddin film I've seen yet. (4/10)
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