In the moments before attending a pool party, apparent strangers-to-acquaintances, a distinguished, if not quirky man and a promiscuous, self-involved German woman, withdraw to a secluded building in order for the brazen woman to shave the bikini line exposed excess hairs before strapping on a suit. Their intricately deep discussions about desires, sex, and kinky foreplay fair nothing more but course, blunt banter between two familiarities, but when the woman pretends she must be tied up and punished for playfully biting the man’s ear until bleeding, the next few moments after fall into a state of obscurity of a he said, she said rape accusation. As confounding declarations are made and fingers are being pointed to decimate lives, a sack of deceptions and an abundance of threats accrue through a blackmail scheme and an abduction based vendetta. Nothing can be certain and no one can be trusted between the two, but one thing is definite, a third man watching from afar has nefarious plans of his own.
Like sitting front row at a bastardized version of an off-broadway show, “Open Wound” is an immaculate stage performance of battered psychologies and visceral deceptions from writer-director Jürgen Weber. The thriller, also known as “Time Is Up” or “Open Wound: The Über-Movie,” measures extreme lengths of human bitterness while constantly shapeshifting into plot twist after plot twist aggregated with clusters of popup violence. The Chinese born Weng Menghan, under her moniker Tau Tau, is the financial backer of “Open Wound. The globetrotting author makes her breakthrough imprint into the feature film business that modestly begins with an opening scene about anal sex among other verbal sexual references before man versus woman fisticuffs and a pivoting third act that rapidly alters character compositions into, essentially, a free for all. So metaphorically speaking, a Chinese producer walks into a bar, sits onto a stool next to a German director, and orders one of the more absorbingly chic cocktail thrillers in English. “Open Wound” is a melting pot of cultural influences and a display damaged egos that’s simply brilliant.
“Open Wound” has a short character list comprised of three characters. The first is woman who is introduced first, or rather her lips do when she declares her love anal sex and the parallel criteria for types of cars in one man’s garage, as she’s using a straight razor to trim the dark haired pubes from her bikini line. She oozes eroticism like a bodily fluid that gravitationally seeps from between the legs, spilling innermost desires, whims, and historical sex-capades with in a philosophical prose. #Nippelstatthetze advocate, German podcast expert, and stunning model, Leila Lowfire engrosses herself into the role of fierce, proud, confident, and strong woman. With an established vigorous sexual prowess, Lowfire culminates the femme fatales and breakneck show-stoppers female roles, notably similar in Quentin Tarantino movies, with high-brow tastes and a debasing reprove. Lowfire’s accent is low and thick and can be considered her weakness here as getting your brain to interpret the fluidity of the words, structures, and compositions is undeniable challenging at times, but acts upon fervor while in her lingerie or even topless throughout the film. The contrast against man is stark. His introduction paints him as unequipped, socially inept, and hopeless desperate. Man longs for Woman, but knows he doesn’t have a chance with her until she offers up a random game of role-play that inevitably leads to disarray. Jerry Kwarteng’s man performance is systematically peerless and a complete joy. Even if the character lacks depth, Kwarteng’s range is devilishly good with the only comparison coming to mind would be James McAvoy and his multiple personality disorder in “Glass.” Once Man and Woman comes to terms after a back and forth bout with dominance, the Suicide King’s grand appearance bestows upon the plot an even bigger, clunkier monkey wrench. The Suicide King’s an ex-con, looking for revenge in a small vat of acid, and his mark and him have a long, complicated history which parts personally shock the other. Erik Hanson’s raspy voice, feeble appearing physique, and lofty age has a second row seat to his character’s unwillingness to die, in a slick performance that’s part nihilist and part psychotic to which Hansen pulls off.
Weber’s choice toward “Open Wound’s” narrative layout conflicts with how the DVD release is specifically marketed. “Open Wound” rides the dark comedy pine that is peppered with black tongue-and-cheek dialogue and violence and as will be noted later in the review, the advertising depicts something far more extreme and graphic. On the shock value scale of one to ten, “Open Wound” hovers around a solid five and maybe a seven or eight for the casual popcorn viewer and, personally, I don’t believe “Open Wound” was intended to be a source of utter distress and visual barbarity. There’s brisk lighthearted comedy that softens the blunt force. For example, in the room with the Man and Woman, a record player will every so often, to comically assist in explaining the actions, play the cheesy tune of lounge background music with a singer narrating the character’s every move and also be the voice of between chapter contention or bewilderment. The singing is privy to only the audience just as the twelve chapter titles that offer a mixed bag of sequences that interchange between English, German, and Chinese title introductions, a toilet paper title card in reverse action, and an artistic rendering of chapters titles and just like his title card introductions, Weber also utilizes an assortment of styles to tell his story, whether be a 5 minute sepia, nitrate film burn effect, or day dream sequence, that peers the sudden twists and eruptive chaos between the characters. While the effects work to sensationalize the context, they tend to be equally be nauseating and annoying as a disruptive structure that seemingly doesn’t make sense to the naked eye.
MVDVisual and Wild Eye Releasing distributes Jürgen Weber’s “Open Wound” onto DVD home video as the the 11th spine feature under the Wild Eye Raw & Extreme sub-label. The DVD is presented in a widescreen format and the image quality holds up well, withstanding Weber’s bombardment of stylistic techniques of distortion, over exposure, sepia, and contrast. There’s a little softness around the skin, more noticeably during facial close ups, with a slightly lower bit rate in the compression but still very agreeable detail. The stereo two channel audio channel does the job, but has flaws with Weber’s score have an equal playing field with the dialogue tracks. The audience already has to manage Leila Lowfire’s thick German accent and their ears will also need to try and filter out the soundtrack that’s invasive upon the colloquy. Not much range to warrant mentioning, but the depth was well tweaked amongst Weber’s visual compliments. There are unfortunately no bonus material with the feature, but the DVD reversible insert is graced with a semi-naked and bound Leila Lowfire. “Open Wound” is dangerous, sexy, thrilling, and complicated to say the least, but stamped as a Raw & Extreme film it should not; however, see this film! Director Jürgen Weber’s visionary molotov cocktail of a story is an underground must for arthouse lovers and noir enthusiasts.
“Red Nights” is not exactly a new film. Being released in 2010, the erotic, giallo-inspired, thriller has only been available for DVD purchase in the Belgium market while Germany has the sole blu-ray edition. With much anticipation, Philadelphia based company Breaking Glass Pictures will be bringing “Red Nights” to DVD in the States in all it’s suspenseful and bloody glory.
The ancient box of the Jade Executioner has become the fascination of everyone’s desires. From crooked politicians, to thieves, to sadomasochistic murderers, the box contains a poison that will increase your pleasure by ten fold while leaving you completely paralyzed and increase your pain by the same amount. This twisted tale with a sexual aura constructs a cat-and-mouse game between two femme fatales, Catherine – who just wants a giant pay day for the box and Carrie Chan – who wishes to use the poison for the ultimate pleasure from pain, while a Manau crime lord embarks on a mission to retrieve back his stolen antique box.
This is the first feature length film from French directors Laurent Courtiaud and Julien Carbon and while “Red Nights” looks beautiful on screen – the shot scenes remind me the Wachowski brother’s Noir film “Bound” – the story can be a bit loose and slow at first. The By the end of act one, “Red Nights” really pick up the pieces and the story of how Frédérique Bel’s character Catherine, a personal assistant to the crooked politician Savini, becomes snared in a web of deadly game with Carrie Chan – played by Hong Kong actress Carrie Ng – and in this game, minor players get a slow and painful death which translates very well to screen and relates very precisely to the character’s personas. Carrie is a sadist who can whip a dry martini while skinning you alive. Catherine is a bit more hesitant but her greed can force her hand to kill.
The gory effects are surprisingly realistic for a pair of visual effects crew members – Jam Abelanet and Bertrand Levallois – who don’t have much horror and thriller film credits behind their names. This goes hand and hand with how I described the first time directors and how the crew of “Red Nights” got it right the first time. Where the film lost me a many of times was the back and forth dialect of French, Chinese, and a little bit of English thrown in there for good measure. As much as I like a foreign film to use their native tongue, it’s hard to follow when a conversation between a Chinese actress who speaks in full Chinese and then the French actress retorts in full French. “Red Nights” would not make a good Rosetta Stone substitute.
Carrie Ng creates a fascinating character in Carrie Chan, a respectable, world renowned perfume designer and model. Chan’s dark side involves tight leather, bondage ropes, and razor sharp metallic finger talons that shred skin like shredding a block of cheese. Carrie Ng is lustfully sleek and sexy with her bad girl image that suites her well. Frédérique Bel couldn’t compare to Ng’s prowlness nor clean good looks, but I have to give Bel credit for making her character Catherine a sneaky and aggressive go getter. Maybe the issue was in the script’s writing, but Catherine seemed to lack a lot of intelligence for being in a game that could cost her her life. Catherine trusted everyone too easily and let people go too quickly without any kind of punishment or pain.
While “Red Nights” won’t break the DVD retail shelf bank, I’m still glad Breaking Glass Pictures and Vicious Circle Films are releasing this foreign gem to the masses of ‘Merica. And while I appreciate every aspect of this film from the director’s inspiration of Giallo genre to the histories of Chinese folklore, I can’t see my country men going crazy over a Chinese girl with finger blades. However, the story for Carrie Chan might speak more to horror enthusiast in that the Jade Executioner’s poison is similar to the box in Hellraiser. The box is described to show you the pleasures of pain much like the poison in “Red Nights.” Lets also not forget that Japanese porn actress Kotone Amamlya and French actress Carole Brana do a bit of nudity as well – click to see my skin page here. Come Tuesday October 21st, DVD will be readily available for purchase, but why wait? Pre-order your copy of a unique thriller with hints of gruesome horror torture!