johnwaters1Cinephile Tradition: John Waters listet bei Artforum seine Lieblingsfilme des Jahres. Diesmal leider ganz schön mau, wie ich finde.

01. SPRING BREAKERS (Harmony Korine) – The best sexploitation film of the year has Disney tween starlets hilariously undulating, snorting cocaine, and going to jail in bikinis. What more could a serious filmgoer possibly want?

02. CAMILLE CLAUDEL 1915 (Bruno Dumont) – Not since Freaks has there been such a harrowing pairing of a star (the sensational Juliette Binoche) with a cast of genuinely handicapped actors. Once again, the great Dumont proves he is the ultimate master of cinematic misery.

03. ABUSE OF WEAKNESS (Catherine Breillat) – Isabelle Huppert, my favorite actress in the world, plays a crazy director (based on Breillat) who recovers from a massive brain injury by falling for the convict swindler she casts in her film. Their nonsexual, obsessive relationship is sheer perfection to watch, especially when Huppert keeps falling down in those weirdly glamorous orthopedic shoes.

04. HORS SATAN (Bruno Dumont) – Nature never seemed more brutal than in this love story between a mentally challenged holy man who performs miracles and a teenage bad girl from the farm who foams at the mouth.

05. AFTER TILLER (Martha Shane and Lana Wilson) – The brave documentary that asks the question, Which of the four doctors who still perform late-term abortions in America do you like best? Me? I’d pick the more matronly one from Albuquerque.

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johnwaters1Wie jedes Jahr hat der unvergleichliche John Waters für Artforum seine – wie ich finde: diesmal etwas befremdlichen – Lieblingsfilme aufgelistet, mit aber natürlich exquisiten Begründungen:

1. The Deep Blue Sea (Terence Davies) – The agony and passion of obsessive love and a broken heart are so well wrought here that you’ll wish you were suicidal over someone who didn’t love you back.

2. Paradies: Glaube (Ulrich Seidl) – Fassbinder died, so God gave us Ulrich Seidl. I laughed uproariously throughout this horrifying portrait of a religious fanatic, and if there’s something the matter with you, you will, too.

3. Paradies: Liebe (Ulrich Seidl) – Middle-aged women sex tourists can be just as piggish as their male counterparts. But when the sexually exploited begin to exploit back, who’s the victim? The audience, that’s who, and we deserve it.

4. Liebe (Michael Haneke) – Misery is really in this year. “Hurts! Hurts! Hurts!” yells out the dying elderly wife to her longtime-caretaker husband, and ticket buyers will agree. Makes Saw seem like a romantic comedy.

5. Killer Joe (William Friedkin) – The best Russ Meyer film of the year—only it’s not directed by him. Gina Gershon, you shocked me raw!

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ComingOut / via

For me, a chair is a chair. Werner Herzog nimmt die Dinge für das, was sie sind. Deshalb erkenne er auch keine Schwulen, sagt er. Und so habe er erst jetzt – nach 35 Jahren Bekanntschaft – herausgefunden, dass John Waters (!!!) schwul ist. Wahnsinn! Unbedingt anschauen.

John Waters nennt bei Artforum seine Lieblingsfilme 2011. Wie immer die einzig ernstzunehmende Jahresliste weit und breit:

1 The Skin I Live In (Pedro Almodóvar) – A dark, twisted, beautiful, and, yes, funny shocker from the greatest director in the world. God bless you, Pedro Almodóvar!

2 Mildred Pierce (Todd Haynes) – This elegantly shot, pitch-perfect made-for-TV melodrama makes everyone who watches secretly yearn to be a woman with issues. The best period film in decades—period.

3 Justin Bieber: Never Say Never (Jon M. Chu) – I’m not kidding. A well-made doc that proves the Bieb was a child prodigy. Wait until you see Justin stick his head into the audience and shake his hair in 3-D. I screamed.

4 Hadewijch (Bruno Dumont) – In this grim, fiercely uncommercial movie, a fanatical Catholic young lady from a rich family hooks up with a handsome male Muslim terrorist, and together they blow up a commuter train. Love is strange, especially when God is involved.

5 Kaboom (Gregg Araki) – A sexy, well-written, end-of-the-world comedy that succeeds beyond all expectation. Doomsday never looked so hot.

6 If a Tree Falls: A Story of the Earth Liberation Front (Marshall Curry and Sam Cullman) – This sad documentary debates the regrets of radicalism as a pack of lunatic-kid tree huggers get caught up in frenzied activism and are suddenly accused by the government of terrorism.

7 The Tree of Life (Terrence Malick) – You’d think I’d hate this film, and I almost did—until I realized it’s the best New Age, heterosexual, Christian movie of the year.

8 I’m Glad My Mother Is Alive (Claude and Nathan Miller) – This beautifully acted French film is a tragic, harrowing warning to all adoptees: Finding your real-life birth parents isn’t always such a good idea.

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Vor wenigen Tagen wurde auf YouTube ein über 20 Jahre altes und wenig bekanntes Interview mit dem besten Regisseur aller Zeiten, John Waters, hochgeladen. Kurz nachdem er mit “Hairspray” und bevor er mit “Cry Baby” erste Ausflüge in Mainstreamgefilde wagte, war Waters bei Clive James’ Show Saturday Night Clive zu Gast und präsentierte sich in absoluter Topform, u.a. über Hollywood und Modeverbrechen witzelnd. Etwa zur selben Zeit erschien seine Anekdotensammlung “Crackpot: My Obsessions”, das zu den witzigsten Büchern zählt, die ich jemals gelesen habe.

I like murderers, I actually made good friends. Because if you can forget their one bad night, they’re very loyal.


Trailer zu “I Am Divine”, einer Dokumentation über die legendäre Drag Queen Divine. Regie führt Jeffrey Schwarz (“Spine Tingler! The William Castle Story”), der wahrscheinlich so viele Film-Dokus und Making Ofs gedreht hat wie kein anderer. Im Film gibt es – natürlich – Interviews unter anderem mit John Waters, Ricki Lake oder Tab Hunter zu sehen.

(via Waters’ Facebook-Site)

Der göttliche John Waters hat wie immer seine 10 Lieblingsfilme des Jahres bei Artforum aufgelistet:

1 Domaine (Patric Chiha) – My favorite movie of the year. A forty-year-old alcoholic aunt (played by Béatrice Dalle—“Betty Blue” herself!) and her gayish teenage nephew form a perversely close relationship by taking walks together. Lots of walks! So many walks you’ll be left breathless by the sheer elegance of this astonishing little workout.

2 Enter the Void (Gaspar Noé) – The best film ever about taking hallucinogenic drugs. Seizure-inducing title credits, cinematography that looks as if it were shot by a Gerhard Richter–influenced kamikaze pilot—even vagina cams. Gaspar, thank you. You’re my sweetheart.

3 Buried (Rodrigo Cortés) – The most excruciatingly painful date movie imaginable comes complete with a very smart feel-bad ending. See it with someone you hate.

4 Ricky (François Ozon) – A great special-effects movie, though there’s only one effect: a flying baby. If David Lynch and David Cronenberg had sex and one of them magically got pregnant, this film could be their offspring.

5 Joan Rivers: A Piece of Work (Ricki Stern and Annie Sundberg) – Talk about granting access! Are you crazy, Joan?! If Jews went to confession, this film would be a sacrament.

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Ich brauche mich meiner Bieber-Postings hier nicht länger zu schämen. Meine inoffiziellen und verzweifelten Verteidigungsversuche des Teeniephänomens Justin Bieber in unserer internen Mailing-Liste haben nun einen höheren Sinn. Und ich habe jetzt Verstärkung vom ultimativen Geschmackskönig erhalten. Dieses Photo ist göttlich. Es ist aussagekräftiger als alles, was man hier oder anderswo über Justin Bieber schreiben könnte. Es ist subversiv. Es ist queer. Es ist purer Sleaze. Es ist die ultimative Legitimation.

John Waters, ich danke dir.

Und Danke Réne, dass du mich auf dieses Bild aufmerksam gemacht hast. Danke für die Versuche, mit mir ernsthaft über Justin Bieber zu diskutieren. Wir sprechen uns wieder, wenn ich mein 5-Sterne-Review zu seinem Biopic poste.

Und jetzt alle: Baby, Baby, Baby uuhhhhhh like Baby, Baby, Baby uuuuhhhh…


john_watersDer göttliche John Waters hat, wie jedes Jahr, seine 10 Lieblingsfilme des Jahres bei Artforum aufgelistet:

1 Import Export (Ulrich Seidl) The most sorrowful movie of the year is also the best. The miserable lives of Ukrainian immigrants in Vienna make this agonizing but brilliantly directed opus the cinematic equivalent of slitting your wrists. A new genre? Depression porn? Hey, I got off.

2 Antichrist (Lars von Trier) If Ingmar Bergman had committed suicide, gone to hell, and come back to earth to direct an exploitation/art film for drive-ins, this is the movie he would have made.

3 In the Loop (Armando Iannucci) A smart, mean, foulmouthed British satire about the struggle for global power that asks the all-important question: How do you debate the invasion of Iraq if your gums start to bleed in the middle of your presentation?

4 World’s Greatest Dad (Bobcat Goldthwait) Why, oh why, wasn’t this blackest of comedies a hit? Appallingly rude, decidedly family unfriendly, this autoerotic-suicide tale of a hateful son and his clueless father left the viewer gasping in surprise.

5 Brüno (Larry Charles) Don’t listen to the critics—it’s better than Borat. Imagine a hetero teen couple in a mall on a first date somewhere in Middle America watching Sacha Baron Cohen pantomime every known gay male sex act, ending in a joyous “facial.” Sometimes audiences get what they deserve.

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