Just when you thought we'd backed off on the nightmare-inducing spider stories, we stumbled across Molt, one of the freakiest arachnid videos ever posted, courtesy of Vimeo user “Bipolar Spider.” The clip description sounds innocent enough (even if you're not so comfortable around our eight-legged friends), because it's something that anyone who's owned a pet tarantula has witnessed: the process of “molting,” which allows an arachnid – a Chilean rose tarantula, in this case – to grow larger by shedding its exoskeleton. But when the process is accompanied by music and dialog from director Chris Cunningham's twisted experimental film Rubber Johnny, it instantly becomes the music video from hell. Okay, that's enough setup... I'm freaking myself out here.
Now that you're in the mood, why not read about a family chased out of their home by an army of spiders hiding in a bunch of bananas?...
Now that you're in the mood, why not read about a family chased out of their home by an army of spiders hiding in a bunch of bananas?...
- 3/21/2014
- by Gregory Burkart
- FEARnet
Let's talk a little about horror--particularly first-person horror.
Outlast is the first project from Red Barrels, the Montreal-based studio made up of Ubisoft vets. The trailer for the game made its debut last week via a teaser trailer, and today, they'll be releasing a full trailer for the survival horror project set inside of a very haunted asylum. I spoke with designer Philippe Morin, who's credits include Assassin's Creed, Prince of Persia: The Sands of Time, and Uncharted: Drake's Fortune about the genesis of Outlast and getting survival horror right in an era where most games in the genre have traded in frantic gun battles for sustained scares.
First, a little history: Red Barrels got its start back in 2011, Morin and and a handful of Ubisoft vets left that company. Casting about for their first project, Morin says they started making a list of the kinds of games they wanted...
Outlast is the first project from Red Barrels, the Montreal-based studio made up of Ubisoft vets. The trailer for the game made its debut last week via a teaser trailer, and today, they'll be releasing a full trailer for the survival horror project set inside of a very haunted asylum. I spoke with designer Philippe Morin, who's credits include Assassin's Creed, Prince of Persia: The Sands of Time, and Uncharted: Drake's Fortune about the genesis of Outlast and getting survival horror right in an era where most games in the genre have traded in frantic gun battles for sustained scares.
First, a little history: Red Barrels got its start back in 2011, Morin and and a handful of Ubisoft vets left that company. Casting about for their first project, Morin says they started making a list of the kinds of games they wanted...
- 10/31/2012
- by Charles Webb
- MTV Multiplayer
Royal Festival Hall, London
That was a penis. No, wait, maybe it's labia and a tongue. The Milky Way! Actually, hang on, perhaps that's real … milk? Chris Cunningham's images leave before you get a handle on the anatomy. Anyone who has seen his videos for musicians such as Aphex Twin sniggered at the announcement before the gig, which warned those expecting family entertainment to "run away". Cue a bulging close-up of a foreskin being rolled back, and a bloody, stylised punch-up between a nude couple; ironically buried in the hammering music was Donna Summer's I Feel Love.
It's thrilling and technically remarkable. While some film-makers devise a separate role for sight and sound, Cunningham obsesses over "Mickey mousing" every beat to perfection, creating a synaesthetic episode. And, like David Cronenberg, he meshes body and machine: Grace Jones becomes a real slave to the rhythm as her stomach twitches taut,...
That was a penis. No, wait, maybe it's labia and a tongue. The Milky Way! Actually, hang on, perhaps that's real … milk? Chris Cunningham's images leave before you get a handle on the anatomy. Anyone who has seen his videos for musicians such as Aphex Twin sniggered at the announcement before the gig, which warned those expecting family entertainment to "run away". Cue a bulging close-up of a foreskin being rolled back, and a bloody, stylised punch-up between a nude couple; ironically buried in the hammering music was Donna Summer's I Feel Love.
It's thrilling and technically remarkable. While some film-makers devise a separate role for sight and sound, Cunningham obsesses over "Mickey mousing" every beat to perfection, creating a synaesthetic episode. And, like David Cronenberg, he meshes body and machine: Grace Jones becomes a real slave to the rhythm as her stomach twitches taut,...
- 4/27/2010
- by Pascal Wyse
- The Guardian - Film News
Cult video-maker Chris Cunningham unveils his ambitious live show to Sean O'Hagan
Chris Cunningham is almost 40 but he looks uncannily like a teenager. He is tall and stick-thin, with the unhealthy pallor of a bedroom recluse. In the squat-like sitting room of his Georgian house in north London, the curtains remain closed against the midday glare. "There's something about the light that comes into this room," he says, hesitantly, "It's just too bright."
So we sit in semi-darkness and talk about, among other things the other-worldly brilliance of Bartók, Blade Runner, Debussy, Vangelis, Varèse, William Gibson, Pavement, early Depeche Mode, mid-period Pink Floyd and, of course, Kraftwerk.
Chris Cunningham is a very contemporary kind of pop artist, an almost invisible presence whose influence on the mainstream is virally pervasive. The frenetic, wildly inventive videos he made for Aphex Twin ("Windowlicker", "Come to Daddy") and Björk ("All Is Full of Love...
Chris Cunningham is almost 40 but he looks uncannily like a teenager. He is tall and stick-thin, with the unhealthy pallor of a bedroom recluse. In the squat-like sitting room of his Georgian house in north London, the curtains remain closed against the midday glare. "There's something about the light that comes into this room," he says, hesitantly, "It's just too bright."
So we sit in semi-darkness and talk about, among other things the other-worldly brilliance of Bartók, Blade Runner, Debussy, Vangelis, Varèse, William Gibson, Pavement, early Depeche Mode, mid-period Pink Floyd and, of course, Kraftwerk.
Chris Cunningham is a very contemporary kind of pop artist, an almost invisible presence whose influence on the mainstream is virally pervasive. The frenetic, wildly inventive videos he made for Aphex Twin ("Windowlicker", "Come to Daddy") and Björk ("All Is Full of Love...
- 4/19/2010
- by Sean O'Hagan
- The Guardian - Film News
In the last week I've had two "what's going on with Chris Cunningham?" conversations. The insanely talented director was the subject of one of Palm's "Director Label" disks and released his Rubber Johnny short in 2005, but hasn't been heard from much since. This spot for Gucci featuring Cunningham's own Donna Summers "I Feel Love" remix is only 30 seconds long, but it's pretty beautiful and serves, I guess, as our Cunningham fix of the moment. (Note: the clip on the Gucci site is shorter and of better quality than the clip below. I recommend watching it first.) After viewing the clip you can read more about the video here at Dazed Digital. An excerpt: Cunningham's film, starring Australian model Abbey Lee, captures the seductive...
- 4/16/2009
- by Scott Macaulay
- Filmmaker Magazine - Blog
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