Asia Argento Tagged Articles at Cinematical

My synapses are tingling! The gears are finally turning on Alejandro Jodorowsky's latest project, King Shot, which has been getting indie weirdos chattering since 2006 or so. According to ScreenDaily, it will begin shooting this October.

Jodorowsky is the director of such cosmically trippy films as El Topo and Holy Mountain that were only recently released in region 1 DVD format after years of legal wrangling with his former partner Allen Klein of ABKCO films. He's also a tarot card reader and, according to his bio, "has developed a mixture of psychotherapy and shamanism called Psychomagic."

A so-called "metaphysical spaghetti western," King Shot stars Marilyn Manson, Asia Argento, Nick Nolte, Udo Kier, and Alejandro's son Adan Jodorowsky (who was also in his father's film Santa Sangre). Nolte and David Freaking Lynch are executive producers. Lynch's Absurda production company is also the worldwide sales rep.

According to Hollywood Reporter, "Marilyn Manson is touted to appear as a prophet in the Sin City-style film, which producer Eric Bassett said has enough sex and violence to guarantee an NC-17 rating."

Sorry, have to take a breather.

Okay, I'm back.

There have been rumors for quite some time about a collaboration between Jodorowsky and Marilyn Manson, and in fact the director performed Manson's uber-goff wedding ceremony to Dita Von Teese. There was also talk that Manson and Johnny Depp would star in The Sons of El Topo movie, which was later changed to Abelcaín, but has been abandoned due to difficulties financing the project.

Of course, since there's hardly any real info about King Shot, it's possible that King Shot is Abelcaín aka The Sons of El Topo, but as with many Jodorowsky-related things, who the hell knows?

Catherine Breillat is a director fascinated with the intricacies of desire. This does not, however, mean that her work is altogether sexy. Rather, the celebrated French director's esteemed canon - highlighted by 1999's graphic Romance and 2001's stunning Fat Girl - is cerebral even when steamily carnal, her films intellectual exercises that arouse the head as much as the nether regions. Her latest, The Last Mistress, is by and large no different. Based on Jules Barbey d'Aurevilly's taboo 1851 novel, it's a period piece revisitation of her interest in the ambiguous motivations of, and feelings born from, romance, here delivered not with her usual shocking transgressiveness but, instead, with the refinement, grace and sensuousness of a charged costume drama. This 19th-century setting results, on the one hand, in something of a startling change of pace for Breillat, whose cinema has long been infused with a decidedly modern strain of provocation. And yet on the other hand, her preoccupation with love's thorny complications feels right at home in the drawing rooms and boudoirs of indolent 1835 Parisian aristocrats, whose public civility masks private conduct of a much more lascivious sort.

Cinematical has just received two exclusive clips from The Last Mistress (watch one above, and the other after the jump). Based on the novel by Jules-Amédée Barbey d'Aurevilly, Mistress comes to us from writer-director Catherine Breillat (Fat Girls, Romance) whose film's are known for carrying distinct personal and sexual flavor. Reporting from the San Francisco International Film Festival, Cinematical's Jeffrey M. Anderson called The Last Mistress "the most enjoyable of the three Breillat films I've seen," and says "It works on a gut level of sexual turmoil that her other films never approach ..."

Back when Cinematical premiered the poster for this film, Monika provided this description: "Asia Argento stars as Vellini, a courtesan who has lust-filled and violent forays with Ryno (Fu'ad Aït Aattou) for years. But then he leaves her to marry Hermangarde (Roxane Mesquida), and she's not prepared to say goodbye." I'd see this based on the Breillat/Argento pairing alone, as one can only imagine the amount of devilish spice contained within.

The Last Mistress arrives in theaters today, June 27, in NYC at the IFC Center and Lincoln Plaza Cinemas, as well as On Demand. Look for it to expand in the coming weeks.

In 1977, Italian horror director Dario Argento made Suspiria, which is arguably his best-known and best-loved film. In 1980, he released Inferno, which I haven't yet seen. I never realized until recently that these two films were the first and second parts of a proposed trilogy, the "Mother Trilogy." Apparently, these two ambitious, supernatural films didn't perform as well as expected and the money people encouraged Argento to go back to his simple giallo efforts. That he did, and he continued doing so for 27 years until finally he found his chance to complete his trilogy with the new Mother of Tears. Fortunately, all that time allowed his daughter Asia Argento (who was 2 years old when Suspiria was made) to grow up into a sexy actress who could star in his film.

Coincidentally, in many ways there's some similarity between Mother of Tears and Francis Ford Coppola's The Godfather Part III (1990). They both took decades to produce after the first two parts were completed in close proximity; they both come from directors of Italian descent; and they both feature the director's daughters in the third installment. They're both disappointments in comparison to the originals, but taken on their own terms, they both work remarkably well.

I was just about to eat lunch when ComingSoon.net directed me to this super violent and gory clip from Mother of Tears, the latest flick from Italian horror legend Dario Argento. Now I've lost my appetite. Before you click on the link (which brings you to an exclusive from ShockTillYouDrop.com), be warned: you may lose your lunch or have some serious nightmares or both. Also, it's likely not very safe to watch the video at work.

The film is the final installment in Argento's The Three Mothers trilogy, which also includes the horror classics Suspiria and Inferno. Mother of Tears stars the filmmaker's goth-sexy daughter, Asia Argento (unfortunately best known in the States as Vin Diesel's co-star in xXx), as an American studying abroad at the fictional Museum of Ancient Art in Rome. She unearths a sort of Pandora's box-like urn that unleashes a witch known as the Mother of Tears and the apocalyptic chaos that comes with her.

Reviewing from the Toronto Film Festival last fall, Cinematical horror hound Scott Weinberg called the film, "the master's best flick since ... hell, since at least the mid-'80s ... fans of the old-school Argento splatter-fests will find a handful of truly gruesome sequences here, while those who are on the lookout for a bleak yet tongue-in-cheek tale of the apocalypse will most likely appreciate what's in Tears." Now we can see what Scott meant by "truly gruesome."

Mother of Tears opens in limited release this Friday.

For some mysterious reason, Catherine Breillat's newest film, The Last Mistress, was chosen as the Opening Night Feature for the 51st San Francisco International Film Festival. It's probably the same mysterious reason that caused most critics to praise Breillat's intolerable Fat Girl (2001). It's a reason I'll never understand. I usually love filmmakers who tackle their personal demons in film, but Breillat is different in several ways. She's a nutcase who doesn't admit to her personal demons so much as she tries to analyze them (self-analysis is always a bad idea). She raises the intellectual (or pretentiousness) level of her films rather than wallowing bodily in anything (her films have lots of sex, but it's cold and judgmental). And through it all, her films seem to have a kind of punishing contempt for everyone, her characters, critics and audience included.

However, The Last Mistress is the most enjoyable of the three Breillat films I've seen. It works on a gut level of sexual turmoil that her other films never approach, although I suspect that most of the film's success lies more with star Asia Argento than with Breillat. Argento is the exact opposite of someone like Breillat; she's a corporeal creature, a lithe force of nature. You can't even really call what she does acting. It's more like she explodes onscreen in a shitstorm of lust, blood, and unspeakable emotions made flesh. Her first appearance has her lying invitingly horizontal on a couch, and you envy the pillows. Director and actress have a meeting of minds in only one scene, the most purely Breillat-ian scene in the film: Argento leaps upon the bloody body of her lover, licks the blood out of his gunshot wounds and rises, sneering and screaming with the red, hot liquid dribbling down her chin. It's not exactly the bloody tampon teabag image from Breillat's Anatomy of Hell (2004), but it'll do.

The big story of the weekend was the success enjoyed by Under the Same Moon (Fox Searchlight / The Weinstein Co.), which earned $8,910 per screen playing on 266 screens, according to estimates compiled by Leonard Klady at Movie City News. Our own Jette Kernion described it as "essentially an old-fashioned family melodrama." She pointed out that the film has an "overt agenda" in its message about U.S. undocumented workers, but concluded: "Despite its flaws, Under the Same Moon is an entertaining film that knows how to charm an audience."

Playing at one theater in New York and one in Los Angeles, Planet B-Boy (Elephant Eye Films) made $14,500 per screen, giving it the highest per-screen average. Benson Lee directed the documentary, "which weaves the stories of numerous crews from 18 nations vying in the Battle of the Year championship in Braunschweig, Germany," in the words of Ed Gonzalez in The Village Voice. "What most sticks is Planet B-Boy's aesthetic, which feels jocked from the school of Michael Moore."

Where could the Italian horror master go after The Mother of Tears? Our Scott Weinberg called it "the master's best flick since ... hell, since at least the mid-'80s." That leaves a pretty big wake to fill, and Variety reports that Dario Argento is planning to follow it up with Giallo, "an English-language homage to the genre that made him a cult helmer." (Aside from meaning Yellow, Giallo is also the word given to pulp thrillers in Italy.) The flick is being produced by the LA-based Hannibal Pictures, and comes from a screenplay by Damned writers Jim Agnew and Sean Keller. But what of its stars? Take out the "i," and you've got one -- Vincent Gallo -- who will be joined by Ray Liotta and Dario's daughter, Asia Argento.

In usual horror form, the movie "will revolve around serial slashings of some very attractive women being investigated by a solitary cop, played by Liotta, who engages in a cat-and-mouse game with the psychopathic perpetrator," Vincent Gallo. Someone must've been watching Dirt last season and thought there was way too little blood when Vinnie came to visit. He's definitely the right sort for this role, and I wonder if his penile fixation will find its way into the flick in any way. It'd fit with the whole attractive woman angle. As for vixen Asia, there's no word on who she'll play -- perhaps a would-be victim that Liotta has to save.

When production gets underway this February in Turin (where he shot Tears), Argento aims to put together a movie that taps into the director's 70s thrills, like The Bird with the Crystal Plumage and Suspiria. Thoughts?

Sexy is as sexy does, I guess. Picking the hottest chicks of horror is a pretty tricky business. Not only are my picks completely subjective, slaves to my personal whims and moods, but also they are likely to change from day to day. Already, since I submitted my picks, I'm regretting not mentioning Milla Jovovich in Resident Evil, or Eihi Shiina in Audition. And what can I do with more obscure hotties from other eras like Jenny Wright in Near Dark, or Britt Ekland in the original The Wicker Man, or Simone Simon in Cat People? Do they not deserve a shot at hotness? Well, in any case, here are the seven I wound up with -- in chronological order -- and in all honesty, they're all pretty darn easy on the eyes and a little spooky besides.

1. Fay Wray in King Kong
In a movie entirely populated by men and beasts, Fay is a welcome bit of softness. If King Kong had been made two years later, the Hays Code would have required Fay to wear a high-necked negligee with bloomers and probably several other layers of underthings. But thankfully for generations of young boys, the film was made in 1933, and Fay was able to wear her flimsy, silky number that clung and flapped in the breeze. Likewise, the movie was better able to suggest the subversive relationship between beauty and beast. (Watch the trailer ... or head straight to the gallery!)

2. Elsa Lanchester in Bride of Frankenstein (1935)
Elsa was the ultimate goth chick in cinema. Many came in her wake, including Barbara Steele (Black Sunday) and the little known but easily recognizable Carroll Borland (Mark of the Vampire). But make no mistake: even without her two-foot fright wig with the silver piping up the side, Elsa was a hottie in her time. You can see it in the film's prologue; she plays Mary Shelley, freshly emerged from penning her chilling magnum opus. She has cat eyes, and a devilish grin that entrances even the strongest men. One question: if Dr. Frankenstein was able to build such a sex bomb, why did his male monster come out so ugly and blocky? (Watch the trailer ... or head straight to the gallery!)

The Toronto International Film Festival ended Saturday, but the deals keep trickling in. The latest: The Weinstein Co. has picked up DVD rights to The Mother of Tears, the latest film by legendary Italian horror director Dario Argento. According to The Hollywood Reporter, the film will be handled theatrically by Myriad Pictures, which produced it. The plan is to pop it into select theaters sometime early next year.

The Mother of Tears is the campy and bloody finale to Argento's unofficial trilogy that also includes Suspiria (1977) and Inferno (1980). Our resident gorehound Scott Weinberg liked it well enough, calling it "Argento's most satisfying experiment in a few decades." It stars the director's daughter Asia Argento (an actress and occasional director in her own right) as a museum curator in possession of an evil urn. I like The Hollywood Reporter's description: "Beautiful witches appear, and a scary monkey chases the unfortunate curator." It's bad enough to be chased by a regular monkey, but a scary one?! Forget it!

Dario Argento has directed about 20 films and written 20 more. Most of them have appeared in the United States in some form, often as midnight screenings or at cult-favorite film festivals. Asia Argento, a chip off the ol' block, wrote, directed, and starred in 2004's controversial The Heart Is Deceitful Above All Things.