Bertrand Mandico's The Wild Boys (2017), which is receiving an exclusive global online premiere on MUBI, is showing September 14 – October 14, 2018 as a Special Discovery
French director Bertrand Mandico shared with us the films he thought about before, during, and after making his feature debut, The Wild Boys:
The Saga of Anatahan
(Richard Brooks, 1965): The tempest sequence in the opening and the cowardice of Lord Jim—an amazing film.
A High Wind in Jamaica
(Alexander Mackendrick, 1965): For the confusion of the captain played by Antony Quinn, the phlegm of James Coburn and the beauty of his young crew.
(Jean Grémillon, 1941): A romantic and captivating film with sequences on the boat that were inspiring.
Horrors of Malformed Men
(Teruo Ishii, 1969): Teruo Ishii is a filmmaker who troubles me and provokes me. By adapting Edogawa Rampo, he brings us into an organic and grotesque islander fantasy.
(Francis Ford Coppola, 1979): For the baroque trip in the jungle.
(William Friedkin, 1977): For the Gothic trip in the jungle.
Profound Desire of the Gods
(Shohei Imamura, 1968): The masterpiece of Imamura, an esoteric and environmental fresco on an island. Old beliefs, cruelty, and modernity are confronted in a cloudy eroticism.
Burden of Dreams
(Les Blank, 1982): In this making-of, the insane figure of Kinski in the jungle is even more worrying than Herzog. Shot with determination.
The Young Ones
(Luis Buñuel, 1960): The only American film from Buñuel, the desire and the island.
Hell in the Pacific
(John Boorman, 1968): The island again and again, but here the desire becomes an absurd fight.
(Lucio Fulci, 1979): For the surrealistic underwater scene, a shark bitten by a zombie, the blood and the lagoon.
Lord of the Flies
(Peter Brook, 1963): Perfect adaptation, a matrix film for The Wild Boys
The Saga of Anatahan
(Josef von Sternberg, 1953): An islander film shot in studio, a lot of desire again, a queen and her hive.
(Nikos Koundouros, 1963): Scenes on the beach, of youth, lost paradise.
(Walerian Borowczyk, 1975): Opening sequence with horses, the sex geyser of the beast.
(Akio Jissoji, 1971): A director that I love, wrongly forgotten. The scenes with the woman attacked on the beach are as violent, unbearable, modest as they are sublime.
(Rainer Werner Fassbinder 1982): Fassbinder and Genet meet again for a sexual and colorful film. There is a mention of Querelle
in The Wild Boys
(Suzan Pitt, 1979): The flora sexualized.
(David Cronenberg, 1975): Cronenberg's film most influenced by Ballard/Burroughs. The virus doesn't turn you into a monster but into a pleasure-seeker.
(Kaneto Shindo, 1964): The mask, the erotism and the tall grass.
Island of Lost Souls
(Erle C. Kenton, 1932): Charles Laughton is already thinking of The Night of the Hunter
when he plays Moreau in its white costume which contrast strongly with the studio's tropical night.
(Toshio Okuwaki, 1969): A film that reminds me of the minimalist and radical apparatus Koji Wakamatsu. Here, a woman is followed by a man onto a beach of black sand, where from time to time the color erupts.
The Sea Wolf
(Michael Curtiz, 1941): For its boat in a studio and its permanent fog.
A Midsummer Night's Dream
(Max Reinhardt/William Dieterle, 1935): The usage of the star filter, the magical double exposure. The apparition of Kenneth Anger as a kid (at least that's what he says).
Hercules in the Haunted World
(Mario Bava, 1961): The studio and its unrealistic colors pushed to the extreme, the organic caves and ultra props.
(John Carpenter, 1980): Bright eyes in the fog.
The Mad Masters
(Jean Rouch, 1955): Its trances, as beautiful as they are worrying, influence the abandoning scenes in The Wild Boys
(Max Ophüls, 1955): The inserted story in the memories, the masked groom, the dancing camera.
The Strange Vice of Mrs. Wardh
(Sergio Martino, 1971): For the wonderful music of Nora Orlandi, the only woman who was making music in Italy. I use this original soundtrack in my film.
(Roman Polanski, 1971): The incredible scenes of witches in what is, for me, the most beautiful adaptation of Macbeth in cinema.
(Raúl Ruiz, 1985): Visual inventions, surrealism, and absolute freedom.
MEN AND WOMEN
Space Pirate Captain Harlock
(Rintaro, 1978): A romantic animation series which I was fascinated by as a kid, particularly the figure of the sylvidres: Femmes fatales from space. Seeing them die in the episodes was heartbreaking for me.
(Seijun Suzuki, 1966): The Japanese uniform, the teenaged young boys, violent and clumsy.
(Jacques Rivette, 1976): Rivette and his female characters who plays pirates, free team
and esoteric. It's a director whose freedom and love for his actresses inspires me.
(Peter Ustinov, 1962): Terence Stamp, the angel-sailor.
The Night Porter
(Liliana Cavani, 1974): I don't like that film, but I like Bogarde and Rampling. And the troubling clothes and objectively beautiful Rampling: suspenders and cap.
Zero for Conduct
(Jean Vigo, 1933/34): The biggest director of desire, the pillow fight in Zero for Conduct
, Père Jules and the crew in L’Atalante
, the underwater scenes… All the shots are haunting me and inspire me.
A Clockwork Orange
(Stanley Kubrick, 1971): I've seen it again and again to embrace it and also get away from it.
Kenneth Anger: All his films