In the ruins of a dying world, a silent figure undergoes a qlippothic descent through realms of atrocity. No dialogue, no explanations, no names or identities, simply hints of a purpose and objective. One learns from the credits that all the characters are archetypes and named accordingly, but it is up to the viewer to discern their purpose. The journey is strange and unsettling, like a fever dream inspired by Hieronymus Bosch and HR Gieger. Each circle of descent is populated by horrible creatures and grotesqueries, ranging from disgusting to high-octane nightmare fuel. There is a lot packed into a fairly terse runtime, brimming with symbolism and layered meaning about the nature of our world and reality. It also has corpophiliac diarrhea monsters, so perhaps some elements don’t require deeper significance. Famously, this stop-motion film has been three decades in production, a personal love-child and passion product of effects maestro Phill Tippett. In an age where computer generated effects can render entire worlds at whim, there’s still a certain awe and weight to stop-motion that pixel-pushing cannot replicate. There is certainly nothing else remotely like this film’s visual assault, and no description that can do it justice. It is brilliant and horrifying, like watching a slow moving unrelenting nightmare, with disturbing messages and unpleasant truths relayed. One morbidly wonders what Tippet’s psychological state or trauma might be, if this film has occupied his mind for 30+ years. This film will not be for everyone. It can be foul, nasty, demoralizing, confusing, disgusting and a litany of other adjectives for everything except pleasant to watch. For those who can stomach this nightmare ride, this is unreservedly a brilliant piece of art whose meaning will invite interpretation, contemplation and haunt what dreams to come.
Mad God (2022)