One of Strickland’s insular alternate-reality weirdo movies, about an artistic residency by a group of “sonic caterers,” is secretly a comedy about bandmate relationships. “I’d say misunderstanding between us is probably the key to our sound.” Of course it looks excellent.

Fatma X2:

On the residency side of things, Gwendoline Christie (returning from In Fabric) is famed Director Jan. Beardy journalist Stones, documenting the musicians, is a Greek guy from Chevalier whose digestive issues are more fascinating to the group than to hilariously snipey Dr. Glock. After music performances, the invited audience “pays tribute” (sexually), which Stones also documents. And another music group was rejected from the institute, is now threatening violence. In a tie-in to Crimes of the Future, everyone in this movie wants to be in a culinary art collective.

Stones vs. the Doctor:

The band is led by Strickland muse Fatma Mohamed, who says within earshot of the others that they’re not a collective – she’s the leader and the others are replaceable. Ariane Labed and Asa Butterfield (Hugo himself) make up the rest of the trio. Asa is especially cute in this – his emo haircut sticking out through the eyeholes of his crime-catsuit is a nice touch.

On Letterboxd: “Some Might Say” by Oasis

In a small town (interests: bullfighting, the local underwear factory), wimpy Armando del Rio gets his girlfriend Penelope Cruz pregnant, to the horror of Armando’s mother (Stefania Sandrelli of The Conformist), who hires virile Javier Bardem to seduce Penelope. Kinda weird and fun movie, with some uneven melodrama.

Quoting myself in an email: “Favorite part is how they emphasize that this is a nowhere town by showing tractor trailers blowing past in every scene.”

And again:

That scene [the battle to the death with legs of jamon] is the movie’s downfall in a nutshell. It all started out a wacky, bizarre comedy with nude bullfighting, topless Penelope Cruz, confused young lovers, bitchy feuding parents, oedipal complexes and lots of jamon… then gradually turns dark and serious, while still trying to remain focused on giant testicles. So in that final jamon-fight, one character is comically whacked in his comically huge groin area, and three seconds later another character is tragically killed and everyone is sad. We didn’t buy the tonal shift.

Marsha Kinder’s Film Quarterly review points out that we missed lots of cultural references:

In its violent climax, Jamón Jamón uses a pair of ham bones to parodically reproduce Goya’s famous painting, “Duel with Cudgels.” In the process it also evokes Saura’s serious adaptation of this image in Lament for a Bandit (1963), with its overly dramatic music and its stylized movements between distancing long shots and brutal close-ups – an alternation that makes it difficult for us to miss the studied allusion. Yet Bigas Luna’s bathetic choice of weapon also brings to mind Almodóvar’s murderous ham bone in What Have I Done to Deserve This? (1984).

Luna won an award in Venice and Bardem was noticed for his acting. Nominated for all the Goya awards, but trounced by the other Penelope Cruz movie in her debut year in film, Belle Epoque. Luna figured his movie’s success was due to casting Javier Bardem as a guy with big balls, so he did that again the following year with Huevos de Oro.