This week's curator is none other than Ben Wheatley, the acclaimed British film-maker whose eclectic career spans genres from psychedelic horror to literary adaptations. His latest project, Bulk, is a defiantly DIY sci-fi-noir-paranoid-thriller hybrid, currently touring independent cinemas across the UK and Ireland. To celebrate, Wheatley has programmed a unique 12-hour movie marathon for The Guide, selecting eight films that inspired Bulk with their paranoid, sci-fi, and noir stylings.
A Cult Hero's Cinematic Journey
Few directors in contemporary cinema deserve the title of 'cult hero' more than Ben Wheatley. Over a career exceeding 15 years, he has explored a vast array of genres, including psychedelic horror with A Field in England and In the Earth, grimy video nasties like Kill List, stylish thrillers such as Free Fire, and even major studio productions like Meg 2: The Trench. His work consistently blends high and low culture, making him a perfect curator for an arthouse cinema staple.
The Inspiration Behind Bulk
Wheatley's latest film, Bulk, stars Sam Riley as an investigative journalist tasked with rescuing a scientist from a malfunctioning multi-dimensional creation. With its handmade title cards, overdubbed dialogue, and experimental special effects, Bulk stands apart from mainstream film-making. Instead of a conventional release, it is touring indie venues, from Liverpool to Dublin, emphasising its DIY ethos. Wheatley notes that the marathon's theme leans more towards paranoid sci-fi noir than limited resources, joking that "'Come to the limited-resources all-nighter' doesn't sound appealing!"
The Marathon Schedule: A Day of Cinematic Exploration
Wheatley recommends starting the marathon at 7am, calling it "the best part of the day," rather than a late-night session that might leave viewers exhausted. Here is his curated lineup, designed to melt brains and challenge conventions.
7.00 am – Alphaville (1965)
Jean-Luc Godard's pioneering New Wave sci-fi noir follows secret agent Lemmy Caution in a technocratic dictatorship. Wheatley first saw it on Alex Cox's Moviedrome, praising its bold conceptual blend of noir, French comics, and high science fiction, all set in 1960s Paris as a futuristic backdrop.
8.40am – Tetsuo: The Iron Man (1989)
This landmark Japanese body horror film features a salaryman transforming into a metal-sprouting hybrid. Wheatley highlights its influence on Bulk, demonstrating that film-making can thrive on the fringes without studio backing, inspiring creativity with limited resources.
9.48am – Quatermass 2 (1957)
Hammer's 1950s sci-fi series entry involves mysterious meteorites and a conspiracy around a gas plant. Wheatley enjoys its paranoid atmosphere and gloomy British setting, noting its black-and-white aesthetic that ties into the marathon's early selections.
11.14am – Journey to the Beginning of Time (1955)
Czech animation wizard Karel Zeman's classic adventure sees children travelling back in time via a river, encountering cavemen and dinosaurs. Wheatley compares it to a proto-Jurassic Park, with seamless stop-motion effects that enhance the storytelling.
12.40pm – The Third Man (1949)
Often considered the definitive film noir, this story set in postwar Vienna features an investigation into a friend's death. Wheatley calls it an almost perfect movie, with exceptional framing, script, score, and performances, unique due to its historical filming context.
2.24pm – Primer (2004)
An indie sci-fi about engineers discovering time travel, Primer is described by Wheatley as completely befuddling yet masterful. He appreciates its complexity and notes it could not have been made within the traditional film system, aligning with Bulk's independent spirit.
3.42pm – Scanners (1981)
David Cronenberg's horror breakthrough involves telekinetic misfits causing chaos. Wheatley recalls seeing it on VHS as a child, praising its wild nature that bridges genre and arthouse cinema, covering multiple bases from science fiction to horror.
4.27pm – Le Samourai (1967)
Jean Pierre Melville's neo-noir stars Alain Delon as a hitman, blending genre with arthouse sensibilities. Wheatley jokes about star Sam Riley's resemblance to Delon and suggests this slow, contemplative film might test viewers' endurance by this late stage.
Embracing the Arthouse Experience
This marathon not only showcases Wheatley's eclectic tastes but also underscores the value of independent and cult cinema. By selecting films that inspired Bulk, he offers a glimpse into the creative processes behind unconventional film-making. Whether you're a seasoned cinephile or new to cult classics, this curated journey promises a day of thought-provoking and entertaining viewing.
