Trash Humpers

Old people or homeless or psychotic people doing weird crap is funny, and Korrine is one of the only people that can get away with the "no plot/day in the life" kind of movie. But I kept wondering if using actual old people would've made it better or worse.

It's worth watching if you like Harmony Korrine or unsettling people just running around for 90 minutes. People looking for symbolism or depth in this movie are ridiculous.

...but certainly not very good, either.

Believe it or not, there were a few things about this movie that I genuinely liked. I found some of the weird comedy to be hilarious and laughed out loud several times throughout the film. I also thought that Korine did a pretty good job at creating a really dirty and disturbing atmosphere. These elements of both comedy and horror both work to make the movie at least watchable at times, but unfortunately do not save it from being just an overall bad movie.

Perhaps I found it to not be absolutely TERRIBLE only because of how low my expectations were before watching this oddity. I thought it looked like, well, trash-but then I found some highly well done aspects and thought that this movie could possibly be okay, but then it just dragged on and on and on. At just 70 minutes, this is a needlessly long movie that easily could have been half as long and much better.

I would also like to comment on the film's annoying and ugly visual style. It's obvious that it was an experimental, stylistic choice to have the movie shot on crappy looking video, and it does work slightly to the films advantage to make it seem more creepy and trashy, but it just doesn't appeal to me in any way. There's other, more tolerable ways to make your movie look sort of real and dirty.

I would not recommend this movie to most people, but if you're curious enough and a big fan of Harmony Korine's work, I would give it a mild and cautious recommendation.

I saw TRASH HUMPERS at a screening in L.A. where Harmony Korine was there to introduce it and also do a Q&A afterwards.

I was wildly disappointed with the lame array of questions that were thrown at him. Probably 90% were brainless, pointless, and uninteresting.

The question I wanted to ask him was "is Trash Humpers in any way a statement or mockery on TRASH ART in general?".

To me, this is how the movie came across. With a name like Trash Humpers, what else can you expect? It is one of the most pointless and trashiest movies I have ever seen - but that is exactly what I came for, and it effectively delivered that.

It's full of humping, cussing, assorted offensive jokes, violence, vandalism, religion bashing, and anything else you'd expect in a trash art film. The difference is that with most trash art, the point is to try to shock you, scar you, or offend you. Trash Humpers, to me, seems more like it's doing these things in such a way that it's all a big joke - to take all of the other movies that have already done it, and re-enact them while giggling.

After all, I feel that movies really are coming to a point where it is nearly impossible to shock people through exploitative sex, violence, etc. So why not find a nice comfortable place where we can live in that kind of world for an hour and a half and not try to shock anyone? We can just float through it and accept this demoralized joke of a world - that's the world that Trash Humpers creates to me.

Unfortunately, when you start mocking your own genre or personal style of art, along with that comes the instinctive drive to take it to a far enough level where you are pushing people away. I felt that with several obnoxious things repeating throughout the film (such as Harmony's character constantly YELLING in your ear through entire scenes from right behind the camera) - he was showing signs of this kind of behavior. This is something I have observed from my own experiences as part of artistic projects, as well as observing friends mocking their own work. I have watched this kind of behavior occur with a lot of people towards the end of their artistic cycle.

Of course, my interpretation of the movie could be completely off from how Harmony sees it. But, it's nice to have different perspectives isn't it? I enjoyed it - especially the fact that I got to see it in a theater with Harmony in attendance. But, I don't know if I'd ever want to watch it again. We'll always have Gummo for those endless viewings...

Young provocateur filmmaker Harmony Korine, who lives in and grew up in Nashville, has made a film in trashy cheap VHS that evokes the nightmare world of degenerate southern redneck swine.

He doesn't exactly say that. He explains when talking of the film that growing up, there were some scary old people who used to peek in windows at night, particularly next door where there was a young girl. Now the underpasses and open lots that he roamed as a youth are full of trash, and looking at trash receptacles one day the idea came to him of people humping them. He couldn't get real old people to play his roles so he gathered together a group of friends earlier this year who wear old person masks in the film. A couple of weeks of warming up and a couple of weeks of wandering around and shooting as the cast improvised and the film, like a sketch made on a whim, was done. It's perhaps an antidote to the more elaborate process involved in Korine's last film, 'Mr. Lonely,' a more straightforward film starring Diego Luna, Samantha Morton, and others.

There is no plot, just a series of random scenes. A boy tries and fails to sink a basketball in a hoop. The garbage cans get humped. A screeching old lady rides a small dirt bike around with a baby doll tied dragging behind. The boy takes a hatchet to a doll in a parking lot and tries to chop up its head. A man recites an improvised poem about a nation of trash while one of the masked oldsters sits in a wheelchair and throws out firecrackers at a bunch of balloons. There is some nakedness. There is some nasty talk. There is almost the fear Korine said his wife felt when he played a VHS tape somebody'd given him, that it was going to turn into a snuff film. Korine wanted this to look and feel like found footage, like stuff on a strange videotape found in the trash somewhere. Made by old and demented perverts living a free and aimless life.

Some of the images may evoke various sources such as Diane Arbus or Ralph Eugene Meatyard's still photos (strangeness, retardation, aimlessness, Gothic vacuity), but he denies any such connections. Somebody has suggested Korine is treading on the ground of early John Waters. But Waters has a knack for plot; even Korine's structured 'Kids' scenario rambles. And Waters has a great sense of humor. 'Trash Humpers' is ridiculous -- it's a horror movie that's also a comedy -- but there is no wit in it. It's a kind of improvised voyeurism. It does succeed in wandering well outside the mainstream. Its use of a very primitive kind of VHS reminds us as in a far more complex way did David Lynch's beautiful 'Inland Empire' that seeming "found" footage can be deeply evocative and scary. Even 'Blair Witch Project' comes to mind. Not many filmmakers would have staged a series of casually revolting stunts like those encapsulated randomly and (he says) in order of staging that Korine dumps on us here. It's a statement about limits and about freedom. And it's been acknowledged as valid. Even 'Variety' concludes its review of the film with the line: "Across the board, tech credits are appalling -- in a good way." Korine is an odd one (and an articulate interviewee in the NYFF press Q&A) and for festival and film buff audiences he is a force to reckon with. The question is, what's next? Will he go backwards or forwards?

Dennis Lim has written an appreciative piece on the film for Cinema Scope. "Can the most regressive work yet by an artist known for arrested development also be a sign of his newfound maturity?" Now there's a bit of interpretive convolution for you. And the statement implied by the question may be true. But still the remaining question is, what's next?

Shown as part of the main slate of the New York Film Festival at Lincoln Center 2009. Premiered at Toronto.

Harmony Korine's Trash Humpers is an ode to cinematic lawlessness and unadulterated mischief. This is the strangest film Korine has ever made, which says a lot seeing as he was the driving force behind Gummo and Julien Donkey-Boy, two of the most unique films of the nineties decade. What makes it so significant in its perplexing obscurity is that it seems to be devoid of any meaning, where with Korine's two previous films you could totally sense there was something there - regardless of how it was presented or how subtle it appeared to be. Trash Humpers seems to have no meaning at all, and feels like Korine's handwritten insult to the unwritten laws of cinema that have threaded the cloth of conventionality.

The film is shot on a low-quality VHS camera and follows three grotesque subhumans around town, who commit several unthinkable atrocities such as vandalism and public indecency, almost obtaining a strange form of pleasure from it. The three characters also wear petrified masks, resembling elderly people, to hide their identity and further make themselves irredeemably ugly. That's what this picture is in a nutshell - "irredeemably ugly" - as well as repulsive, unappealing, beyond offbeat, and a tough sit, even for its seventy-eight minute runtime.

Korine's goal, if he even has any here, seems to be incorporating so much senseless imagery, unique style, lewd acts, shameless and ugly characters, and no cohesion in an attempt to make the most unwatchable film. And don't forget the touch of old school film editing and taping, which we'll get in to. It's one of the first times I'll call a film "unwatchable" not because of poor content but downright bad content committed by the film's characters. The stuff they are doing, humping mailboxes, running aimlessly screaming, breaking public property, and engaging in murder is unwatchable; the film itself is a mildly-amusing, but trivial novelty.

However, I especially enjoyed the film's shot-on-VHS style, making strong note of the choppiness, the messiness, and the long-forgotten imperfections of VHS-quality tapes in a flawless, digitally-driven world. This gives the film a very lowly look to it, almost appearing like a sick home movie that was released to the public due to a criminal mistake. Some have compared it to Jackass, due to the excessive amount of silliness and pride the characters take in reeking havoc. I simply can't, because Jackass made me smile and laugh, while viewing Trash Humpers left me deeply disturbed and somewhat scarred.

And yet, I emerge more positive than I thought I'd e. The tone of the picture is so eerie and unpleasant, and the effect it has on a viewer is somewhat lasting. I can't give it a completely positive review, for the film doesn't feature many attractive qualities other than its cinematography and is burdened by a longer-than-necessary length (forty-five minutes would've been more ideal). However, it earns a recommendation to the most adventurous and curious cinephiles - a group that might still emerge disgusted and somewhat horrified. It's a hard film to watch, and even harder to like, yet that could be Korine's ultimate goal overall.

Directed by: Harmony Korine.