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INK (2. 00. 9) . One night, a mysterious cowled and chained figure comes into the room of a sleeping girl, defeats the assembled Storytellers, and snatches the child away to a limbo halfway between the waking and dreaming worlds. Meanwhile, in the earthly realm, the girl’s body lapses into a coma, while her estranged, workaholic father refuses to leave a billion dollar contract he’s working on to visit his daughter in the hospital.

BACKGROUND: Jamin Winans not only wrote, edited and directed the film, but also composed the soundtrack. Jamin’s wife Kiowa handled both sound design and art direction as well as serving as producer.

The movie was made for only $2. Ink won the Best International Feature award at the Cancun Film Festival. Despite faring well on the festival circuit, Ink was not picked up by a distributor; the producers self- distributed the movie to a few cinemas and oversaw the DVD and Blu- ray releases themselves. After its DVD release, Ink was downloaded 4.

Hollywood films like Zombieland. On the official website, the filmmakers request voluntary donations from those who watched the movie for free. INDELIBLE IMAGE: The Incubi, demons for the digital age.

Unmasked, these shadowy figures with glowing spectacles have become the film’s iconic poster image, but they are even more frightening when they hide their true visages behind happy- face projections flickering on perpetually on- the- fritz LCD monitors affixed to their heads. WHAT MAKES IT WEIRD: Ink taps into the beautifully frightening, often disquieting aesthetic of fairy tales, mixing high- tech nightmare visions with ancient storytelling traditions to create a new mythology that’s simultaneously progressive and connected to the past. It blunts its weirdness by resolving its symbolism completely by the end, although the literal plot resolution remains a paradox. Even though all becomes clear by the end, the early reels can be a wild ride.

Original trailer for Ink. COMMENTS:  “Ink has been compared to cult classics Brazil, Donnie Darko, The Matrix, Dark City and Pan’s Labyrinth.

That’s a roll call of influences that’s bound to cause some salivating among weird movie lovers; the question is, does Ink belong in that august company? The short answer is, yes; although Ink doesn’t quite scale the heights of the cited classics, it does earn the right to be mentioned in the same breath. This entire comparison exercise, however, is a slight to Ink. As a critical response to the film, this list- making reveals reviewers who are stymied by the task of describing a film that doesn’t quite fit comfortably into a genre box (the shout- outs to other visionary films and directors makes perfect sense as a marketing choice, on the other hand). The drawback to the stream of name- dropping is that it may give the mistaken impression that Ink is derivative and unoriginal, and suggest that it’s a deliberate attempt to make a “cult film.” Leaving aside the mega- hit The Matrix, the movies named in the press release actually share only a few factors with each other.

The main thing that brings them to mind in the context of Ink is that they all use elements of fantasy and aggressively creative visual spectacle to explore themes that go beyond rote Hollywood adventure storytelling. To say that Ink belongs in their company is to say little more than that it’s a thoughtful, ambitious fantasy that will appeal to adventurous movie lovers more than the general public. At bottom, Ink is a story about redemption, and the relationship between a father and his estranged daughter. It’s not exactly a spoiler to point out that the fairy tale child- snatching by the shaggy, hunched Ink symbolizes that sad and strained relationship. The allegory is simple and obvious, clean and elegant, like the best metaphors.

The dream world and real world storylines converge by the midpoint of the movie, but the daddy- daughter drama and the epic dream quest feed off each other with a near perfect synergy. Without the emotional subtext, the dream plot would have no heart and would just be a feeble low- budget attempt at a Hollywood fantasy. Game Of Thrones Movie Poster 150 (2015) Free Online.

Without the psychic epic playing in the background, John’s workaholism and alienation from his offspring would come off as trite, movie- of- the- week stuff. The climax, a simple walk down a brightly- lit hospital corridor re- imagined as an epic melee between clean- cut dream warriors and the glowing, grinning forces of psychic defeatism seen through green night- vision goggles, works both as an action set- piece and a heart- tugging triumph. To point out that Ink.

The final revelation is an unexpected and paradoxical gambit that’s impossible to guess in advance. Ink is itself a dream, but it’s not the deranged dream of a Lynch or a Maddin.

The Winans aren’t dedicated to the irrational; on the contrary, they’re concurrently building a dream and a complete guide to interpreting it. They employ surreal imagery, such as the Plexiglas faceguards of the Incubi, as embellishments to create a feeling of dread, detachment and unease. They simultaneously provide thematic and plot reassurances that, come dawn, the light of understanding will burn away the nightmare fog of confusion. This orientation obviously dents Ink. The film takes us sightseeing into marvelous and forbidding lands, but makes sure that the tour- bus is always within sight, so there’s no danger of getting permanently stranded in a weird place.

The Winans do a fine job of having it both ways, satisfying both those who demand the safety net of a logical “meaning” to justify any deviation from strict realism and those who only want to wonder for wonder’s sake. Ink offers plenty of psychedelic candy to satisfy the dedicated weird movie fan. The smiley- faced Incubi, some of the scariest oneiric creatures to stalk the screen in the last decade, are an obvious draw. The first fifteen minutes, which mix bits and pieces of backstory with dips into the dreams of various sleepers, have a delightfully weightless feeling; Ink starts with a wandering mind, beginning as if the movie itself is drifting off to the land of Nod. The dream world characters are known to us as much by their archetypal roles—Storyteller, Warrior, Pathfinder, Drifter—as by their quirks of character, giving the proceedings a mythic heft.

There’s a long cause- and- effect chain of events sequence in the middle of the film that plays like a tribute to the teardrop scene from The City of Lost Children. And, while the central thrust of the tale is clear, in the best fairy tale tradition there are frayed edges to the tapestry with threads that stray delightfully off the path, such the vain lost soul Ink and his prisoners encounter who demands locks of a Storyteller’s hair as payment for a key piece of the puzzle. While Ink is a welcome thinking- man’s fantasy that hits its emotional target, it’s not a perfect film. Though the visual look is unique, and works well given the filmmakers’ scare resources, I instinctively found myself missing the splendors that might have been birthed if the filmmakers had a been working with a Gilliam- sized budget.

At times, the low- tech effects can be distracting. Rather than using makeup, the blind Seer Jacob has X- shaped bands of duct tape covering his eyes, an effect that’s almost comical. The acting is always competent, but other than Chris Kelly, none of the characters really stick their difficult emotional marks. Jacob, the Pathfinder who is a mystical figure to mystical figures, also provides the film with the little comic relief it has.

Unfortunately, although his introduction scene is amusing, the rest of the way character’s humor is limited to suddenly shouting at his teammates at unexpected times (“tell her what she’s won, Bob!”) The Pathfinder is the kind of supporting character that, if executed beautifully, could have moved the movie up a notch, from very good to nearly great. Finally, the rapid- fire editing seems more trendy than energetic, and can grow tiresome.