[Stanley Fest '14] Secret Screening Of ‘The Green Inferno’ and Eli Roth Q&A

1-the-green-inferno
Note: this is not my official review of the film. That piece will hit closer to release.

The second year of The Stanley Film Festival is in full swing here in Estes Park and I have to say that it’s pretty much my ideal vision of a fest come to life. The town is great, all of the screenings are close together and the vibe is mellow but enthusiastic. Also, my feet aren’t bleeding like they were at SXSW. Bonus.

There’s a lot of stuff to unpack but I wanted to start with a quick word about last night’s secret screening, which turned out to be Eli Roth’s The Green Inferno. Most of my journalist friends had already seen the film in Toronto, so it felt like last night’s crowd was comprised mainly of Colorado locals and film fans. And they seemed to genuinely love the movie.

Roth showed up via the wonders of technology to introduce the piece as well as provide a taped Q&A (the mechanics of which were actually kind of funny) after the film. He’s a talented raconteur, so I missed the in-person experience and the chance to ask him several questions I still have about the film, but it was a nice treat for the audience.

As for the film itself, I really dug it. You can read my official review in September, but for now I’ll say that it’s every inch an Eli Roth movie. If you didn’t like his first three, you won’t like this. But I don’t see how a fan of his work could walk away disappointed. Watching it I was reminded that Roth actually has a pretty strong authorial voice not only when it comes to the intentional vapidity of a few characters, but the gore gags as well. And the message he sends about armchair activism and the degradation of legitimate social causes in the service of greed and social branding is spot on.

The Green Inferno is probably more lighthearted than you’d expect a cannibal film to be, but it’s a nice reminder that even the messiest of gore-fests can actually be fun. And keep an eye out for the lead, Lorenza Izzo. She’s great in the film and could be one of our new scream queens before you know it.

Looking forward to talking more about this in September.

 
  • Nate Lucius

    hoooo hoooo hoo hoo

  • damian13613

    Saw it there last night as well incredible, but the Babadook was so incredibly well done it is my favorite of the festival. The atmosphere was downright amazing. Eli Roth’s entry into the cannibal genre was a labor of love, he used every facet of the genre, even down to some downright unlikable characters. Really had a Cannibal Ferox vibe going on.

  • zombie84_41

    roth owns

  • diapers

    After suffering through aftershock, I’ve definitely missed the Eli Roth of Cabin Fever and the Hostel’s. Sounds like this is a return to form. Why in sam hill are they waiting so long for a release?

    • http://bitchstolemyremote.com/ bstolemyremote

      Getting the word out on the festival circuit that the quality is there? It does seem to be taking forever, though

  • http://www.weirdprettypictures.com Richard Waters

    So excited for this!!

  • chris

    “the message he sends about armchair activism and the degradation of legitimate social causes in the service of greed and social branding is spot on” Really? You didn’t find the film incredibly racist? Racism in filmmaking has a history of finding ethnicities/cultures that white filmmakers can mold haphazardly to suit their own needs (usually financial). This isn’t a new tactic by racist filmmakers, we have been down this road before, and its not surprising to see from Eli Roth. For all people want to see his films as cutting edge and ground breaking, they represent the MOST conservative, regressive elements of filmmaking. He is literally recreating colonialism and colonialist film.

    • Paul Werkmeister

      are you that much of idiot? cannibal tribes do exist and the fact that you made a point to make this a racial thing and not just a vehicle for a horror film shows you have nothing better to do than bitch. You are probably one of those clowns that think cameras are inherently racist because they only used white people to test them when they were being developed. Racism exists, for real and for certain, but this is a fiction movie based on a subgenre of films that were around in the late 70s and early 80s. Nothing more to it.