Female Human Animal (2018)
Dir. Josh Appignanesi
Starring: Chloe Aridjis
Here is another film that dwells at the intersection of art and noir: Female Human Animal isn’t a heist though, nor is it a con. Instead it’s a film that brings together many unexpected strands for a story that doesn’t neatly fit any genre. Nevertheless the noir ambience is pervasive and used to great effect with the surrealist nature of the narrative. There is a great overlap between noir and surrealism historically.
What’s also unusual about the film is that the star plays a version of herself immersed in events that were really happening: Aridjis was co-curating the Leonora Carrington exhibit at the Tate Liverpool and writing her novel Sea Monsters (2019). There was a terrific conference connected with the exhibit, which is how I learned about the film; Catriona McAra has written an insightful chapter on the film and Aridjis’ works for Leonora Carrington: Living Legacies (2020). Carrington ‘haunts’ the film in documentary footage spliced into the main narrative, offering advice or hauling up short her protégée with incisive critique. It’s glorious to see so much of her art all together: El Mundo Mágico de los Mayas looks particularly gorgeous and I had no idea some of the tapestries were so huge. The arresting And Then We Met the Daughter of the Minotaur is a focal point both visually and psychologically. If you’re unfamiliar with the artist, this film will whet your appetite.
Filmed on VHS it has the grainy, gritty feel of 70s crime films. From the start, the Chloe character (to distinguish her from the real person) seems on edge, uncomfortable, almost cornered. Like many people at a turning point in their lives, she cannot enjoy the good things before her and instead longs for escape with a vagueness that invites trouble. Soon a mystery man appears, but it is she who must pursue him as he proves elusive. So much noir hinges on a folie à deux, yet this film manages to both exploit the audience expectations and turn them on their heads. It’s as much a meditation on creativity and the boundaries you need to create as it is a psychological stalking. A fascinating mash up of noir sensibilities in the art world: I recommend it for those who want something beyond the old standards.