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World Fantastic Cinema

Sugar

Patrick JOLLY / Reynold REYNOLDS

USA2005 80min 35mm Color Asian Premiere

Synopsis

A woman comes out from a refrigerator. She takes a dead man from the side of the room. The film started with her hand feeling the dead man’s face and closing his eyes. A small and messy house, a dazed woman, and a dead man, but we do not know anything. What is their relationship? The scene shows the woman coming into an empty house. Carrying a big bag, she enters her own world naturally. A picture of a strange man on the wall, the voices of several people from the answering machine, and a man who knocks on the door makes us see the evidence from the perspective of the owner of house. The film starts in black-and-white, and the scene showing her daily life is shown in color. She is the same person in the black-and-white scene or the colored scene. She is showing different figures as schizophrenic in the black-and-white and the colored scenes. The more the scenes cross from the black-and-white scenes and colored scenes, the faster the speed becomes. At last, she is in a colored scene going into refrigerator, as in the first scene. Afterwards, she puts the big bag into the refrigerator in a black-and-white scene. She leaves the house and throws away the bag in the sea. The difficult and complex construction of the film and the gloomy air are stimulating.

Diretor

Patrick JOLLY

Sugar is the first feature by Reynold Reynolds and Patrick Jolly, who also directed an award-winning trilogy of experimental films: Seven Days 'till Sunday (1998), The Drowning Room (2000) and Burn (2002). A psychological thriller in the grand tradition of the genre, Sugars parks obvious comparisons with the films of Polanski and Hitchcock.

Reynold REYNOLDS

Sugar is the first feature by Reynold Reynolds and Patrick Jolly, who also directed an award-winning trilogy of experimental films: Seven Days 'till Sunday (1998), The Drowning Room (2000) and Burn (2002). A psychological thriller in the grand tradition of the genre, Sugars parks obvious comparisons with the films of Polanski and Hitchcock.