Last Year at Marienbad

Yeah.

Backrooms was like, like the horror version of one of my favorite films, Last Year at Marienbad.

Okay.

Um, because so much of it just feels like this, like, disjointed dream, and they're trapped in a space that they can't get out of.

Uh, I, I think of it as like doing everything that people wanted from Skinamarink and more.

So if you like Skinamarink, or you like, um, Last Year at Marienbad, then you would like Ennis Maine.

Well.

I think.

Um, but the fascinating thing about this movie is it is definitely taking this really art house approach, much like I was saying that Foot- Footprints is, um, where it's, it's the essence of the, the early jolly.

It's the essence of a film noir, but it feels like Bazzoni was fascinated with, um, Alain Resnais' The Last Year at Marienbad because everything is shot disconnected from itself.

The voiceover, um, when we're hearing Peter Baldwin's thoughts, um, it doesn't match the scene we're watching.

He's not actually speaking it.

He's thinking it, and it's, it's from a different point.

Or he's thinking it in one scene, and it carries on across multiple scenes.

It's really disjointed, which is how Last Year at Marienbad plays out.

That whole film is done with just a voiceover that is completely incongruent to any of the visuals that we see.

Mm-hmm.

Uh, her best known works are, uh, from Alain Renais's, uh, Renais', uh, Last Year is a Marienbad, which is a classic.

Uh, you can-

Which is so amazing, and I think that there's echoes of Last Year at Marienbad in-

Oh, yeah

...

The source text highlights some of the names, and it's wild.

He was simultaneously trying to woo Alain Resnais, you know, the highbrow French auteur famous for Last Year at Marienbad, and Lloyd Kaufman.

Oh, man, Lloyd Kaufman.

The guy who eventually created the toxic low-budget schlock of The Toxic Avenger.