Half cyberpunk science-fictioner, half queer drama, all experimental awesomeness. This Austrian underground movie could be seen as a companion piece to something like Decoder or Liquid Sky. It is very structureless and unconventional.Wild!
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Directed by Ursula Pürrer +2
Rote Ohren fetzen durch Asche
An atmospheric, gritty science fiction.
In the year 2700, a comic book artist encounters a mysterious alien while seeking revenge against the pyromaniac who burned down her printing presses.
No showtimes for Flaming Ears in Los Angeles today.
Half cyberpunk science-fictioner, half queer drama, all experimental awesomeness. This Austrian underground movie could be seen as a companion piece to something like Decoder or Liquid Sky. It is very structureless and unconventional.Wild!
One of the things I like about searching for older queer media is how they have to form and mold their own language in order to express forms of queerness that hadn't been given name yet. They don't feel shackled by the burden of respectability politics of a lot of modern gay media where the queer experience is sanded down and neatly falls into every politically correct box (#woke). A good example would be the short film I watched yesterday, Jeremiah, a film so boring in its theme, concept, and execution that the film practically peters out by the end. Flaming Ears by comparison is a queer utopia with its stop-motion pop art, miniature landscapes, and every character existing outside of the gender binary. The film is scatterbrained and incomprehensible for most of it's runtime, but the way it chooses to explore its ideas speak to me on an aesthetic level that most films don't.
As a gay man, I have struggled my whole life to understand my lesbian sisters and this film set me back at least twelve years
Set in the year 2700, the film follows a comic book artist, an alien, and a pyromaniac navigating a chaotic, dystopian, and distinctly queer cityscape.
It was directed by the Austrian filmmaking trio Ursula Pürrer, A. Hans Scheirl, and Dietmar Schipek in 1992.
Yes, it is widely considered an influential work of underground queer cinema known for its experimental, DIY aesthetic and disregard for traditional narrative structure.