Next they film Love Hurts — about a death-wish gumshoe named Bruce Love — and finally, Illuminatus, about the conspiracy behind the conspiracy. Or they may end up making twisted stockbroker thriller Yuppie Scum.
Around for decades, grindhouse is named for the 24-hour movie houses in New York and L.A. that screened low-budget exploitation films on a non-stop rotation. Big on retribution, sex and mayhem, and low on production values, the style gained a new audience when Robert Rodriguez and Quentin Tarantino released their double-feature film Grindhouse in 2007.
So what makes homegrown grindhouse uniquely ours?
“It’s a style you can pull off,” Schefter explained.
“It allows you to have more fun and it’s more accepting of a retro esthetic,” he continued. “There’s a lot of beautiful underground cult films from the ’60s and ’70s that we would source for esthetic inspiration.”
Winnipeg filmmaker Adam Brooks, co-director with Matthew Kennedy of horror-thriller The Editor, which recently opened in Toronto after its Midnight Madness premiere at TIFF 2014, wasn’t familiar with the term Canadian grindhouse, but said it makes sense.
“There is no question that there has been a big resurgence of Canadian genre films since the American movie Grindhouse came out,” he said in an email interview, citing Father’s Day, American Mary, WolfCop, recently released Turbo Kid, as well Manborg, another movie from film collective Astron-6, which includes Brooks and Kennedy.
Ottawa filmmaker Lee Gordon Demarbre, director of Jesus Christ Vampire Hunter, prefers the term “trash cinema” and says David Cronenberg, with 1970s horror films Rabid and The Brood, was “probably the first exploitation filmmaker in Canada.”
“We spend money to see the new Brad Pitt movie and when you don’t have the money to add a movie star, you use genre and exploitation and kung fu and wrestling, lesbian vampires, gore, sex and that’s the draw of the exploitation film and trash cinema.”
As for Schefter and MacKinnon, who met six years ago in a rhetoric class at the University of Toronto, they “have a lot in our crosshairs,” said Schefter, conjuring up a classic grindhouse image.
MacKinnon is also a novelist (Faultline 49) and they’ve teamed on pulp books including their latest, Savage Kingdom, an Edgar Rice Burroughs-influenced fantasy. They’ve written a radio play, are working on an album with their band Innerpulse and are pitching a TV miniseries as well as an animated series, Tales of the Bizarre.
Up next they hope to up the budget and production values for a neo-noir with Asphalt Sea and Western horror The Last Spike.
Said Schefter: “We want to make something interesting, something that is a feast for the senses, but also makes people … feel things that have emotional depth, but also something that’s completely insane and entertaining.”
Influences and inspirations
Carlo Schefter and Joe MacKinnon credit these films and filmmakers with helping them in their quest to further Canadian grindhouse films.
Hobo With A Shotgun
Halifax filmmaker Jason Eisener is “the bedrock for Canadian grindhouse,” whose contest-winning fake trailer (made with Rob Cotterill and John Davies) for Hobo With A Shotgun landed him a spot during 2007 Grindhouse screenings. Eisener directed the feature film that followed, starring Rutger Hauer as the titular hobo. It had its world premiere at Sundance in 2011 and made Canada’s Top Ten list that year.
Swedish writer-director and star David Sandberg’s crowdsourced 30-minute movie spoofed 1980s action flicks and premiered at the Directors’ Fortnight at Cannes 2015. Released on YouTube, it features a murderous video game, kung fu masters, dinosaurs and Nazis. “He did it beautifully. He used a lot of special effects. It takes on ’80s cop movies but it’s really out there. Really wild,” says Schefter.
The British Columbian writer-director of sci-fi fantasy thriller Beyond the Black Rainbow is also an influence, praised for his retro esthetic that inspired Schefter and MacKinnon to merge art house and grindhouse.