Why trash culture is living its finest hour
When excess becomes cathartic
November 25th, 2024
Imagine you're attending a midnight screening in a remote indie cinema, the kind that still smells of stale popcorn and worn leather. The lights dim, and the room fills with the anticipation that only the promise of something truly radical can ignite. On screen, a scene from Gaspard Noé's film Irréversible unfolds, setting the tone with its notorious and unwavering rawness. The audience, made up of seasoned cinephiles and curious newcomers, squirms and gasps as the story delves into a world where excess is not just aesthetic but also a form of narrative rebellion. This setting encapsulates the essence of the "trash era," a cultural phenomenon where the grotesque, the flamboyant, and the unapologetically extreme become vehicles of artistic expression.
In the recent hit film by Coralie Fargeat, The Substance, we are presented with a story steeped in the glamorous gore of horror, following the desperate exploits of an aging actress (played by a fictional Demi Moore equivalent). She turns to a radical cosmetic procedure in the hope of reclaiming her youth, only to spiral into a nightmarish scenario. Through her lens, Fargeat bombards the audience with visuals oscillating between repulsion and humor, creating a crescendo of gore that both entertains and horrifies. Also worth mentioning is Damien Leone’s Terrifier 3, which takes the gore genre to new heights—or depths—with its gleefully grotesque portrayal of a killer clown wreaking havoc during the holiday season. Without pretensions of political commentary or psychological depth, the film revels in its ability to push boundaries, delighting in the macabre joy of cinematic carnage. Leone's excesses form the backbone of the film, with scenes even the most seasoned horror fans must brace themselves to watch. Gaspard Noé, an iconic figure of this movement, has deeply influenced the narrative and visual style of contemporary gore and trash cinema. His films are visceral experiences that test the viewer's endurance and moral compass, paving the way for a new generation of filmmakers using similar techniques to provoke and confront.
@calabasaswings This is already a cult #thesubstance #demimoore #iconic #cult original sound - Stefano
We're talking about film, but music seems to be facing this trend as well. The album Brat by Charli XCX, with its bold pop sounds that had the "Slay" generation dancing all summer, illustrates a broader cultural movement reclaiming excess and ostentation from the grip of conventional decency. The artist was likely influenced by A.G. Cook’s PC Music label, which takes a similar approach by crafting hyperreal soundscapes blurring the lines between commercial pop and avant-garde noise, creating a polarizing yet captivating new form of musical expression. In Brat, Charli XCX celebrates glitz and kitsch in her music, pairing autotuned vocals with cheeky electronic beats to craft anthems that are as much about personal expression as defiance against societal norms.
@warnermusicmy @charlixcx does not need auto tune. Auto tune needs Charli xcx #charlixcx #apple #Brat #popicon Apple - Charli xcx
In an age where the internet offers a daily dichotomy of makeup tutorials and violent imagery, and political landscapes grow increasingly theatrical, there may be a genuine need for this kind of raw and unapologetic expression. Films like The Substance and Terrifier 3, as well as the provocative titles found in hyper pop, are not mere entertainment. They are a reflection, a reaction, and sometimes a necessary antidote to the sterilized sensibilities of a society grappling with its own absurdities. Through their unrefined and unapologetic approach, these creators remind us that sometimes, the only way to face a mad world is to mirror its madness.