08 January 2016 | Film & Tv | By: Londonist

Win Tickets To Harmony Korine Weekender

From his influential debut film Gummo to his provocative recent hit Spring Breakers, Harmony Korine has made a name for himself as a filmmaker with few limits. One of cinema’s true originals, he’s being spotlighted at this month’s London Short Film Festival with a special weekend celebration of his work.

Philip Ilson, the founder of LSFF, describes Gummo as one of the best films ever made, saying: “when an artist is loved or loathed in equal measure, they must be doing something right.”

You can judge for yourself by heading along to the event, which has been curated in partnership with MUBI. There’ll be a range of shorts and features by and related to Korine, which will no doubt shock, delight, disturb and make you think.

We have two passes for the Harmony Korine Weekender, which will get you into four events at the ICA on 16-17 January. On Saturday, it’s a screening of Gummo (which is otherwise sold out) followed by the Gummosium, which sees an expert panel dissect the film. Then on Sunday you can see Korine’s shorts as well as the film A Crack Up At The Race Riots, based on Korine’s novel.

THIS COMPETITION IS NOW CLOSED.

Entrants must be over 18. Usual Londonist competition policy applies.

There are more nights bulging with short films from London and beyond right across the London Short Film Festival. Check out the website for details of all their screenings and special events.

Richard the Big Bunny

Not at all to sound clever, to call GUMMO a 'bad film' would be an insult to bad films. IT IS NOT A FILM. It is a loose collection of disjointed, badly shot home videos edited together with a few scenes with a 'star' (Sevigny), the two primary cat-killing sociopaths and the kid with the bunny ears -- and there is *no* storyline, either combined or separate, in these scenes whatsoever.

None of the scenes make any sense and the pointless forays into the town's home movies (or at least that's the impression one gets) doesn't help at all.

Its only redeeming quality is some interesting photography (and by that I do mean literally still photography set to video) and imagery (like the kid with the bunny ears playing the accordion in the public toilet). This does, indeed, lead me to believe that perhaps the "writer"/director might actually make a much better still photographer than film maker.

As a portrait of boredom in a small town devastated by tornado, I suppose I 'get it' -- but there was just so much self-indulgent excess in the film. It could be edited down to 20 minutes. Indeed, it went *nowhere* in 90! Maybe that's the point -- the viewer becomes part of the boredom.