Strange Factories (2013) Online

I was not in a theater so I can't write about the "immersive" experience: this lines are just about the film itself. I think that a clear narrative structure was not a goal, here. Keeping straight to the meaning is the main duty of a director. Strange Factories is a surreal film so, in my opinion, the purpose was driving the audience to a given feeling and, more or less, a given state of mind. For me, being a very low budget (first) feature film, the final result has been achieved. A few notes on the product. Acting: yes, many actors and sometimes actresses wear a mask but I found their acting effective for the surreal mission. Cinematography: in my humble opinion, even though they shot in digital, black&white was mandatory for the purpose of this feature... there are a few out of focus or dark scenes but, overall, it works. Editing: it flows and that counts, of course. The "surrealism" is almost reached with acting, directing and music, just a little using editing. Music/Sound: yes, they are essential to reach a given state of mind and they get it. Do they really need a huge name like Mozart? I don't think so: it does not need extra power from a giant, it could work by itself.

I watched the film at home. All by myself, in darkness and with headphones on. What an extraordinary experience. Strange Factories draws you into the story, it feels like a dream, something you cannot escape without going through it. The sounds and images creep into your soul. It shook my very own reality, left me in awe and in tears, searching for my own truth. It only scratched on the surface during watching the film. Afterwards it worked through me for weeks, questioning myself in a positive way. It awakens something, something that has been buried inside me a long time ago and wants to get out. I'm not going into the story as I think everyone should experience this incredible piece of art on its own. I've seen the film multiple times now and every experience is different and opens another door. Thank you FoolishPeople! I can't wait to see what more is to come.

When I first saw the Trailer of Strange Factories I instantly wanted to see the whole film. Luckily I was able to visit London around the time when FoolishPeople screened the film at the Cinema Museum. What a perfect location. All events with FoolishPeople are always a surprise to me and they create unforgetable moments. I love that you never know where their stories will take you within. And I love that the film is held in black and white, the dark environment and the landscape. the mysterious and unknown. Mixed with the live part it has been an exciting experience. Every cast member lived their roles. We were guided through the Cinema Museum to explore the characters stories in a different way. Music and sound effects were perfectly chosen and merged with the film and the live experience. A very well created piece of art. It is definitely more of an art film experience to watch Strange Factories. For myself I can say I had an amazing evening and the film is definitely a creation worth watching. I would go see it again! FoolishPeople deserve more notice and I wish them the best of luck for their future projects and films. Can't wait to see what more is to come. A fan from Germany Mirjam

Strange Factories as staged at the Cinema Museum is a hybrid film/immersive theatre experience that addresses the nature of the creative process and how the artist's creation possesses an existence independently of the artist. The experience begins in the queue outside, where actors in masks instruct audience members to be silent during the performance, and inspect and tease them, priming them for what happens inside. The audience is then split into two groups which once inside are introduced to a number of characters in immersive theatre style, invited to consider their role in the performance, plied with (sham) drinks at a bar and participate in a seance-like ceremony. There was plenty of personal interaction in the viewing I attended, with an audience of nine, though I expect this will vary considerably with the size of the audience. Much of the action takes place in the dark, and the spooky atmosphere throughout is skilfully maintained.

The audience is then invited to sit down to watch the film. This to me is where the serious problems I had with the production begin. The film follows Victor Stronheim and a cast of largely forgettable and interchangeable characters around as he agonises over a play he has written. Boundaries between the worlds of Stronheim, his characters, the audience in the film and the actual audience are blurred, and Stronheim is forced to stage his play to get out of a predicament whose nature is obfuscated by the frankly tedious goings-on. In some scenes the film appears to taunt the audience with dialogue such as (I'm paraphrasing, from memory) 'How much longer can this possibly go on?' and 'The audience is desperate for this to end'. The film's final scene is played out simultaneously on screen and onstage with the same actors. This is followed by a dance and final theatrical scene, after which the audience is led out of the building.

I found the production as a whole unengaging, shallow and the film section overlong. My feeling is that Strange Factories could work as an immersive theatre piece, or as a ten minute art film playing in a gallery, but is too insubstantial for its near three hour running time. My immediate impression was of a company that has become insular and immersed itself too completely in a work. John Harrigan writes, directs and stars, and perhaps this singular vision needs some editorial oversight. An artist creates and has no obligation to cater for a particular, or indeed any audience. However, when the medium is film or theatre, the production is made to be witnessed. To be fair, Strange Factories doesn't appear to be widely publicised and I only heard about it as an existing fan of the Facebook page of Foolish people's previous production, the very enjoyable A Virulent Experience. Perhaps if the film had attempted to develop its characters or had adhered to a more conventional narrative style it might have engaged sufficiently for me to give a fair consideration of its themes. I am sure I was not alone in not getting it, as two other audience members walked out shortly into the film. The immersive theatre was somewhat enjoyable, but it is dragged down by the ponderous film.

I'm enthralled by the element of surprise so decided not to research any further information when offered a ticket to this "interactive film and theatre event" (the screening I attended was sandwiched between two brief participatory theatre performances). The experience was more superficial and drawn out than that previous sentence. Arriving in darkness, we were welcomed outside the venue by masked members of the cast. After waiting a few minutes for other audience members to arrive, we were each requested to hand over a possession which would be returned after the event (travel cards, conkers, buttons, pieces of string, etc.). As my friend later pointed out, this was little more than a thinly veiled attempt to prevent audience members from walking out part-way through the torturous monotony that lay ahead. The small crowd of giggling couples was split into two and I was lead through a gate to a courtyard. There, I witnessed some irrelevant balcony dancing and some brief but pointless interaction between two cast members. Soon after, we entered the venue and some of us were offered shots of what resembled (and I imagined tasted like) wallpaper paste. After a bit more hanging around/time wasting we were shown to our seats for a film screening. I was expecting this to last no more than thirty minutes... at a rough guess it lasted almost two hours. From the start, it had "hammy, poorly made student film" stamped all over it. To explain the 'plot' would be a waste of time (but it wasn't confusing as the director had probably hoped it to be) - check the official website for more information. There's dream-like sequences, badly performed sex scenes, pointless nudity and unexplained/irrelevant dialogue. It's a completely unqualified disaster. It progresses slowly (to nowhere) and there's no character development whatsoever. All but one of the female roles are indecipherable from each other... and it's shot digitally (in black and white, of course). This last point would make no difference to me, except the cinematography (if you can call it that) and grading/enhancement of the picture (if there was any) took absolutely no advantage of shooting the film this way. Nothing interesting happens (there's a few shock value pot shots - they all miss) and as an audience member I didn't care about any of the characters, or how the film would end... I just prayed that it would have ended sooner than it did.

I found it sad in many ways - not the film itself, but the comprehension that this project was allowed to get off the ground in the first place. Out of all the cast and crew, why didn't anyone have the balls to confront the director/producer/lead actor (yep, it's one person) and just say "Look, this idea is really poor. I've read the script and your vision is clouded in pointless pretension. It's not dark enough, clever enough, exciting enough and there's no depth to it."? I assume to most involved it must have been a case of the Emperor's New Clothes syndrome. There is literally nothing good about this film. Even much of the acting is sub-standard; particularly that of the director's sister/wife/cousin (not sure which one) - grinning at inappropriate moments. I believe if you have the resources to make a feature film, you make the best film you can. Did the director walk away from the final edit with a sense of contentment? Surely not. Keeping the audience satisfied is essential. Justify all of your decisions - if not to the audience then to yourself. For example, why was there dancing at the end of the film? Why utilise elements of the theatre when they bring nothing (but prolonged disappointment) to the experience?

I love film and I love theatre, but to categorise this 'experience' as either (or both) would be an insult to these art forms. Ignore the IMDb ratings - these are clearly the work of the cast and crew (or their friends) - as will be the probable rebuttal to this review. This is a bad film with bad theatre either side - it's a cultural turd sandwich. It's also a hugely wasted opportunity. That said, the violin tune played by that barmaid from The Glasshouse Stores was great. So, every cloud...

Review of Strange Factories Live Cinema event at the Cinema Museum, London, UK as published in Londonist (http://londonist.com/2013/10/cinemamuseum.php )

Go down a dimly-lit side road to a doorway where you are greeted by silent, masked Chaplinesque characters. They inspect you, and after much furtive gesturing and whispering, you are ushered inside. You are invited to drink a small glass of an oddly viscous liquid, and you might be fortunate enough to peruse some pages from their manuscript — secretly, of course. You are taken to your seats within the red-velvet-curtained theatre, and the show commences.

Dark forests, a terrible, unfinished story which develops a strange life of its own, a tormented writer, a mysterious, horrific fire in an old theatre, a tragic clown, a binding contract, a beautiful, yet doomed dancer, sacrifice, Mr Punch, a play within a film, a vast Kafkaesque country estate from which there is no escape. Above it all, the ominous, throbbing hum of the Factory. What is it? Most of all, how does it end? This is what you may discover upon entering the darkened corridors of the London Cinema Museum for FoolishPeople's production of Strange Factories.

Immersive theatre pioneers, FoolishPeople have manifested a live cinema production that takes you deep into the heart of a horror film, albeit a surreal one. Their work is a unique alchemy of film, live theatre, artwork and location-specific dance and lighting to create an ambient experience which, in this case, is one of mystery and suspense. The intimate, spooky setting of the Cinema Museum contributes to this state of haunting, with its many antique film cameras, and posters. Look carefully among the exhibits on display, and you might also find some of the artefacts of Stronheim's Settlement and props from the film itself.

The film, written and directed by John Harrigan, is a labyrinthine story of madness, and your perceptions of reality start to blur as the evening progresses. What is happening on the screen and around you as the characters from the film come to life? Is it all just the imaginings of Victor, the tormented writer?

The suspense is drawn out over the course of the evening, until it reaches a powerful crescendo of drama and dance, immersive theatre at its best. One even begins to suspect fellow audience members of being part of the theatre, particularly as the intimate setting within the Cinema Museum and silent interactions with the characters encourage this. Definitely a performance for the curious and those who wish to explore. Be brave and venture within. Only beware of the machines…

Strange Factories is sublimely surreal.

A good film experience will skirt the surface of what 'reality' may be which provides the audience a some leeway to allow their own subjectivity and imagination ample room for playtime. An escapist film simply tells the audience what the writer/director thinks 'reality' is.

Strange Factories does neither. It challenges the conventional storytelling narrative and allows each individual member of the audience to become a part of the dream-like landscape, a silent watcher drawn into the film without a choice. It allows the audience to fully participate with complete wonder, both during and after the experience. You are left, not only to play with the elements of the story created by the writer/director, but actually questioning the nature of 'reality' itself. And that is it's strength.

It is bold and unrelenting. It forces the viewer to think and it does so naturally, though it may feel somewhat jarring as most dreams do. But as with dreams, Strange Factories dredges deeply within standard archetypes to discover and portray their elements in a uniquely magical way.

The black and white film format suits Strange Factories perfectly, for the very name of the film format is a misnomer. Work with black and white film long enough and one learns there are no true blacks, nor true whites. This becomes an important factor as the film unfolds.

Victor is a storyteller in search of an ending for his story. He encounters an odd settlement populated with people who seem to be expecting him, as well as the audience. He seems confused by this, and so do we. The dialog may also seem confusing at first, but allow your mind to settle into a deeper level, for this is where this film works best. This is nothing superficial. This is The Fool's journey and all that implies.

Journey with Victor as he searches for an ending to the story he carries with him, still unfinished, and you may discover you carry within yourself the seed of something within begging to be created. Perhaps still germinating, or once destroyed and begging to be recreated once again.

Some commentators seem to find the fact that John Harrigan wears so many hats in this production problematic. Because of the particulars of this film I find this critique problematic. The film's mysterious 'Stronheim' is undoubtedly a hat tip to the auteur Erich von Stroheim. The way von Stroheim's idiosyncratic creative process dominated his films is a hallmark of his brilliance even if at times it was arguably gratuitous.Strange Factories is a film about the process of creation, these moments of faux-gratuitousness are deliberate stylistic choices important to the theme of the film and not things that should have been left out. The initial introduction to the Society Of Vandals serves to underscore this point early on. To be clear I'm not calling anybody a philistine, when I was a young man there were books, paintings and films which I did not appreciate because of my lack of exposure to and experience with those art forms. It's no sin to be ignorant, only to be willfully so.

What I do find troubling in two of these reviews is that while acknowledging they were attending an immersive (read participatory) event, each in their own refused to participate. I was reminded of Foolish People's 2007 production of Dead Language, where some in the audience thought it was terribly clever to point out a fictional drug in that story handed out to the audience in the form of a sugar pill was a "sham". These tangible invitations into the narrative are not part of a Vegas illusionists act where part of the fun is figuring out the con. When you don't get something out of an experience because you refuse to engage it you are the problem, not the film. There's nothing wrong with enjoying a film like Teen wolf (as one reviewer seems to) but not every film is meant to be consumed in that way. Disliking a film because it's not the film you wanted to watch is not only irrelevant as a piece of criticism, it's the intellectual equivalent of a tantrum.

I screened Strange Factories in my home for an audience chosen specifically because they were not as immersed in the arts as I am, and who were also unfamiliar with Foolish People's work, because I was interested in seeing how this film would be received by an audience that wasn't primed for the experience Strange Factories advertised. I must confess I was skeptical that FP could achieve with film what they do with live theater. The only thing my audience was told about the film was that they should not be expecting the kind of film they are used to experiencing, and that they should feel free to focus on those things in the film that grabbed them and to not worry about "getting it" on their first viewing. I was correct in thinking the bias I brought would dramatically impact my experience. For example my body started mimicking ticks I have experienced when experimenting with amanita muscaria in my younger days: excessive salivation, compulsive rubbing of the gums, and twitching. I also experienced mild auditory and visual hallucinations. The rest of the group did not experience these things. They all had a very unique experience of the film never the less. Some were very focused on The Society Of Vandals, others on Punch or some other character. There was confusion on their part, and on mine, I don't pretend to have instantly understood everything, it is after all a very dense film. I've watched it five times now and am still finding new experiences.

That density however is necessary not an example of pretension or slavishness to a single vision. Harrigan is on record as having gone through several screenplays before arriving at Strange Factories. My audience is proof of how this payed off. Each experienced the film in their own way and in talking about it afterward were delighted to see how each of them had missed something the others had not. The film's density is how immersive and audience specific experience is created.This is a monumental achievement, not a failing, considering that unlike live theater every viewer will technically witness an identical performance.

Not to say the film is flawless: certain scenes are lit very darkly, the note and contract handed to Victor are difficult to read, some dialog is difficult to ascertain, etc. I must confess I found it difficult at first to ascertain whether these were flaws in the physical process of the film, or problematic style choices. In trying to suss that out I re-watched those scenes repeatedly. This forced me to engage more actively with the film, which is thematically relevant. However, rewarding as the process was, it is a high bar to set for the average viewer. I do think of Joyce's 'Finnegans Wake.' Though an unapologetically difficult read, Joyce's choices were important both to his narrative, and as a challenge to the constraints of the modern novel. Given how vast and meticulous this film is both on its own and as part of a larger transmedia experience I'd conclude, however imperfect, these aspects of Strange Factories are intentional, worth hurdling, and present important challenges to a modern cinema totally colonized by the Hollywood formula. I don't mean to draw a 1:1 comparison between Joyce and Harrigan, either. Finnegan's wake in many respects represents a pinnacle, whereas I suspect that Harrigan's best film work is yet to come.

I never fault people who don't find 'Finnegans Wake' rewarding, provided they've done due diligence with the novel,likewise I wouldn't automatically fault those who, take similar issue with Strange Factories. This conflict between experimentation, and accessibility is one many artists struggle with. Even so, Strange Factories is impressive and important. A difficult piece of cinema, to be sure, but as Victor notes in the film, some stories are the product of difficult births.

It was such a wonderful experience and I would hate to be the one to lessen the depth of experience felt by any of you when, as I hope you will, you decide to go yourselves. So I will try to transmit why it is so exciting without ruining the surprise. Easy.

The narrative of the night follows an Author searching for an ending to his story. Victor, the writer, is drawn to a settlement founded by the mysterious Stronheim where he finds his friends waiting for him. Victor makes a pact with Stronheim who offers to rebuild his theatre so long as Victor finishes his story, in the way that it should be finished.

From the beginning (before the beginning actually) the audience members are separated and made to question their position as passive spectators and their pre-conceived notions of what watching a film means. This unusual and dislocating process prefigures a whirlwind experience designed to disorientate and delight you. You move in and around the set as the plot moves and swirls around you. The experience is unbalancing but wonderful.

The underlying theme of the whole night is about storytelling and art. What is the creative impulse and how does it manifest itself? Why do stories seem to exist outside the mind of the artist, like an elemental force that is tapped by different people at different times but that is always the controlling force in the relationship? As the tension rises and the haunting lunacy unravels in front of you, you are forced to confront the destructive nature of art.

The surroundings of the Cinema Museum in Elephant and Castle is apt not just for its amazing hive-like building. Strange Factories questions the role of the modern audience by evoking the early days of the moving image when performances were just that, performance. The whole experience brings to mind a Lumière brothers screening that somehow involves a company of Commedia dell'arte players.

I found the entire night an inspiring and beautiful experience from start to finish. It felt like a hundred different storytelling techniques were used, drawn from the past few centuries and woven together to explore the age old questions of what art is. I was captivated from the beginning and the ballet crescendo struck a perfect end note to evening that felt like one long dance. It was fitting that a night celebrating the early days of the moving image should be so truly magical.

I really became immersed in the story; a slightly dark and surreal film, with a beautiful dream-like quality. It had me entranced and I thought it was aesthetically very stunning. It gets even better with each viewing.

STRANGE FACTORIES is a typical black and white indie arthouse movie that straddles genres. It's been made on a tiny budget and consists of a plot involving a writer journeying through a mysterious rural landscape. He encounters oddball characters en route and finds a conspiracy of sorts. This feels much like a student film with an extended, overlong running time. It might have been interesting at ten minutes but at this length it's just a bore. There's some nice imagery here but that's about it.