Blu_20Cover_400wDustin Wayde Mills isn’t your average genre filmmaker. While other filmmakers are busy trying to appease the mass consumption of horseshit, a certain small group of filmmakers like Mills are doing what any filmmaker not following the Spielberg playbook of tentpole and blockbuster event film do: truly create art. Not in a hipster, “I’m an artist” kind fo way, but creating cinema that is not only entertaining, but questionable, shocking, and tangible. Mills’ newest cinematic endeavor, APPLECART is not only one of those types of films, but hands down one of the most artistically fulfilling pieces of film that I have ever seen. Bold statement, I know, but there are moments in life, in which you discover pieces of cinema that not only challenges the typical rules but straight-up points a revolver at said rules and blows their respective brains out.

To jump into the “Plot” of APPLECART would be a great disservice to the film, but it deals not so much with plot, but with emotion, with providing its audience a visceral experience that refuses to leave you brain for days. I sat down and watched it two days ago, and I won’t lie, I’ve since watched it seven additional times to really learn what I think and how I feel about it.

What makes the film so enthralling right from the beginning, is the lack of acting like it’s for everyone. Within the first opening scene, we discover that this is will be one hell of a shocking film, with the opening scene being a masked woman erotically undressing herself and masturbating, and when I say masturbating, I don’t mean the typical comedy face shot acting like something is happening. Now, this actress is as courageous as one could possible be, and it gives off a feeling that never ends in the film: one that both turns you on, and leaves you feeling somewhat uncomfortable at the same time. Who is this girl and why is she left in a room, wearing a mask and pleasuring herself? Why is everyone in the film wearing masks? Because like the cover of the film says, “We all wear masks”, and that seems to be a theme layered within this visually beautiful, artistic, and masterfully directed film. We go through different vignettes featuring not a single line of dialogue, but laugh tracks, intense music, and shocking and compelling scenes of everything from a nurse treating her patient so badly that she pulls his catheter out (as someone who has had one inserted in one point of my life, I won’t lie, it hurt to watch). A man spying on two woman making love and masturbating to the sight; a woman poisoning those around her. It’s not a film that tries to make senses, but to invoke an emotional response, and it most certainly does.

We have so many up and coming filmmakers attempting to tap into genre greats like John Carpenter or Wes Craven, but what makes Dustin Wayde Mills soapplecartbanner compelling as a director is how courageous and original his films feel. Like some of the more artistically fulfilled films of Lars Von Trier and similar visually and thematically important filmmakers like those, Mills is a filmmaker who refuses to allow us as viewers to look away, and for that, he deserves any praise he gets, as he is just to put it bluntly: one fucking force to be reckoned with. Most directors struggle to capture our attention with loads of dialogue, but APPLECART not only does that without any dialogue whatsoever, but also provides what is quite easily not just the most artistically pleasing films I have seen in a while, but easily one of the best films in general. Count me in as a fan of his work, because APPLECART will never leave my mind, and I am quite pleased knowing that.

You can purchase APPLECART from Mills’ personal store here, and I would highly recommend doing so IMMEDIATELY.

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  1. […] has made and released multiple films, from the experimental (and brilliantly courageous) APPLECART (review) to the in your face giallo-like tone of INVALID (which is also great), Dustin does what many […]

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