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What’s the chef cookin’ tonight?
Kill Buljo (Action, Adventure, and Comedy 1h 33m – and NOT for kids). Full summary and details here: https://hexbear.net/post/7187097
Excerpt:
In the summer of 2004, Tommy Wirkola and his friends made a short film called “Kill Buljo”. They got the idea for the short film when they were in the local video rental store and started talking about how it would be fun to make a Northern Norwegian parody of Kill Bill. And so they met up to shoot the whole short film in one day, and edited it over the course of half an hour.
Synopsis:
Jompa Tormann and his guests and family are brutally gunned down during an engagement party. Sami- and women-hating police officer Sid Wisløff is put on the case. Together with his colleague and a Sami guide, Wisløff tries to find the guilty party, but Tormann survived and he wants revenge!
The movie will be followed by a special NYE short handcrafted by the evening’s temporarily absent, but with us in spirit host, @Erika3sis@hexbear.net !
Content warnings and accessibility
Audio description: Not available.
Sign language: Not available.
Language of audio: Norwegian.
Captions: English.
Content warnings:
Sex & Nudity: Severe
Violence & Gore: Severe
Profanity: Moderate
Alcohol, Drugs & Smoking: Severe
Frightening & Intense Scenes: Mild
- The dog dies!
- pets die
- animals die
- dead animals
- animals abused
- non-human characters die
- people die
- family members die
- kid dies (offscreen)
- audio gore
- shakey cam
- domestic violence
- child abused
- someone beaten up by a bully
- child abandoned by a parent
- gaslighting
- minority is misrepresented : Sámi people
- sexual content
- someone sexually objectified
- someone sexually assaulted onscreen
- someone lose their virginity? (debateable)
- large age gap (two men and cop)
- obscene language/gestures
- hate speech
- jokes about sexual assault on men
- “Man in a dress” jokes
- homophobic slurs
- n-word
- r-slur
- ableist language or behavior «Mongolid» A disabled cop who appears to be on the spectrum is mistreated
- fat jokes
- excessive gore
- body horror
- blood/gore
- eye mutilation
- genital trauma/mutilation
- torture
- finger/toe mutilation
- head squashed
- broken bones
- amputation
- someone falls to their death
- someone buried alive
- someone crushed to death
- drowning
- shaving/cutting
- someone restrained
- someone struggles to breathe
- someone becomes unconscious
- someone asphyxiates
- someone held under water
- someone wets themselves
- abused becomes the abuser
- someone have a chronic illness
- someone suffers from PTSD
- addiction
- alcohol abuse
- someone has a seizure
- claustrophobic scene
- hospital scene
- someone watched without knowing
- stalking
- someone kidnapped
Links to flicks:
- Kill Buljo → https://tankie.tube/w/jHzqfEw4TA2cFMLf9kCubc
- “A Blorpy New Year” NYE special → https://tankie.tube/w/uxnq2ckniBRy5So6X4jx2h
♫ Uniting nations at the speeeed of liiiiight ♫
[epic sax solo]
♫ Station of the '20s — TV☆3SIS! ♫>
Erika is sending you goodies from beyond the blorp tonight @ 6 EST/Midnight CET! (Which should be 11pm UTC – and I’m just filling in to send announcements and click buttons on her behalf, so let me know if I got anything wrong).
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Kill Buljo starts in 1 hour! Erika has provided background information here in a comment for this post, over here:
Excerpt
Kill Buljo restages an iconic moment of Norwegian history in a parodic way, by linking the police officer Sid and his attitude towards the Sámi people to the demonstrations in Alta in the years 1979-81, one of the most famous cases of civil disobedience in modern Norwegian history.
FYI: Until the main event, I have already started playing youtube shorts about the Sámi.
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We’re starting – get in!
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Dialog in Kill Buljo is in both Norwegian and Northern Sámi, and the New Year’s special is in English for what it’s worth. I’m also not sure whether that particular excerpt from the news translation was the best one to use, I would’ve used this plot description from TMDB instead:
Jompa Tormann and his guests and family are brutally gunned down during an engagement party. Sami- and women-hating police officer Sid Wisløff is put on the case. Together with his colleague and a Sami guide, Wisløff tries to find the guilty party, but Tormann survived and he wants revenge!
Also, there’s a slight typo in the post title (it says Bulju, it should be Buljo), and a slight typo at the very end of the post body (there’s a > where there shouldn’t be)
I think there’s a chapter dedicated to Kill Buljo (Tommy Wirkola’s directorial debut) and Dead Snow (his most famous film) in Films on Ice: Cinemas of the Arctic (2016). I’m trying to download that book now but it is slooooow.
Edit: I downloaded it and copy-pasted the relevant part in a separate comment.
fixed typo and language. added synopsis. I’ll put some of the book excerpt in the 10-minutet warning post.
Sounds fantastic, I will also miss. I just watched A Blorpy New Year. @Camden28@hexbear.net thank you for the wisdom and perspective, intergenerational solidarity is so so so precious. @Erika3sis@hexbear.net I started cheering at your line about lies and truth (won’t quote so as not to spoil it). Thank you for making this, it was really special. Thank you to all the blorpers, you’ve all been so wonderful
AND WE GET A BONUS ANTHEM MONTAGE AT THE END!!!
Found the part of Films on Ice: Cinemas of the Arctic (2016) about Kill Buljo. That’s also some good context for the movie:
Spoilers for Kill Buljo
ARCTIC CARNIVALESQUE: ETHNICITY, GENDER AND TRANSNATIONALITY IN THE FILMS OF TOMMY WIRKOLA
Gunnar Iversen
In the last ten years, a new wave of northern Norwegian comedies have been parodying conventional images of the Arctic region. These comedies are lowbrow and carnivalesque, a cinematic continuation of a raunchy, specifically northern Norwegian oral comedy tradition. However, the parodic treatment of the Far North is entirely new to Norwegian feature film. More than ever before, these films question ethnic, gender and national identities associated with the global North. Most of the films also engage transnationally with Hollywood genre movies.
These films use genre elements associated with American movies, though these aesthetic elements are also used in movies from other countries. The use of these genre elements are new in a Norwegian context, and are most often used specifically to parody Norwegians and Norwegian culture. However, the use of elements from specific, popular American films or associated with American cinema more generally not only parodies Norwegian culture, but also the original American movies. Thus, the carnivalesque laughter in these movies is directed at both American and Norwegian culture.
At the centre of this new wave of northern Norwegian comedies is the young filmmaker Tommy Wirkola. He was born in the small northern town Alta in 1979 and is of Finnish Sámi descent. After studying media at Finnmark University College, the northernmost university college in the world, and film at Lillehammer University College, Wirkola completed a Bachelor degree in film and media at Bond University in Australia. Returning to Alta, his hometown, Wirkola produced, co-wrote and directed the feature Kill Buljo: The Movie (Norway, 2007). A low-budget Sámi parody of Quentin Tarantino’s Kill Bill (2003-4), the film became a success in Norway, and launched his film career.
Tommy Wirkola’s best-known Norwegian feature is Dead Snow (Død snø, Norway, 2009), a Nazi zombie film that also engages in a dialogue with American genre cinema. In 2010, Wirkola made Kurt Josef Wagle and the Legend of the Fjord Witch (Kurt Josef Wagle og legenden om fjordheksa, Norway, 2010), a parody of The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, USA, 1999) set in the Far North of Norway. This movie also parodies the conventional images of northern masculinity and art cinema, where men are strong, taciturn and virile, like a force of nature, especially through a parody of the immensely popular documentary Cool and Crazy (Heftig og begeistret, Knut Erik Jensen, Norway, 2001).
In 2013, Wirkola’s first Hollywood feature premiered, Hansel and Gretel: Witch Hunters, and the same year he began filming a sequel to Dead Snow that continues where the first film left off. Nazi zombies this time meet zombies from the Soviet Red Army, placing some Norwegian youngsters in a tight squeeze.
In this chapter, I will discuss how Wirkola’s Norwegian feature films problematise the ethnic, gender and national identities associated with northern Norway. I will place these films in the context of a new wave of northern Norwegian lowbrow comedies enabled by new structures of state film support that challenge traditional images of the Arctic.
[…]
Kill Buljo and the Arctic Carnivalesque
One of the most interesting of these new Arctic carnivalesque comedies is Tommy Wirkola’s Kill Buljo. In this movie, four white Norwegians crash the engagement party of the young Sámi Jompa, and kill everyone, except Jompa himself. Jompa is wounded, but wakes up after a period in a coma, and takes a bloody revenge. He kills the four Norwegians who massacred the guests at his engagement party, and the white Norwegian man behind it all: Buljo himself. In recent years, several movies have been produced in Norway that question the conventional image of Norway as a homogeneous, egalitarian nation-state with no colonial background. The best known, The Kautokeino Rebellion (Kautokeino-opproret, Norway, 2008) by Sámi director Nils Gaup, uses the Sámi revolt of 1852 as a way to revise historical accounts of the Sámi population. History and the attitude of white Norwegians towards the indigenous Sámi population lies at the heart of Kill Buljo too, but Wirkola’s movie is all about Kautokeino today. Gaup’s movie is a conventional historical drama that places the Sámi population as victims of the white Norwegians; Kill Buljo refuses to see the Sámi population only as victims or as limited to the past, and creates a violent fantasy about revenge.
Like Bázo, the film criticises the touristisation of Sámi culture and pits Sámis against malevolent white Scandinavians. We discover that Jompa’s family and friends were killed because Jompa has accidentally seen the Norwegian Buljo creating fake rock carvings in order to create a big tourist centre in Kautokeino. By killing Jompa and his family, Buljo intends to replace a traditional way of living with modern tourism. Another way the movie thematises antagonism between white Norwegians and the Sámi is through the character Sid, played by Wirkola himself, a white Norwegian police officer who leads the investigation of the Sámi massacre. Sid immediately puts the blame on Jompa, and tries in every way to frame Jompa for the killings. Only after the intervention of a white female police officer who has been kidnapped by Buljo’s men will Sid acknowledge the fact that Buljo is behind it all. Until this happens, he is constantly saying bad things about the Sámi population.
Kill Buljo restages an iconic moment of Norwegian history in a parodic way, by linking the police officer Sid and his attitude towards the Sámi people to the demonstrations in Alta in the years 1979-81, one of the most famous cases of civil disobedience in modern Norwegian history. In a flashback we learn that Sid was on the side of the official Norwegian government as a police officer, and tried to remove demonstrators who wanted to prevent the construction of a large dam and power plant that would change the traditional Sámi way of living. Needing to pee, Sid goes on his own down to a small river, where he is humiliated and r███d by two Sámi men, in an overt reference to Deliverance (John Boorman, USA, 1972) - once again linking Sámi men to American rednecks in a curious conflation of Global North and American South.
As in many other films in the new wave of northern Norwegian comedies, the film uses references to American genre movies to make fun of American as well as Norwegian culture. Kill Buljo has a particularly complex relationship to American movie culture. Often these references lampoon the original film, like a scene in which Jompa makes a hole in a wall with a chainsaw, sticks his head through the door, and shouts ‘Here’s Jom pa’, with a reference to The Shining (Stanley Kubrick, USA, 1980). One of the female villains is named Lara Kofta, a combination of the name Lara Croft and kofte, the Norwegian word for a traditional Sámi collar (or gákti). Additionally, in a flashback in which Jompa recalls his background as a fisherman, Jompa mimics the iconic scene from Titantic (James Cameron, USA, 1997) in which Leonardo DiCaprio holds Kate Winslet over the water at the bow of the ship. In Kill Buljo, Jompa loses his grip on his girl, and she is caught in the propeller and killed. In the same scene, Wirkola also parodies the ‘official’ high-culture art films of northern Norway, by recreating an infamous scene in Knut Erik Jensen’s Burnt by Frost (Brent av frost, Norway, 1997), in which a man and a woman make love in a boat on a bed of codfish. In Kill Buljo, Jompa cannot stop complaining about the smell of the fish. In this way, the numerous references in the film are used to burlesque both Norwegian high culture and American genre movies.
Kill Buljo and other recent movies from northern Norway create a deliberately trashy and anti-romantic image of indigenous people. In Kill Buljo Jompa himself is an idiotic producer of moonshine who accomplishes his revenge mostly by accident. The film makes fun of Sámi like Jompa as well as white Norwegians, and Wirkola is careful not to victimise Jompa in a romantic way.
Not only does Kill Buljo attack high culture, white Norwegians, American movie culture and the Norwegian police, it also attacks the myth of white Northern Norwegian men’s hypermasculinity. Masculinity is the butt of the joke, in a quite literal sense, with the depiction of a number of male r███ scenes, as well as constant jokes about men and bodily functions. All of Wirkola’s movies can be seen as Norwegian examples of vulgar trash and exploitation movies, but, unlike many exploitation films, the film treats women much better than men. Though they do not escape being made fun of, they are not put down in the same vulgar and excessive way as men are, nor are they put on bodily display. In Kill Bujlo [sic], white women and Sámi men are pitted against official Norwegian culture.
[…]
Notes:
- Bázo is a 2003 Norwegian-Swedish-Danish road movie directed by Lars Göran Petterson. The title means “idiot” in Northern Sámi.
- Kill Buljo: The Movie was funded through the “50/50” scheme, which Norway implemented in 2001, providing “automatic advance support to features for which producers have independently raised at least 50 percent of the budget.”
