COLLECTOR'S CRYPT - SHE IS CONANN (ALTERED INNOCENCE BLU-RAY)

The literal definition of “adapt” is, “make (something) suitable for a new use or purpose”. Interestingly enough, the definition of “remake” is, “to make anew in a different form”. The proximity of the two definitions is separated only by their intent. Adapt is purposeful, whereas to remake is to revise regardless of necessity or usefulness. If this thread of logic is followed, it can be implied that remakes lack the usefulness of adaptations because they do not seek to inform a new purpose or being. Remakes exist just as a mechanism of reproduction, which is often the argument many filmgoers have about their cinematic equivalents. What a difference just a word or two makes in how we define and categorize, and while it may seem trivial these marginal details are important for understanding a filmmaker's intent. Regarding Bertrand Mandico’s art-house fantasy opus, She Is Conann adaptation is the sincerest form of flattery as viewers are given a Queer representation of the Sumerian fantasy epic in a limited edition Blu-Ray from LBGTQIA+ label Altered Innocence. Is this adaptation blazing a bold, new trail or is it veering too far from familiar territory?

WHAT’S IT ABOUT?

Conann's life at different stages is shown with a different aesthetic and rhythm from the Sumerian era to the near future.

HOW IS IT?

One of the most exciting things about cinema is how new ideas manifest through old inspirations. Filmmakers from Martin Scorcese to Quentin Tarantino all use the inspirations of their younger film-viewing years to inform the art they would later create, and infuse their own take on cinematic tropes that pay homage to what came before. This nod to the past with a glimpse of the future is precisely what makes “She is Conann” so interesting. Borrowing elements from John Milius’ 1982 film as well as Robert E. Howard’s original comic series, Bertrand Mandico crafts a wholly original vision of the character that feels deeply personal in two ways. One is an homage to the fantasy epics of previous decades, and the other is an infusion of Queer storytelling that adds a layer of complexity to characters that have traditionally been drawn in the binary. “She is Conann” is not a perfect film, especially in its third act, but it is an engaging example of what happens when genre tropes are leveraged to create more inclusive and distinct stories. It is a testament to the notion that the future of storytelling doesn’t have to be new IP, as much as it can be new and bold reimagining that stands in parallel to their predecessors.

The retelling of Conann’s rise to tyranny story starts in a rather familiar setting for those familiar with the 1982 film it is riffing on, but it is not so much a remake as it is a retelling from another POV. The first thing viewers will notice is that the cast is composed of females and non-binary actors, and the world they inhabit embraces the fluidity of gender while forsaking the need to use stereotypes as defining characteristics. Conann isn’t a buff, God-like being as Arnold Schwarzenegger portrayed, but rather a more grounded-looking person who is tough and driven by the same desire for vengeance. The similarities to Conan with one “n” largely dominate the first act but after that “She is Conann” departs quite wildly from the more morose plotting of the original. It even goes so far as to ask the question, “What if Conan (Conann) wanted to have a relationship with Thulsa Doom (Sanja)?”. It’s in the other two acts where “She is Conann” becomes much more than what inspired it by demonstrating how Conann changes throughout history and manifests as new versions of herself. Visually, one of the most captivating parts of “She is Conann” is the way we see this evolution of Conann as her future self quite literally kills her present self to represent both the physical and emotional change she experiences throughout time. The literal metaphor of killing your past to embrace your future is beautifully demonstrated and offers a more symbolic version of time passing as opposed to title cards and narration. This shift to modern and then futuristic tendencies is jarring, for better or worse. It presents new ideas about the mythos of the character that elevates it beyond a certain point in time, while also losing some of the inherent innovation of adapting a Queer dark fantasy epic. This is the center of the film’s biggest issue; it becomes less interesting the further it moves away from the Sumerian era. That isn’t to say what happens after isn’t good, it’s just not as involving as what came before it. Still, that shouldn’t deter interested viewers who crave more unique experiences. It will, however, disappoint those who come looking for a more straight (no pun intended) adaptation.

The golden jewel on the crown of  “She is Conann” is the aesthetic, cinematography, and production design. Mandico uses every ounce of creativity to deliver entirely new versions of characters you may recognize and does so in a way that can only be described as David Lynch’s version of Legend. One scene in particular displays the words “Naked Lunch” as a looming background sign which could only be a reference to both Lynch’s surreal film and the even more surreal book by William S. Burroughs. Sharing in similarity some of the disjointed storytelling and fantastical occurrences, “She is Conann” is also brutal and beautiful all at once. Many scenes stick out, but one, in particular, is when Conann thrusts her fist down that of an opposing fighter only to pull a spinal column sword out of their mouth. “She is Conann” is violent, audacious, gory, and artsy all at once while infusing elements of even modern films like Titane. There are themes for days that one could extract from the film, such as the relationship between trauma and power, the role of class concerning war, and how modern art is sometimes beholden to the very things it opposes. It doesn’t labor on these ideas as much as mention them in passing, but the entirety of it gives a more poetic viewing experience demonstrated through obtuse dialogue and a dreamlike version of reality. The truth is the more you think about “She is Conann” the more you unravel its secrets. It isn’t a film for everyone and it wears that sentiment proudly by blazing its brutal trail that is steeped in respect for its source material without feeling indebted to it.

HOW DOES IT LOOK?

Given the arresting visual style of “She is Conann” the overall video quality is quite important. One of the many standouts of “She is Conann” is the use of monochromatic cinematography and the intentional use of color. Given the film is a rather recent production, there is no need for any restoration so what you see is what was intended as intended. The color palette is mostly drab colors with even more vibrant shades having a dullness to them. This is intentional and blends in nicely with the tone of the film as being dark and fantastical. The Blu-ray maintains the film’s 2.35:1 aspect ratio and images from the disc are used throughout the review and can be seen below

HOW DOES IT SOUND?

The use of sound and music in “She is Conann” is part of what makes the overall experience so involved. The soundtrack shifts from brooding, orchestral epics to synthy and surreal soundscapes as the period changes. To say “She is Conann” is an assault on the senses is not only apt but appropriate, and the sound options on this disc are extremely befitting. The 5.1 DTS-HD audio track captures the epic nature of the film without drowning out more subtle sounds and musical cues. There are subtitles available in English and Spanish as the main language used in the film is French with some occasional German and English. It would be hard to imagine any improvements could be made here, and it’s highly recommended you watch “She is Conann” on loud, especially if you have a surround sound setup at home.

ANYTHING SPECIAL?

For a rather obscure release, “She is Conann” packs a bit more than expected for fans of the film and filmmaker. It included three of Mandico’s short films, some of which directly inspired “She is Conann” ranging from 18 to 30 minutes, give or take. For this review, we took in “Rainer, A Vicious Dog in Skull Valley” which clocks in at 26 minutes and looks as though it could’ve been scenes from the cutting room floor of the feature. In many ways, this short film almost seems like a treatment for the feature as it touches on some of the themes and plot points, albeit in the most art-house way imaginable. The short lacks anything resembling a plot and is propelled more by its vivid and eclectic imagery, which suggests that this was made near the feature itself. There are two more short films included on the disc as well as the special features listed below
SPECIAL FEATURES:

• Short Film: Rainer, A Vicious Dog in Skull Valley (26 mins.)

• Short Film: We Barbarians (27 mins.)

• Theatrical Trailer

• Other Trailers

LAST RITES

“She is Conann” is as unforgettable as it is niche, awash in vibrant colors and glittering appendages that are only loosely joined by some narrative threads. It is an experience that won’t be for everyone, but that shouldn’t deter most from venturing into the world that Mandico has crafted.

THE GORY DETAILS

Thank you to the fine fiends over at MVD ENTERTAINMENT for providing a review copy for the crypt! She is Conann is available NOW and can be purchased via MVD DIRECT!

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