Argila Vampira

Vampire Clay was, much to my surprise, an incredible independent film with a relatively unknown cast. The epitome of a, "Midnight Movie," it stands on top of the strangeness scale, and shows you images you never thought you'd see in your lifetime. More of a laugh-'er than a horror flick, the slapstick antics will inspire giggling fits. The only drawback was a lack of stop-motion animation sequences, which I felt would have benefited the movie in a big way.

I really like this movie.. I wasn't very keen to watch at 1st by seeing the title and the picture looks like some cheap lousy movie but luckily i did watch it... Never judge book by it's cover.. I like how the story pick up and ended.. I surely recommend my friends to watch it too..

I went to art college, where I spent most of my time honing my table football skills (I'm still a demon on the pitch); otherwise, it was a complete waste of two years. Still, at least I didn't have to contend with murderous art materials while I was there, which is what happens to students at the rural art prep class in Sôichi Umezawa's feature length directorial debut Vampire Clay.

The rather silly story sees teacher Aina (Asuka Kurosawa) discovering a bag of powdered clay buried near her studio. Aina takes the bag into the class, where its contents are made workable once more by student Kaori, who uses it to create a bust of herself. What Kaori doesn't realise it that the clay is vampiric, possessed by the spirit of a bitter artist, and it wants to feed. One by one, the students are attacked, only to return as clay-driven zombies with malleable features.

Having worked as a special makeup effects artist on numerous movies, Umezawa predictably packs his film full of effects, the living clay shifting shape like Carpenter's The Thing by way of David Cronenberg, with quivering phallic tentacles and pulsating 'skin', all achieved through the use of prosthetics and stop motion animation. With a rudimentary plot, perfunctory performances, and uninspired direction, it is up to Umezawa's effects to carry the show: fortunately, there's just enough weird and wacky stuff to make this a reasonably entertaining piece of schlock cinema despite the film's technical drawbacks.

Just watched Vampire Clay (2017) directed by Soichi Umezawa. This film was an extremely nice surprise consisting of a group of art students being consumed by a killer clay that craves blood. The practical fx and prop work are a major standout and the overall pace of the film is brisk, to the point and an overall fun time.

It hardly needs to be said that the premise sounds ridiculous. Based on one's past cinematic experiences we might assume either that it will be a weird, wonderful, gnarly romp in the manner of extremes that Japanese filmmakers are so good at when it comes to horror especially - or it will be low-grade schlock more closely resembling the abundant "direct release to the Internet" foulness that has proliferated in the past decade or so. As it turns out, happily, I think the answer tends much more toward the former, albeit unquestionably with a bit of the latter swirled in. The most significant violence and imagery are genuinely twisted and disturbing as the story meaningfully picks up, bringing to mind varieties of body horror from David Cronenberg and Shinya Tsukamoto to Philip Kaufman's 'Invasion of the body snatchers' or Katsuhiro Otomo's 'Akira.' This contrasts with some violence that's a little more ordinary (that of a slasher nature), and the initial clay attacks that more closely resemble something out of a Lucio Fulci flick (and I don't particularly mean that in a good way; think snails or tarantulas and you get the idea). It's a mix of the bewildering with the horrifying, plus the extended backstory sequence, and major early emphasis on the fraught dynamics amidst individuals at an art school prep course. 'Vampire clay' is certainly an oddity. When all is said and done, though, I can't lie: I kind of love it!

The effects that bring the ghastliness to life are a superb conglomeration of the practical and tangible, and the digital and "special." The blood and gore are definitely chief among the physical fabrications, but hardly alone; the computer-generated visions are split between some inclusions that are so seamless they're all but indistinguishable from the real thing, and those that are unmistakably artificial. In the latter instances, however, I feel that this is a feature where the falsehood works in the favor of the whole, for the result is all the more unnatural, and thusly all the more unnerving. In all regards, though, from design to realization on-screen, the sights put before us are both tremendous and truly gruesome, and I quite think the creations split the divide between cheekily entertaining and just plain unsettling. Then factor in the fabulous use of stop-motion animation (always a pleasure), and sharp editing from writer, director, and co-producer Soichi Umezawa, and this is a picture that works very hard to get the visuals right and make them impactful, with admirable profit. This is hardly to count out anyone or anything else, however, for the cast give strong, appreciable performances, and the tale that Umezawa penned is more than solid enough to lay the foundation for all the morbid fun to follow. The man's direction is just as excellent as he shapes every shot and scene to maximize the intended effect.

Echoing the overall slant of the film, Kou Nakagawa's music rides the line between wrily light and winking, and earnestly dark and contributing to the more intense moments. In much the same vein, it's not lost on me that following the resolution of the climax, we're basically given a sequence of small scenes as a denouement where any one could have been picked as the definitive ending. I rather think that's the chief specific issue I would point to as a criticism; fine as all these ideas are in and of themselves, they feel kind of unnecessary and self-indulgent, and even in a runtime of only eighty minutes the last ten or so could have been cut without truly losing anything. If anything, snapshots of each subsequent notion could have been scattered throughout the end credits without extraneously inflating the length. Of course, if this is the worst I have to say about a movie called 'Vampire clay,' then I think it's done pretty well for itself. On the other hand, the title has one extra point in its favor that few others do, even in all of cinema at large: whatever else one might say of it, we are given no guarantee of which of these characters are going to survive, which is a welcome change of pace from the norm where the audience can identify one or two figures at the outset (usually those portrayed by the biggest stars) and say "Them."

It's a tad quirky, and imperfect. I'm inclined to think it very capably scratches the itch of what we want out of horror, but I can understand that personal preferences vary and not everyone will agree. All I can say is that I sat to watch with expectations that were mixed to low, and well before the end credits began to roll my opinion had been elevated considerably. It may not be so outstanding as to completely demand viewership, but I had a fantastic time here, and I rather think that most anyone who likes the genre would. I'm glad to say that while 'Vampire clay' sounds like a chintzy novelty - and, okay, it sort of is - the skill, intelligence, and care that went into it is no lesser, and ultimately I believe it stands quite tall on its own two legs. I would gladly recommend this to just about anyone, and it's well worth checking out if you have the chance!