Harmony Korine's Trash Humpers is an ode to cinematic lawlessness and unadulterated mischief. This is the strangest film Korine has ever made, which says a lot seeing as he was the driving force behind Gummo and Julien Donkey-Boy, two of the most unique films of the nineties decade. What makes it so significant in its perplexing obscurity is that it seems to be devoid of any meaning, where with Korine's two previous films you could totally sense there was something there - regardless of how it was presented or how subtle it appeared to be. Trash Humpers seems to have no meaning at all, and feels like Korine's handwritten insult to the unwritten laws of cinema that have threaded the cloth of conventionality.

The film is shot on a low-quality VHS camera and follows three grotesque subhumans around town, who commit several unthinkable atrocities such as vandalism and public indecency, almost obtaining a strange form of pleasure from it. The three characters also wear petrified masks, resembling elderly people, to hide their identity and further make themselves irredeemably ugly. That's what this picture is in a nutshell - "irredeemably ugly" - as well as repulsive, unappealing, beyond offbeat, and a tough sit, even for its seventy-eight minute runtime.

Korine's goal, if he even has any here, seems to be incorporating so much senseless imagery, unique style, lewd acts, shameless and ugly characters, and no cohesion in an attempt to make the most unwatchable film. And don't forget the touch of old school film editing and taping, which we'll get in to. It's one of the first times I'll call a film "unwatchable" not because of poor content but downright bad content committed by the film's characters. The stuff they are doing, humping mailboxes, running aimlessly screaming, breaking public property, and engaging in murder is unwatchable; the film itself is a mildly-amusing, but trivial novelty.

However, I especially enjoyed the film's shot-on-VHS style, making strong note of the choppiness, the messiness, and the long-forgotten imperfections of VHS-quality tapes in a flawless, digitally-driven world. This gives the film a very lowly look to it, almost appearing like a sick home movie that was released to the public due to a criminal mistake. Some have compared it to Jackass, due to the excessive amount of silliness and pride the characters take in reeking havoc. I simply can't, because Jackass made me smile and laugh, while viewing Trash Humpers left me deeply disturbed and somewhat scarred.

And yet, I emerge more positive than I thought I'd e. The tone of the picture is so eerie and unpleasant, and the effect it has on a viewer is somewhat lasting. I can't give it a completely positive review, for the film doesn't feature many attractive qualities other than its cinematography and is burdened by a longer-than-necessary length (forty-five minutes would've been more ideal). However, it earns a recommendation to the most adventurous and curious cinephiles - a group that might still emerge disgusted and somewhat horrified. It's a hard film to watch, and even harder to like, yet that could be Korine's ultimate goal overall.

Directed by: Harmony Korine.

Three vagrants in Halloween masks spend their nights humping rubbish bins and their days befriending likeminded individuals in this quizzical comedy from Harmony Korine. Whereas Korine's latter 'Spring Breakers' is a remarkable film that gradually reveals itself to be anything but what one would expect from its title, promotional posters and opening shots of bikini-clad beachgoers, 'Trash Humpers' is a film that delivers exactly one would expect from the title, posters and opening shots. Any semblance of plot is near non-existent here as the trio simply engage in strange and depraved behaviour for the whole 78 minute duration. Some of their mischief is admittedly memorable, such as making two flatmates eat pancakes covered in dishwashing liquid and teaching a well-dressed boy about various pranks, but the vast majority of the film comes off as extremely repetitive due to the very limited plot. It does not help that the film looks unappealing too, shot and edited on grainy VHS with large bouts of video interference. With their high pitched squealing and cackling laughs, the characters are additionally grating to follow around. It is easy enough to appreciate what Korine is trying to do here, presenting three individuals who manage to find enjoyment and fulfillment in life while defying social conventions. There is also a lot to like in the idea to shoot the film on VHS to give the material a found footage appearance, however, whether all this makes for a film that is entertaining, enlightening or at least engaging is highly debatable.

Young provocateur filmmaker Harmony Korine, who lives in and grew up in Nashville, has made a film in trashy cheap VHS that evokes the nightmare world of degenerate southern redneck swine.

He doesn't exactly say that. He explains when talking of the film that growing up, there were some scary old people who used to peek in windows at night, particularly next door where there was a young girl. Now the underpasses and open lots that he roamed as a youth are full of trash, and looking at trash receptacles one day the idea came to him of people humping them. He couldn't get real old people to play his roles so he gathered together a group of friends earlier this year who wear old person masks in the film. A couple of weeks of warming up and a couple of weeks of wandering around and shooting as the cast improvised and the film, like a sketch made on a whim, was done. It's perhaps an antidote to the more elaborate process involved in Korine's last film, 'Mr. Lonely,' a more straightforward film starring Diego Luna, Samantha Morton, and others.

There is no plot, just a series of random scenes. A boy tries and fails to sink a basketball in a hoop. The garbage cans get humped. A screeching old lady rides a small dirt bike around with a baby doll tied dragging behind. The boy takes a hatchet to a doll in a parking lot and tries to chop up its head. A man recites an improvised poem about a nation of trash while one of the masked oldsters sits in a wheelchair and throws out firecrackers at a bunch of balloons. There is some nakedness. There is some nasty talk. There is almost the fear Korine said his wife felt when he played a VHS tape somebody'd given him, that it was going to turn into a snuff film. Korine wanted this to look and feel like found footage, like stuff on a strange videotape found in the trash somewhere. Made by old and demented perverts living a free and aimless life.

Some of the images may evoke various sources such as Diane Arbus or Ralph Eugene Meatyard's still photos (strangeness, retardation, aimlessness, Gothic vacuity),but he denies any such connections. Somebody has suggested Korine is treading on the ground of early John Waters. But Waters has a knack for plot; even Korine's structured 'Kids' scenario rambles. And Waters has a great sense of humor. 'Trash Humpers' is ridiculous -- it's a horror movie that's also a comedy -- but there is no wit in it. It's a kind of improvised voyeurism. It does succeed in wandering well outside the mainstream. Its use of a very primitive kind of VHS reminds us as in a far more complex way did David Lynch's beautiful 'Inland Empire' that seeming "found" footage can be deeply evocative and scary. Even 'Blair Witch Project' comes to mind. Not many filmmakers would have staged a series of casually revolting stunts like those encapsulated randomly and (he says) in order of staging that Korine dumps on us here. It's a statement about limits and about freedom. And it's been acknowledged as valid. Even 'Variety' concludes its review of the film with the line: "Across the board, tech credits are appalling -- in a good way." Korine is an odd one (and an articulate interviewee in the NYFF press Q&A) and for festival and film buff audiences he is a force to reckon with. The question is, what's next? Will he go backwards or forwards?

Dennis Lim has written an appreciative piece on the film for Cinema Scope. "Can the most regressive work yet by an artist known for arrested development also be a sign of his newfound maturity?" Now there's a bit of interpretive convolution for you. And the statement implied by the question may be true. But still the remaining question is, what's next?

Shown as part of the main slate of the New York Film Festival at Lincoln Center 2009. Premiered at Toronto.