A mysterious nomad (David Runco) wondering the roads aimless, though with a purpose unsaid. From the beginning it’s as if he emerges from the ocean, sent to find something, knowing only the direction of a strange map. From there he follows a road only to be picked up by an old man (Milton Haynes) who seems to have all the answers, but speaks them in riddles. He shows him the path in which he is to follow. Enter the Marks family, Alexander (Roland Johnson) the wheel chair bound control freak of a father. Married to his wife Cynthia (Eileen Daly) who are in a violent domestic about life in general and their daughter, Erika (Tina Kraus). After running out on her parents argument, she drives the car until she hits the mysterious nomad. To her surprise, he only seems hurt slightly, weird for how hard the impact seemed. Erika brings the nomad back to nurse his wounded leg. Finally finding out a name for this nomad, Jean-Charles. As his stay becomes longer as initially intending, answers, visions and erotic encounters begin to open certain doors to what is going on. Answers of why and who is his and as what to do come more clearly as he visits a minister in the town. For this isn’t about God and Jesus, but about those who worship other deities in search of resolution. But that all changes with the true identity of our strange nomad.

   

Joseph Parda’s vision of a lone stranger aimless searching for answers, only to stumble upon an old man who directs him to odd family in a small town. This family being the poster advocates for the perfect dysfunctional family. Very vaguely Parda starts the film off with only given the viewer small hints as to where the story will lead the viewer. Shrouded in a twisted sense of realism, slowly the direction and meaning of the storyline is unveiled. All of which is done with shuttle perfection. With disjointed imagery, stagnate scenes and at time a jarring script, Parda almost pays tribute by entering the realm only the likes of Lynch and Cronenberg dare cross. This is my territory, the area of film that I must praise those who will enter and achieve their goal. A goal that will be greatly displayed as viewers warm up to this yet to be released gem. MACHINES OF LOVE AND HATE, displays the range in not only Parda’s directing abilities, but his ability to convey a story with such stature, not to forgot from a self written script no less. Also, showcasing so of the most incredibly versatile acting from the likes of Eileen Daly (RAZORBLADE SMILE) and Roland Johnson. Not to forget the very strong showings by David Runco and Tina Kraus.

    

Certainly not your average night at the movies while watching MACHINES OF LOVE AND HATE, but in this case, that is a good thing. Laced with a very electronically hypnotizing score provided by Function Zero which also provided the score from Andreas Schnaas’ NIKOS THE IMPALER. Very suiting for the often equally as eccentric scenes they are paired with. And eccentric many of the scene they are, the whole breakfast scene is a slice of surreal deja vu. That’s not all, many parts of Parda’s story telling leaves the viewer in a state of limbo, but that all works itself out when the veil is slowly lifted. Certain imagery only stimulates the viewers mind into really thinking, for instance, the scene while Cynthia and Jean-Charles are at the doctor’s office about his leg wound. Jean-Charles wonders off and enters a room where there are two clowns, one seemingly dead, while the other weeps at his side. The clown’s make-up is only too fitting as well. At first sight, you think to yourself, what the....but as the scene settles in your mind the pieces of the puzzle resolve itself. At first viewing, you will most certainly be in a state of confusion as to where MACHINES is heading, but stick with it, it definitely pays off in the end. Suggestion for those who find that confusion, don’t just watch this film only once. Trust me it grows on you just like the erotic beauty of both Eileen Daly and Tina Kraus, and with that said, the confusion should dissipate.

4 BITCH SLAPS