Two days ago I had the honour of sitting in an upscale Berlin cafe with Wojtek Janio, whose company Fixafilm had just completed the restoration on Andrzej Zulawski’s sci-fi epic ON THE SILVER GLOBE, famously halted in mid-shoot by the Polish authorities prices for propecia and leading to his (second) self-imposed exile to France where he enjoyed the support of the French industry. Wojtek had a laptop perched on the table as the waitress tried to maneuver around it with her levitra cialis viagra armful of plates and coffees, and the surreal imagery of ON THE SILVER GLOBE began. It was jaw-dropping – while existing home video versions struggled to convey the scale of Zulawski’s vision using substandard source materials, the restoration brought the film to life from the original negative. Zulawski himself purportedly said it was like a whole new film.

Later that night I found myself near Moritzplatz U-Bahn station, and since it was only a short jaunt to 87 Sebastianstrasse, I made my way over to the gothic apartment building where Anna tended to her monster in Zulawski’s POSSESSION. As usual when I’m in Berlin or know people who are, I bugged everyone to visit the film’s locations. A lunch meeting planned for Stiege – the Oranienstrasse resto where Mark kills Heinrich in the bathroom (its exterior, anyway – the interior was shot elsewhere) – got relocated to the festival’s market hub at Martin Gropius-Bau just as I opened facebook and saw a post buy levitra online us from my colleague Alex Heller-Nicholas stating that Zulawski was dead.

I knew he was ill, but on the eve of Lincoln Center’s debut of three new restorations of his early works – THE THIRD PART OF THE NIGHT, DIABEL and ON THE SILVER GLOBE – all overseen by scholar and AZ biographer Daniel Bird (who had cancelled his trip to Berlin to tend to some last minute tweaks on the DCP of SILVER GLOBE), and the announcement that Kino-Lorber had picked up rights to Zulawski’s newest film COSMOS, it still came ordering cialis gel as a shock. It seems We use these more than any others and are happy with them pharmacy selling viagra in israel. Generic drugs are required to have the same active ingredient, strength, dosage form, and route of administration as the brand name product. unfair that his renaissance should have to carry on without him.

I met Zulawski once, when the Fantasia Festival gave him a Lifetime Achievement Award and I was invited to a small dinner thanks to the Frontieres Market director Lindsay Peters, to whom I will be forever grateful for the opportunity – even though I found myself too shy to say more than a few words to this director whose film POSSESSION had such an impact on me that it graced the cover of one of my books. I dreaded the thought of him actually reading anything I wrote about his films, which can’t help but be facile oversimplifications of his dense allegories. I always hoped to meet him again on viagra online without a prescription his own turf, and this time to have the confidence to invite a real conversation. I never knew him, and now I never will, but he’ll always be one of the special ones whose films I can say actually changed my life.

I hope that whoever lives on the first floor at 87 Sebastianstrasse notices a stream of sad-looking strangers outside their window over the next few days. One of them will be me.

RIP A.Z. 1940-2016

About the author:

Kier-La Janisse

Kier-La Janisse is a film writer and programmer, founder of Spectacular Optical Publications and The Miskatonic Institute of Horror Studies. She has been a programmer for the Alamo Drafthouse Cinema and Fantastic Fest in Austin, Texas, co-founded Montreal microcinema Blue Sunshine, founded the CineMuerte Horror Film Festival (1999-2005) in Vancouver, was the Festival Director of Monster Fest in Melbourne, Australia and was the subject of the documentary Celluloid Horror (2005). She is the author of A Violent Professional: The Films of Luciano Rossi (FAB Press, 2007) and House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films (FAB Press, 2012) and contributed to Destroy All Movies!! The Complete Guide to Punks on Film (Fantagraphics, 2011), Recovering 1940s Horror: Traces of a Lost Decade (Lexington, 2014) The Canadian Horror Film: Terror of the Soul (University of Toronto Press, 2015) and We Are the Martians: The Legacy of Nigel Kneale (PS Press, 2017). She co-edited (with Paul Corupe) and published the anthology books KID POWER! (2014), Satanic Panic: Pop-Cultural Paranoia in the 1980s (2015), Lost Girls: The Phantasmagorical Cinema of Jean Rollin (2017) and Yuletide Terror: Christmas Horror on Film and Television (2017). She edited the book Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive (forthcoming), and is currently co-authoring (with Amy Searles) the book ‘Unhealthy and Aberrant’: Depictions of Horror Fandom in Film and Television and co-curating (with Clint Enns) an anthology book on the films of Robert Downey, Sr., as well as writing a monograph about Monte Hellman’s Cockfighter. She was a producer on Mike Malloy’s Eurocrime: the Italian Cop and Gangster Films That Ruled the ’70s and Sean Hogan’s We Always Find Ourselves in the Sea and her first film as director/producer, Woodlands Dark and Days Bewitched: A History of Folk Horror is due out from Severin Films in 2020.