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The Greasy Strangler

Canadian Premiere
  • USA
  • 2016
  • 93 mins
  • DCP
  • English
Official Selection: Sundance 2016, SXSW 2016, Chattanooga Film Festival 2016

“Disgusting, deviant and pleasurably weird at heart” – Russ Fischer, INDIEWIRE

“Vile, puerile, sick and great... a new trashsterpiece” – Devin Faraci, BIRTH. MOVIES. DEATH

“Stocked with full-frontal nudity, outlandish violence, outrageous sex, and eccentric characters… a movie that has to be experienced to be believed” – Justin Gerber, CONSEQUENCE OF SOUND


Ladies and gentlemen, meet your new litmus test! Staunch “individualist” and lover of all grease Big Ronnie shares a decrepit house with his son Big Brayden. Ronnie has a tendency to angrily declare, “I am NOT the greasy strangler” — at moments when nobody has suggested that he might be — in reference to a mysterious killer who stalks his prey covered head to toe in grease, looking like an artery-clogging incarnation of a mummy. Brayden only wants to be loved. Together, they make a living hosting scammy disco walking tours. When not working, they relentlessly compete against each other, a situation that only gets… greasier… when an unexpected love interest steps into the picture…

THE GREASY STRANGLER has been a living, breathing outrage machine since its ejaculatory debut at Sundance earlier this year, where The Guardian’s Jordan Hoffman hailed it as a “playful oasis of filth and depravity” and Variety’s Dennis Harvey declared it “an exercise in juvenile scatology that’s almost awesomely pure in its determination to annoy.” As much a bizarro conversation piece as a film, THE GREASY STRANGLER is the feature debut of acclaimed short filmmaker and absurdist advertising genius Jim Hosking (RENEGADES), produced by a superteam that includes Elijah Wood, Ben Wheatley, Tim League and Ant Timpson. It’s a definitively uncompromising work that’s both the grossest father-son comedy you’ll ever see and the weirdest serial killer film on the planet, propelled by an in-your-face drive to baffle, nauseate and antagonize its audience with a bizarre brand of humour that channels the sensibilities of ‘90s underground comics conjoined with a vivid strangeness that the English language has yet to devise a word for. Get greasy!

— Mitch Davis

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