Emesis (PussyCake) (2021)
So, this scientist has disappeared into a parallel dimension (or something) and his teenage son has created a dimensional gateway/wormhole device in his bedroom to get him back … but park that for a moment, since we need to spend some time (not much) getting to know Argentine four-girl band PussyCake, who seem to be a fusion on the Spice Girls and Pussy Riot, as they leave a gig and travel to a seaside town which turns out to be weirdly deserted. The band’s manager Pato is annoyed that her friend Simon, who is supposed to have set up a gig which will be attended by A&R men (or whatever they’re called these days), has gone radio silent – though he stumbles bloodily into the street with what looks like a trilobite or a rejected Klingon make-up piece stuck to his head. Simon pukes white goo that turns people into shambling zombies … and the beach is a Motel Hell tribute display with folk buried up to their necks in sand nodding before some sort of harvest … and there’s a cloaked hulking killer goon hunting trilobite-heads and puked-on zombie villagers with a big scythe. Directed by Pablo Perés, PussyCake is a fast, swift, nonsensical gross-out with lively leading ladies – Elle Cake (Maca Suarez), Sara Cake (Aldana Ruberto), Juli Cake (Sofia Rossi) and Sofi Cake (Anahi Politi) – and enough attitude to get by. It has some of the feel of ‘80s oddities like Death Warmed Up or Night of the Creeps, though it isn’t free of that chuck-anything-vile-at-the-screen approach that makes Troma films less fun when you watch them than they seem from the posters.
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