From KCRW Santa Monica and KCRW.com, it's The Treatment.

Welcome to The Treatment. I'm Elvis Mitchell.

We look at the films from, let's see, let's go back to Mouss Hunt, to The Ring, to Pirates of the Caribbean, to his newest film, a cure for wellness, perhaps the most provocative title of the 21st century.

You can see in Gore Vibinsky's films, I think a propensity towards marrying surrealism shot in the most beautiful hyper-realistic style, which

creates a visual contrast that makes the film so compelling.

We're here to talk to Gore about his new film, A Cure for Willness.

First of all, thanks so much for being here.

Thank you, Elvis. Nice to be here.

Oh, my pleasure. And that idea, these juxtapositions, a visual juxtaposition,

that idea of taking absurdist situations, really,

and shooting them in the hyper-realistic style. Where does that come from for you?

I don't know. I think we just, we live in this kind of increasingly irrational world,

and it affects, you know, it sort of makes its way into the language, just like, you know, literature and movies and imagery and sound and music.

I think it's all there. But it's something, I feel like we're on the verge of something very dada right now,

just in our real life.

Well, I feel like that goes back to you. I mean, I'm thinking about no effects videos and bad religion.

You worked that way from the very beginning? That eye was always there for piling on as much visual detail as you

can. Well, it's a language. I mean, it's, you know, construction of shots is a language, just like

wordsmithing. And I was subsistency before we sat down that I saw the movie, the first thing that hit me was Thomas Mons, the Magic Mountain.

Yeah.

And just that idea, and there's so many filmmakers have gone there, I can think, from Alan Parker with the wall to going back to Sam Fuller and shot Carter.

The idea that those tile surfaces are so terrifying.

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