ajejebrazorf

Honestly, I've always been bored to death by the pseudo-snuff films I've seen (and Last House isn't even one, really). But I guess it's a matter of sensitivity. The absolute worst I've seen, both because it's the most extreme and because it's the ugliest—a true monument to mediocrity, boredom, and dullness (not to be read with a shocked tone, but with the tone of someone who has witnessed something subhuman)—is August Underground: Mordum, which makes even Faces of Death look good by comparison. Frankly, I’ve lost the desire to watch stuff like that. The only one of those blood-soaked films that I can salvage is obviously Buttgereit, who, however, plays in an entirely different league and probably has very little to do with the recent Last House on the Left, on Dead End Street, Cannibalistic, Shockumentary, and fake snuff.

come on, tabba, don’t exaggerate, last house isn’t as terrifying as you paint it, come on, don’t say heresies about going beyond salò

There will be no shortage of opportunities :)

When you get going, you're worse than me! Don't take everything Pietro says literally; he has a taste for controversy. I'll lay it out point by point, otherwise knowing you, we'll never get anywhere, hehe: 1. For me, comedy cinema is not a minor art; I say that many comedy films are not masterpieces. 2. *La febbre dell'oro* is a masterpiece (even though it’s not among my absolute favorites, but it is a masterpiece). 3. I would also be more generous with other films that make me laugh, but if I go to see purely comedic films (you know how purists are, they would never accept *I soliti ignoti* as a comedy film: and in the end, they’re not entirely wrong, so I adapt), the circle tightens to a few titles: the Pythons, *Frankenstein Junior*, this, *La Pantera Rosa*, the first Allen...

Aside from being one of the heaviest, most pessimistic, and bleakest films ever made (more for the totally degraded atmosphere than for what is actually shown), for me it is one of the absolute masterpieces of Italian cinema (and world cinema, imho), but I can understand those who found it awful. Pasolini might not have been a great filmmaker in the classical sense, but he had other arrows in his quiver. I believe his artistic testament has little to do with the left.

"me" and "you" in three lines, world record?

oh Fidia, lupus in fabula! The minced meat doesn’t have much effect on me, and while I don’t agree with the use of animals in the film, I’m not scandalized enough to change my mind about it. What made you change your mind instead?

No, sorry happy, I was talking to Pietro, I even wrote it poorly.

@ll'enastro, a bit late: my answer is ni, I don't know... a laugh will save the world, and that's definitely true, but I wouldn't include any purely gag films among the best I've seen (okay, I mean, Gold Rush is absolutely hilarious and a masterpiece, and to avoid sounding snobbish, the early Fantozzi films crack me up). Then, well, there are films that I consider better and funnier than Hollywood Party, but they aren't purely comedies. Did I satisfy you?

Look, Fidia and I, and maybe Vic, talked about it somewhere. I think it's an excellent horror film. I completely dismissed the advertising campaign; in fact, I snubbed it for that very reason: everyone was going to see it, and there had been the little maneuver to market it as genuine, amateur material, so I deduced it had to be rubbish that wasn't worth the ticket. When I saw it, I completely changed my mind: it grabbed me hard, and once I got into the atmosphere, the last ten minutes are really unsettling. In fact, looking closely, very few horror films, even those considered the major ones, evoke much fear at all. And more importantly, it scares without showing practically anything, which I think is the truly remarkable thing about the film. These guys understood, in short, various things that many big genre directors have not grasped. 1. How to sell themselves and present their work. 2. That the mechanism of fear has nothing to do with liters of blood.