Tabba In D-Shirt

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DeAge™ : 7338 days • Here since 6 may 2006

Ruggero Deodato Cannibal Holocaust

4 mar 07

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The second episode of Guinea (the one that was reported to the FBI by one of the first viewers) is calm and the best way to approach this genre. You can see all the work that goes into creating the tricks; in short, it's really well done.

Ruggero Deodato Cannibal Holocaust

4 mar 07

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Fidia, I would say that only the second one could work as a guinea pig, but that depends on you, how far you want to dive in?? I mean, I didn’t find the other episodes up to par in terms of splatter as well as cinematography, if you really want to see something intense, watch Last House or Men Behind the Sun. Anyway, you can definitely find some real illegal snuff videos about Iraq on various P2P sites.

Ruggero Deodato Cannibal Holocaust

4 mar 07

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of subtitles in ita but also eng I doubt you'll find it very useful since the "film" I remember had few or almost no dialogues LOL, and it all revolved around the experiments a samurai conducts on a girl tied to a bed, by the way, it also reminded me of a masterpiece of necrophilia like Aftermath (which somewhat resembles the staging of that episode of Guinea), but here we are in a different field compared to snuff.

Ruggero Deodato Cannibal Holocaust

4 mar 07

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Fidia, download especially the second episode "flower of flesh and blood", you'll have a couple of laughs... the rest you can totally skip.

Ruggero Deodato Cannibal Holocaust

4 mar 07

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Buttgereit is something different, it's true, and one of his films in particular (der todesking) is even poetic and touching, a completely different thing compared to the liters of blood for their own sake. But anyway, whether you like it or not, last house is pure snuff 100%, and a movie within a movie, in the sense that the film talks about a lunatic who wants to become a director to shoot, indeed, snuff material, more snuff than that...

Ruggero Deodato Cannibal Holocaust

4 mar 07

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I know, Fidia, imagine that legend has it that one of the first people to watch the first episode of Guinea Pig, a film or television producer—I don’t quite remember—was so shocked by the realism of the footage (a bit like Max Renn in Videodrome) that, not knowing whether what he had seen was real or not, immediately called the police. Of course, the truth came out.

Ruggero Deodato Cannibal Holocaust

4 mar 07

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Damn it, ajeje, I was feeling unwell for the last 20 minutes… and I swear I wasn't even bothered by Men Behind the Sun or any Takashi Miike film, seriously. Besides Salò, as a message no, given that the message of Last House is laughable, but that film, in my opinion, has something truly sick about it. In fact, it's difficult to create a snuff film that leaves you speechless since everyone knows that snuff in cinema is fake, and yet with other snuff films, I enjoyed myself; with this one, I didn't, and it's all a matter of subjective suggestion when it comes down to it.

Ruggero Deodato Cannibal Holocaust

4 mar 07

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Great decision not to give grades happypippo: "Today it’s a cult film worldwide; so well-known that two clever young Americans used the same business strategy and the basic idea to make 'The Blair Witch Project.' I would dare say two big opportunists."

Ruggero Deodato Cannibal Holocaust

4 mar 07

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The most sick and truly disgusting snuff (obviously fake since it's cinema LOL) ever made is a film called The Last House on Dead End Street (1977), but anyone who is easily impressionable should listen to me and not watch it; it's one of the most genuinely shocking films I have ever seen. We reviewed Salò by Pasolini here, well, that stuff goes beyond; even I, a lover of the macabre and excess, find it hard to bring myself to watch it a second time. As for the more playful snuff films, I refer to the Guinea Pig series, which is a blast, especially the second episode with the crazy samurai who amputates a girl kept alive thanks to drugs that eliminate physical pain; it's clear as day that it's all fake, although it’s filmed with a lot of effort.

Pier Paolo Pasolini Salò o le 120 giornate di Sodoma

3 mar 07

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Some residue of Marxism exists here and there, but nothing remains in the words, little in the gestures, like the clenched fist. What I mainly perceive is this from Pasolini's last interviews in 1974 and 1975, where there was a clear disengagement from a certain way of narrating things, somewhat like the Marxist fairy tale in "Uccellacci e Uccellini" with Totò (the Pasolini I can't stand). I also notice this in certain sarcastic remarks; in the last one regarding the "Trilogia della morte," he said: "It’s a new leap. I am a new director. Ready for a modern world." And we must always keep in mind that the aristocratic De Sade was certainly not a communist. Well, we somehow understood each other; see you at the next feast of art & thought.