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MORAL of the STORY: the film is truly a real CULT: uniquely sordid, reflecting the state of accelerated decomposition of what was considered the economically most powerful nation in Europe, West Germany, this film gives a biting sociological portrait of a nation destined for collapse right after the wall fell, with the Deutschmark sacrificed on the altar of the Brussels Masonic oligarchy and the imminent new world order, several "historic" scenes like the necrophile orgy, heavily censored and banned everywhere (more than "Salò" by Pasolini, "Possession" by Zulawsky, and "Caligula" by Brass & Guccione) but above all, this film is a love story, of necrophilia and romance, of morbid and extreme decadence, paying homage to the divine De Sade and the blasphemous juxtaposition from the klossowskian baphomet, and Baudelaire's "every day we descend a step towards Hell, without feeling horror, through mephitic darkness" (from "les fleurs du mal"). Discover the review
MORAL of the STORY: the film is truly a real CULT: uniquely sordid, reflecting the state of accelerated decomposition of what was considered the economically most powerful nation in Europe, West Germany, this film gives a biting sociological portrait of a nation destined for collapse right after the wall fell, with the Deutschmark sacrificed on the altar of the Brussels Masonic oligarchy and the imminent new world order, several "historic" scenes like the necrophile orgy, heavily censored and banned everywhere (more than "Salò" by Pasolini, "Possession" by Zulawsky, and "Caligula" by Brass & Guccione) but above all, this film is a love story, of necrophilia and romance, of morbid and extreme decadence, paying homage to the divine De Sade and the blasphemous juxtaposition from the klossowskian baphomet, and Baudelaire's "every day we descend a step towards Hell, without feeling horror, through mephitic darkness" (from "les fleurs du mal").
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