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Radomir Belacevic - Decak iz Junkovca


Sama srž svih FABULA avanguarde! icon_smile.gif


Godspeed... bedak što su delovi sa prvog albuma bili soundtrack za 28 days later. Žešći smooor od filma...


-GRAD IZGUBLJENE DECE- avangarda avangarde! Opsednut sam ovih dana tim filmom.

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Dracula 3000

"I'm at a loss for words. This movie is beyond description. I don't believe there is a language on Earth that has a word that can describe how horrible this movie is. If you do attempt to watch it, be sure to stick around for the "suprise ending". I only made it about three quarters of the way through this piece of crap before I couldn't take it anymore. Fortunately(or unfortunately) a couple of my buddies stayed till the end. When they woke up from their coma and after a couple of weeks of therapy they were able to fill me in on what I had missed. This movie has no story, no plot, horrible writing, and even worse acting. If you enjoy watching train wrecks or auto accidents then this film is for you. I think my IQ dropped about 30 points from watching this (insert expletive here)."










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Misliš na 120 dana Sodome? Pa, svi se slažemo da je film slabiji od knjige. Ali ako gledamo stand-alone film bez pominjanja knjige, odličan je. Mene fascinira psihologija koja je uklopljena i dočarana u celoj priči. Preporučujem (ako imaš stomak za to).


Evo, pogledah u svoju listu filmića. Ima još par da se doda:

bilo šta od Takashi Miike icon_smile.gif

the Brown Bunny (jebote, ovo treba izdržati)

Faster Pussycat Kill... Kill




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kapiram da mogu i ovde da okacim icon_cool.gif


user posted image

SuBterranean Cinema

svakog utorka od 19h

Art Kafe Kocka

Carice Milice 7




ritual u transfigurisanom vremenu III


mitopoetika:Maya Deren,Kenneth Anger,Stan Brakhage,James Broughton

Vienna Aktionists/subversive art:Kurt Kren & Otto Muehl

Eye Like a Balloon/short cuts:Lynch,Svankmajer,Guy Maddin's Odilon Redon/Baudelaire/Poe :reworking


user posted imageuser posted imageuser posted imageuser posted image


dodjete malo ranije da ugrabite bolja mesta

stay avantguarde :alsamlame: icon_redface.gif



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Aftermath - 1994


Directed and Written by Nacho Cerda,


An award winning short film about what happens after death to a female corpse in a Spanish autopsy room. The film explores the subjects of Necrophilia and what happens to the body after the soul has vacated the corpse.


I had read about this film long before I had the chance to see it in Dark Side magazine. When it was shown at various film festivals it usually had two reactions among the audience; the first being one of outrage or disgust at the graphic portrayal of an autopsy and if they can stomach it that long, the scene where the pathologist rapes the corpse: the other reaction, one of Applause, for a Director who is willing to push cinema to the edge and try and deal with such a difficult theme in such an unflinching and intelligent way.


I knew I was not the type to 'enjoy' such a subject, but that is not what this kind of cinema is for in the first place. You are not meant to 'enjoy' scenes of Necrophilia, if you do I advise you check yourself into the nearest asylum before you feel that you have to go breaking the law and digging up your humps or turn someone living into a suitable candidate for your lusts. You are meant to 'think' about the subject and your reactions to it.


This kind of cinema is intended for exactly the kind of people who know they will be offended or sickened or 'horrified' by the scenes contained in this movie. The Director wants you to ask some questions, such as why someone would even make such a film in the first place? He wants to provoke discussion and even argument.


Before you even ask, no it is not widely available for sale in the UK, but the Internet is a wonderful thing (When customs don't object). There is a release available on VHS which not only contains the short film, but an incisive 'making of' where all aspects of production and reasons for choosing such a subject are addressed. There is also a short film that Cerda made in America, a trailer for Aftermath and a short interview by Jorg Buttergeit (Nekromatic) that attempts to reinforce the reasons for making such a film.


The first thing you will notice about the film is it's very glossy expensive look. The filmmakers obviously lavished a lot of money on this project, which is both unusual in short films as the financiers of such films very rarely recoup their investment, and in such a brave film that is almost impossible to market or show in its uncut form. the director admits that without the backing and faith from a few close friends the project would not have been possible to do at all.


The second thing you will notice is their is no dialogue, save for the voiceover dialogue on a TV at the end. The lack of dialogue is a device by the director to reinforce the view that the corpses are the important people in the film, they have feelings. The Doctors and Attendant are merely living, but almost soulless in this context. The face of the Pathologist is actually obscured throughout the film, by his mask, with just the predatory lifeless eyes and his actions to tell us what he is thinking. The only time Pep Tosar really tries to communicate with us is when he stares the nosey attendant out of the room, for the rest of the film we see him from the side or behind, as voyeur or accomplice.


The cinematography is excellent, having been handled by a friend of Cerda' and colleague of Roger Corman (Buggered if I can track down the name right now-sorry). The use of coloured filters really helps to set different sombre moods within such a stark and sterile environment, lending it extra thematic character. Especially when it helps bring out the visceral colours in contrast to the sterile blues and whites.


The vision is entirely Cerda's, having been born out of his Catholic influence and fear of death. His first film 'Awakening' deals with the moment of death, whereas Aftermath literally deals with the events that take place after death. His rigid storyboarding in the actual location and in depth research (having actually viewed 3 autopsies in that location) really pays off, helping to convince you of it's authenticity and sophistication.


That said, the film is difficult to watch. I don't enjoy gore for the sake of it, but can see the reason for showing it. Cerda wanted to show how the bodies are 'violated' after death, how the organs are removed and then rudely shoved back in to the body before cremation/internment, how the whole procedure is professional and without emotion or thought for the lives these bodies once lived. The rape scene is difficult and mercifully for the crew and the audience, the buggery scene was too short and not professional enough (due to limited time and budget and most of the crew didn't want to be present) to remain in the final cut.


Cerda did apparently want to have a more censored version distributed to TV stations, knowing fans may check out the stronger version if they like it enough, but so far there have been no takers as it is too strong for even the strongest corporate stomachs.


You will not 'enjoy' this film. But you will respect it's professionalism, it's polish even if you don't agree with it's objective. Apparently there was a true reported case of similar acts after the film was released, not so much life imitating art, as art reflecting life. But who knows. Maybe people who do suffer such desires really do want those kinds of jobs. That said. Do you really want to be Autopsied after death?

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