EVIL Slums In The Company of Others. “Hausen” reviewed! (Sky Atlantic / Eps. 1-4 / Digital Screeners)

Jaschek moves into a property supervisor position of a slum housing complex with his 16-year-old son, Juri, after the tragic fiery death of his wife. Trying to rebuild and rebound on what’s left of his and his son’s life and waiting for the insurance money to pay out, Jascheck tends to the decrepit building maintenance and, over time, meeting the cold, strung out, and peculiar tenants while Juri attends school and becomes interested with the building’s discretionary drug pushing youths. When a young couple’s baby goes missing, the mysterious disappearance motivates Juri into an investigation, leading his curiosity to discover that the building itself, and the insidious sludge that oozes nearly from every crevice, feeds on the suffering and pain of the inhabitants.

When a black, wet stain on the wall embodies a biological presence of asexual spores and elicits the instinctual first thought of alarm sounding bells ringing to back away in your mind, this is how Till Kleinert and Anna Stoeva injects fear and biotic crud with their new horror television series, “Hausen.” It’s Bloggin’ Evil got to sample the first four episodes of the German 8-episode series that showcases director Thomas Stuber’s dank complexion of anthropomorphized leeching of the lower class, filmed partially inside an East Germany, 20 plus year abandoned hospital, once known as the GDR Hospital, located in Berlin. Kleinert is the writer and director of 2014’s “Der Samurai,” pulling from his film the lingering disembodied or dreamlike and integrating that surrealism imagery for the new series, and collaborates with first time writer, long time producer Anna Stoeva, one half of the boutique film production company, Tanuki Films. “Hausen” is a production of the Berlin-based company Lago Film, who co-coordinated the production on David Cronenberg’s “A Dangerous Method,” under department head, producer Marco Mehlitz.

“Hausen” primarily focuses around a reestablishing father and son, Jaschek and Juri, after a tragic house fire that claimed the life of Juri’s mother. The series starts off with the two driving up to the housing complex and breaking themselves right away into a runaway rundown building that needs more than just a sprucing up. “Transporter: The Series'” Charly Hübner plays the handy father, Jaschek, with non-expressive can-do attitude that becomes a block of interrelation between him and his son Juri in another unreadable performance from Tristan Göbel of Lago Film’s “Goodbye Berlin. That inexpression is the intentional tone of “Hausen’s” entire cast of tenant characters who float through a barely-living existence, most living grubbily, few living in humble comfort, but all being exploited by the organic narcotic that’s living, breathing, and striving from the inhabitant suffering. Hübner and Göbel impassively shepherd along the story along that introduces new characters into new episodes that digs deeper into the complex’s black, oozy, heart symbiotically connected to a caretaker known as Kater, the very first character Juri and Jaschek meet upon arriving at the building for the first time. The autodidact Alexander Scheer touts an unkempt, dirtied, and made to look like a complete hobo in Kater who, unlike his onscreen cohorts, vitalizes the screen with wild-eye expressions and an unsurmountable jocularity and puckish wit. The series rounds out with stars Lilith Stangenberg (“Bloodsuckers – A Marxist Vampire Comedy”), Stefan Haschke (“Krabat and the Legend of the Satanic Mill”), Daniel Sträßer, and Andrea Guo.

“Hausen’s” intended aloof pulse courses consistently throughout, at least in the first four episodes, that piece together and induce layers of grayscale personalities that have been cross affected by the building’s malevolent life force and the subjugating delinquent class that feel no need to make their surroundings better as their stuck in a vicious cycle rut of drugs and despondency. “Hausen” allegorically uses horror to intensify the already tragic aspects of corrupted ethical life choices people make when drugs are prioritized as more important than others and even their own lives. The first episode features a young couple with an infant and as they attempt to stay clean and withhold what little money saved for a new and better apartment, the building reacts by taking measures in the form of tormenting the husband’s brittle sobriety as he’s caring for the baby alone. He passes out and wakes to find the familiar narcotic he can’t seem to escape on his person. The scene mirrors good intentions of abusers who fall into withdraw with the withdraws being symbolically displayed as the building’s evil doings to keep the pain profit flowing. Overall, “Hausen” drips with underbelly exploitation that doesn’t stop with just the adverse, malignant housing as it spreads into Juri and Jaschek’s tense relationship and into the ounce of good left inside them, fleshed out in scenes that become a crossroad of choices where choice A) is to do the worst thing possible to compromise the smidgen of hope left or choice B) to reserve themselves into taking the harder, but good moral standing, road and work at rekindling a tattered bond that would go against everything the “Hausen” has thrown at them.

A skyscraper of bleak and austere horror, “Hausen” houses a slick secretion of mystery in every crevice. The Sky Germany produced horrifying mystery-thriller is now out in the UK on Sky Germany’s sister-programming, Sky Atlantic. A statically lit doom and gloom scenes never venture away from the tinted battleship gray and blue color scheme that goes hand-and-hand with a cleaned up GDR hospital shots from cinematographer, Peter Matjasko, that’s reminiscent of David Fincher films = think “Alien 3” but with way less yellows. The black sludge is a satisfying unnatural pigment of midnight black that contrasts nicely against said tinted lens coloring, providing a catheter of continuously streaming tenebrosity. We’ll have to wait and see how Juri, Jaschek, and the rest of the tenants fair in the last four episodes that shafted us with a plummeting cliffhanger midway through and, hopefully, ItsBlogginEvil.com can provide more coverage on the unnerving new television series that will put a stain your soul.

Necrophilia EVIL Will Love You Beyond Death! “Nekromantik” and “Nekromantik 2” reviewed!


Husband and wife, Rob and Betty, enjoy the company of other people in their bedroom. Those other people are corpses. With Rob’s profession being a street cleaner after grisly accidents, he’s able to bring home bits and pieces of deceased individuals: eyeballs, hearts, hand, etc. When Rob is left in charge to dispose of half decomposed corpse fished out of a lake, the necrophiliac husband brings home a third party to his necrophiliac wife for play time, but when tensions between them rise with the loss of Rob’s position, Betty doesn’t want to waste her life with a deadbeat husband when she can have a dead man give her all the pleasures she desires. Feeling lost without the company of the corpse, Rob struggles to find his place in life and resorts to murdering animals and prostitutes to get his rocks off, leading to an extraordinary life alternating conclusion.

Necrophilia. Necrophilism. Necrolagnia. Necrocoitus. Necrochlesis. Thanatophilia. The act goes by many terms and divides into many segments, but the end result concludes to the same sexual attraction and acts, involving intercourse, with a lifeless corpse and writer-director, Jörg Buttgereit, aimed to exploit the exploits of grave robbers and murderers to stand against the strict censorship that was presently structured around German cinema in 1987. As Buttgereit’s first full length directorial filmed in West Germany and co-written by Franz Rodenkirchen, their censorship battling film, “Nekromantik,” is tinged heavily in necrophilia that, while obviously gross and illegal in the conventions of society, intertwines with the unwavering romantic gesture; a sensual disposition of tenderness and love for the other whether or not their eyeball is hanging out of a decaying socket or their covered in a think layer of body purging mucus. “Nekromantik’s” tragedy isn’t so much in the appalling acts, but in the defining human directions of grief and destruction that ultimately still make us human even if our acts are inhumanity.

In “Nekromantik 2,” a female nurse named Monika digs up a freshly buried male corpse to be her sexual play thing, but as she questions her feelings for necrophilia, Monika tries to suppress those deviant desires by befriending-to-date a young man, Mark, whole also keeping limited parts of the body while cutting up and disposing the remaining pieces. Seemingly going well with her boyfriend, Monika’s relationship resembles a stint of normalcy, but her desires bubble to the surface as she fantasizes about the corpse and goes to great lengths to keep Mark lifeless as possible during their lovemaking. Mark’s suspicions about her girlfriend does deter him from beauty or his desires for her, but how long can Monika go without her beloved bloated and discolored carcass? What lengths will show go to secure her happiness while taking advantage of Mark warm body?

As an extension of Buttgereit’s “Nekromantik,” “Nekromantik 2,” also known subtitled as “The Return of the Loving Dead,” is a direct sequel in limited fashion with only the corpse being the connecting factor. However, the 1991, East Germany filmed “Nekromantik 2” aggregates and compounds the unsavory lust for the dead that depicts a stronger sense of violence at an explosive carnality in the final act. Along with Franz Rodenkirchen as co-writing, Buttgereit returns to co-write and direct the sequel of considerable unlawful content, according to German authorities that arrested and trialed Buttgereit for poisonous material that could affect the youth of Germany. However, Buttgereit comes unscathed by the tribunal in a justified win against censorship. “Nekromantik” and the sequel aren’t necessarily set in a platonically set society, but held within the confines of an invented world chockfull of ignorance and drenched in biodegradable bliss.

Daktari Lorenz stars as the hopeless romantic for putrid partners. Lorenz is a good look for the Joe’s Street Cleaning Agency employed Rob as Lorenz is a scrappy man with thinning wild hair set on top of a receding hair line and has a feral soul behind his wide eyes, fitting for a fellow who did a short stint in porn in later years, but starring as Rob, however inglorious he might portray the role, wasn’t Lorenz only contribution to Buttgereit’s “Nekromantic” as he became the special effects guru behind the corpse’s fruition – the corpse that would be Rob’s character’s rotten rival. Rob’s tragedy situation is a plight of villainy against villainy, leaving the role unsympathetic to audiences but still leaving a residue impression of sordid anxiety. Rob’s only rival to necrophilia is within Monika, played by Monika M., from “Nekromantic 2” who goes through a different kind of internal struggle. Whereas Rob struggles with loss of two companions, one living and one dead, Monika struggles oppositely with one living and one dead and the choice she must make between the two. Monika doesn’t long for a cold, slimy, dead body and she choices to dispose the one that was held firm in her embracing grasp; yet she has an inkling for normalcy, a urge to undercut her deviancy, and acts upon the reformation despite the addictive callings for necrophilism. There’s not much in terms of a supporting cast in his low-budget shock horror, but the few co-stars include Beatrice Manowski, Harald Lundt, and Mark Reeder.

Overall, the “Nekromantik” films can still produce shock systemically despite being antiqued from the ye ole days of Video Nasties from the 80’s. Director Jörg Buttgereit might be thought perverse or mental to pinch body parts or dead bodies for tales of romance, but no matter his intentions to bring to the cinematic table, Buttgereit could be considered a far-fetched genius delivering the very definition of necrophilia to the screen and hoisting up a narrative around a taboo and illegal stricken act in the name of anti-censorship. Both films are nearly dialogue-less and, perhaps, wouldn’t have been highly accepted in the cult world if the score wasn’t as poignant or powerful as it was. Composed by Hermann Kopp, John Boy Walton, and, again another hat, Dakari Lorenz, as well as Monika M. in the sequel, they compose a classical and new age soundtrack that’s neither obtrusive to the ears nor not necessarily out of bounds of being parallel with the explicit material, marking the tracks as much as a character and being the quintessential dialogue much needed for a virtual silent, and extremely graphic, social commentary piece.

Cult Epics has really outdone themselves with a fantastic re-release of their previous issues of the “Nekromantik” films, releasing a limited edition, only 500 copies, Blu-ray release of both films, sheathed not only in their individual slipcase with original artwork, but also housed fully in a larger, double-sided slipcase bundle with artwork by Martin Trafford whose been a long time collaborator with director Jörg Buttgereit. The two films are presented in their original aspect ratio, 1:33:1, with two cuts available of “Nekromantik”: a director approved, super 8mm restored transfer, blown up to 35mm, that’s of a relatively washed image, but is vastly superior and clean look with hardly any blemishes upon the reconstructed coloring, which looks great considering. The second cut, a 35mm “Grindhouse version,” is a HD untouched version that keeps in the burns and blemishes and emits a warmer image in comparison. The 16mm, director approved transfer of “Nekromantik 2” is also neat, clean, and infraction free with a more natural color scheme overlaying and not as stylized as Buttgereit’s first film. The German language Dolby Digital 5.1 surround sound with re-transcribed English subtitles puts the vigorous soundtrack on a pedestal in the midst of previous releases that saw lossy audio compositions. With hardly any dialogue and next to none excitable action in both films, the burden lies truly on the back of the score that’s riveting and powerful and the right call to improve amongst the options for tinkering. There are also German language 2.0 stereo mixes available. A wealth of new and old bonus material includes the new transfers mentioned above, plus introductions by director Jörg Buttgereit, Q and A with the director at the American Cinematheque, audio commentary on both films by Buttergereit and co-author Franz Rodenkirchen with Monika M. and Mark Reeder included in “Nerkomantik 2,” the making-of for both films, “Nekromantik” featurette, still galleries of both features, two isolated versions the films’ soundtracks plus a live version of “Nekromantik 2,” “Nekromantik 2” post cards, and a couple of Buttgereit short films entitled “Hot Love” and “A Moment of Silence at the Grave of Ed Gein,” plus music videos and live concerts from the director, Monika M., more. Cult Epics’ wrote the definition on the definitive release for “Nekromantik” and “Nekromantik 2” and if you thought the content couldn’t get any gooier, grosser, dissident, and vile, Cult Epics said hold my beer and went to grave and back with a phenomenal package bundle that’ll be a necrophiliac’s delight as well as a gory gem in the collection of any horror film enthusiast.

Visit Cult Epics for your copy!

 

Plus, the holidays are right around the corner and at http://www.cultepics.com you can gift yourself or gift to others their very own Messed Up Puzzles’ 1000 piece jigsaw set inspired by both “Nekromantik” and “Nekromantik 2!”  These NSFW puzzles are a limited run, with 50 out of the 300 signed by director, Jörg Buttgereit!  (Selected randomly through distribution).