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).

 

If You Don’t Know Who You Are? Then Evil Does. “The Ninth Configuration” review!

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An insane asylum located in the North West region of the United States attempts an experimental test to root out Vietnam soldiers faking signs of psychosis. A new commanding officer, a military psychiatrist named Colonel Kane, will take the lead of the experiment. But Kane’s methods are unorthodox and Kane himself seems distant from what’s expected from him, leaving the military patients, and even some of the personnel, wondering about his state of mind. Kane lets the committed soldiers live out their most outrageous fantasies and the further his practice plays out, the more that there might actually be something terribly wrong with the new commanding colonel.
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“The Ninth Configuration” is the big screen adapted version of William Peter Blatty’s novel entitled “Twinkle Twinkle Killer Kane.” Blatty, who wrote the screenplay and directed the film, dives back into motion pictures once again after the success of another previous adapted novel; a little piece of work you may be familiar with called “The Exorcist.” In the span of seven years, Blatty was able to cast again the versatile Jason Miller, who had portrayed a much more serious Father Karras in “The Exorcist,” as one of the leading asylum inmates in “The Night Configuration.” From then on, the hired case was forming into a formidable force of method actors including Stacy Keach (“Slave of the Cannibal God”), Scott Wilson (The Walking Dead), Ed Flanders (“The Exorcist III”), Robert Loggia (“Scarface”), Neville Brand (“Eaten Alive”), George DiCenzo (“The Exorcist III”), Moses Gunn (“Rollerball”), Joe Spinell (“Maniac”), Tom Atkins (“The Fog”), Richard Lynch (“Invasion U.S.A.”), and Steve Sander (“Stryker”). This cast is a wet dream of talent.
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What’s unique about Blatty’s direction of this film is the non-displaying of action and dialogue off screen. Whether it’s character narration, dialogue track overlay, or slightly off camera view, the spectator, for more about half the film or perhaps even more, isn’t being directed to focus on the current action or dialogue and this creates the illusion of hearing bodiless voices or activities, as if you’re part of the ranks in the mentally insane roster. Only until the truth or catalyst is reveal is when more traditional means of camera focus is applied.
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To make this technique work and to make it not become tiresome to the viewer, Blatty had to write some amazing dialogue and with him being a novelist and all, the dialogue was absolutely, 100 percent brilliant. Lets not also neglect to mention that with unrivaled dialogue, out of this world thespians must be accompanied to breathe life into the black printed words that are simply laying upon white pages. Scott Wilson’s and Jason Miller’s craziness is unparalleled while, on the other side of the spectrum, Stacy Keach delivers a melancholic performance that balances out the tone of the film from what could have been considered an anti-Vietnam war comedy at first glance that spun quickly with an unforeseen morph into a suspenseful thriller about the consequences of war PTSD and the affect it has on those surrounding.
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Gerry Fisher’s cinematography encompasses the Gothicism of the remote Germanic castle to where every ghastly statue and crypt-like stone comes alive like in a horror movie. The setting couldn’t be any of an antonym for a loony-bin set. Even though the film is suppose to be set in North West America, the location used was actually in Wierschem, Rhineland-Palatinate, Germany at the medieval Castle Eltz and the story subtly explains how the castle came to be in “America.” To the opposition of such a barbarically beautiful castle, the score by Barry De Vorzon (The Warriors) in the first act into the second is playful, lighthearted, and childish in an appropriate story tone, but turns quickly sinister and angry during progression, building upon the revealing climax.
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Classic film and TV distributor Second Sight brings this cult classic onto DVD and Blu-ray in the UK. Since this was a screener copy of the DVD, I’m unable to provide any audio or video technical comments, but the screener did include the generous amount of bonus material including interviews with writer-director William Peter Blatty, and individual interviews with Stacy Keach, Tom Atkins and Stephen Powers, composer Barry De Vorzon, production designer William Malley and art director J. Dennis Washington. There are also deleted scenes and outtakes and a Mark Kermode introduction. A substantial release for Second Sight and a fine film for any collection so make sure you pick up or order this Second Sight release today!

Evil Will Lock You Up Forever! Iron Doors review!

IDMVDA young investment banker awakes with a major headache and trapped inside a vault. Having no idea how he landed inside this death trap, he struggles to find a way out before he dies of dehydration or starvation. As he tries to piece together who has an immoral vendetta against him, an escape from the vault leaves him desperate and energy spent while the questions of his mysterious circumstances are almost too much for his mind to bare.

We’ve seen this type of movie before where one or more people wake up to find that they have no idea where they are or how they got there. Iron Doors plays on top of that age old aspect that normally what scares the crap out of people – the unknown. Iron Doors resembles a lot like 1997’s Cube without the traps. Instead, the rooms are filled with different objects that might or might not leave foreboding clues to their whereabouts – such as a coffin and a grave. The idea behind these types of movies, which also include the first two Saw movies and Ryan Reynolds Buried, are giant concepts and yet somehow these filmmakers, including Iron Doors director Stephen Manuel, are able to take the minimalistic routes and produce a thrilling story.

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However, unlike Saw and Cube, Iron Doors ending bares a big disappointment and leaves the audience more questions than answers. I can tell you that the ending left me yearning for more answers, but I guess we have to make our own conclusions and nothing can just be handed to us as a freebie. I hope this won’t spoil too much or if any at all about the movie, but I want to provide my own interpretation of the status on our main character actor Axel Wedekind and his companion actress Rungano Nyoni, an African woman who doesn’t speak a lick of English. I strongly believe the characters are dead and have been stuck in limbo where the duo must be capable to work together, supporting each other to dig, chisel, and survive their way out of the vaults. The clues are this, and I’ve mention these two already, the coffin and the open grave. Two straight forward signs of recent death. Also, when Axel wakes up in his vault, what accompanies him is a maggot infested dead rat and that, again, suggests that death surrounds him. When Axel tries to recall what he was doing before he awoke in the vault, he states that he was out at the bar (he continuously states that he will never drink again) and didn’t know where he left his car suggesting that Axel was very intoxicated and probably crashed his car, killing himself in a DUI incident. Rungano, in subtitles, mentions being from Africa where we know genocide and disease plague most of the un-urbanized parts of the lands. Rungano’s traditional outfit suggests that she leaves in a primitive tribe. A bit of a stretch on my end, I know. Plus, the vault itself is supernatural and every time the characters enter a new room they are confronted by the same four walls and a vault door, but only the objects are different.

The film never really picks up the pace and sometimes the tediousness of the characters’ attempts to escape are captured too long in a scene extending the scene way past it’s prime. Their survival instincts, drinking their own urine, eating maggots, using a discovered oxygen tank for air, are seemingly instinctively smart, but realistically very ill-advised. We can only blame panic on the part of Axel, but opposite Axel, Rungano is calmer and level headed yet she is persuaded by Axel who has been awake three days longer than Rungano. Yet desperation gets the better of her when knowing her existence is near end and breaks down to enjoy compassionate love with a barely alive Axel in what could be their last hours on, what they believe, is their world.

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MVD releases the Germany born and bred English spoken Iron Doors, a suspenseful thriller I would recommend for any fans of Cube or Buried. If you’re claustrophobic, then I’m sorry because you probably will not enjoy this film; you’ll most likely suffocate at the idea of being locked in a small room with a dead rat. Purchase the film at MVD!