Nick Bougas
"What this world needs is a good weeping!" : Her Majesty The Vey peeps and is now morgue. Tira breeze cadaverine and hydrogen phosphide in trauma t izzanti 88 'minutes at high rate tanatofilo (the first of a triptych increasingly merciless). To the point that if you do not have that minimum wage of spirit necrophiliac or Unbreakable or joyful equanimity-sadism-you run the serious risk of escape deeply affected by this catabasi boatswain who was in the Chruch of Satan his sober, solemn and Seraphic ferryman.
death, love, for the (other's fear of) death is all maestade and the explosion of the human body begins immediately, without preamble or paraphrases, and scale to large stride and decided a ziggurat of death to embarrass a Tibetan Monaco, with a browse hundreds of dreadful images Stock criminal of the 20, 30 and 40 taken out of that personal Necronomicon La Vey young man who found himself eke out a living as a photographer for the crime (Well begun ...), ocher tones hours hours hours sepia lilac rhythms cally scanned by Danse macabre circus Saint-Seans and the moon and disturbing sheet Lucifer Rising , documenting the dark side of America was already unworthy of a capital and infected by the most vicious serial killers, perverts and criminals that you can imagine.
Nothing is spared the eye nerves to the heart of el audience: the imago scaraventateci against fragments of bodies do not stop at nothing ee no. Difficult to describe, difficult Cernit, impossible to forget. The victory of the fixity dinamya prophesied by Kafka. To the extent that certain post-mortem deformities exceed, paradoxically, the effect-vérité ended up giving the impression of an exhibition of work by Witkin, Bosch, G oya Bacon visited or after a dose of PCP filly. Kickback Bacon is overwhelming. The magnitude necrophiliac unsustainable beyond the zenith, is under constant attack, massive what: Death scenes s of approach is not trivial and setting quell'apologia dell'appositamente mob as reconstructed in the studio Faces of death of , or in any way cross the derivatives as free and bold collages Traces of death, and it has its strengths in a neutral look, almost serene detachment, objectivity in distant dall'infantile épater sadism by-the-bourgeois tone deaf or fish that causes almost all death-movies and the world, and in the documentation impressive - and interesting -embracing Dillinger, the Black Dahlia, Jack the Ripper, Jayne Mansfield up to the worst horrors of World War I, but it's still a shockumentario, probably the most devastating human being could ever face, and frames in front of children or infants strangled with skulls smashed by a screwdriver is to beg for mercy in tears, wondering what-masochism and part-morbidity leads to perpetrate this kind of vision and kicking anyone in the southwest is subject to ' Evergreen will hold the logic of God.
La Vey chitosan wisely closes the inevitability of death should never deviarci passion for life, but the false moral of the story comes late and is more that appendicitis appendix, and is of little importance for us to really recover from the stunning and moments that will come back to us cuckoo half asleep. There
abreaction, catharsis is not : Life sucks and then you die, and if you die in a bad way to being photographed all'ardimentoso voyeur show what life is an illusion, death a sovereign reality and his body a reed in the wind of disaster, the fate and that of iniquity / madness.
After this plunge is almost terrifying to think that another world is no longer feasible. Almost, because Bougas will arm you with sympathy and hallucinatory good things from the world sufficient to cook the other two sequels, of course, a more poisonous and indigestible other.
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