Originally posted by RAWALI...

hey betty, juste par curiosité, ou est-ce que tu as étudier et qu'est-ce que tu as étudié exactement...

Originally posted by THOG...

suicide club and canibal ferox are good...

go see terror firmer or howard the duck it's lame...

Originally posted by CARL WITH A K...

maybe huh what?

Will Farrel in is The producers and he is funny in the movie :)

Originally posted by BETTY HAZE...

wow! look awesome!
i dont have it in my store...
i m gonna talk about that with my boss tommorow!
i take in note and i will come back to you with my opinion!

its looke gore like i love it?lol!

Courtesy of Unearthed films, this DVD is a complete and essential package for those wanting to explore the works of Spanish cult director Nacho Cerda. We get all 3 of his short films and a boatload of extras to boot. But before you read any further, I will issue a warning. If the sight of blood makes you the least bit queasy, do not view “Aftermath”. If you see yourself as some sort of hot-shot horror aficionado because “I dig gory films such as Dawn of the Dead and Evil Dead” then stay far away from this, because you won’t be prepared for what’s about to unfold on your screen. Why would I go out of my way to watch something like this? Well for two major reasons 1) I’m a hardcore horror fanatic whose always looking for something to push my boundaries and 2) because these films are a prime example of DIY filmmaking, beautifully made despite a micro-budget and by a director who refuses to compromise his style and vision for the hope of commercial success.

THE AWAKENING (B&W, 1990): A bored, underachieving student doses off in class and when he awakens he finds everything to be frozen in place as if time stood still. Cerda’s twilight zone-ish debut film, this is rudimentary filmmaking at best, made with no budget when Cerda was a film student at USC. Despite the zero budget, The Awakening does keep us intrigued during the length of its scant 5-minute run time. This short explores the first step in the process of dying – actual physical death, and should be viewed first to appreciate Cerda’s evolution as a maker of short, silent films.

AFTERMATH (Colour, 1994): This 30-minute short is one of the most brutal, graphic and uncompromising things ever put to celluloid. Still, it should not be viewed simply as exploitation, this is actually a well-filmed and artsy piece of work. The transfer is beautiful and the picture crystal-clear, free of the grain that plagued the original video format.

Aftermath explores the second step in the process of death: What happens to the body after death. Plot: In an autopsy room, two coroners carry on their grisly deeds which are gory but at this point nothing seems inherently wrong. Until one of the two coroners is left alone with the body of a beautiful female, then things get really wild. By now he’s no longer just doing a job, emotions have taken over and we watch his descent into madness as the corpse is raped, the private parts stabbed along with other unpleasantries that I refuse to go into in further detail.

Aftermath is utterly difficult watch. The graphic nature of the barbaric acts is the main reason of course, but also because of the de-facto way in which things are presented to us; these scenes of necrophilia are not fetishized a la Jorg Buttgereit’s Nekromantik films, instead they are presented to us as the horrible, unpleasant and sick practice that it really is. You will not be turned on in any way sexually by watching this one, I can guarantee you that. As much as Cerda might try to put some sort of philosophical spin on it, Aftermath has no point whatsoever aside from wanting to shock and revolt. Still, it’s essential genre viewing for gorehounds and because, well, something like this has never quite been done before has it?

GENESIS (Colour, 1998 ): Genesis premiered at Montreal’s Fantasia film festival to scores of applause even though the end result is different than what most people were likely expecting from a Nacho Cerda film.

Plot: A sculptor loses his wife in a tragic car accident. He then sculpts a statue of her, which eventually begins to bleed from a wound in its chest. In a desperate bid to give her back life, the sculptor begins to open wounds on his own body in an attempt to offer his life for hers. As the sculpture begins to gain life, the artist slowly begins to lose his.

Genesis is free of graphic grotesqueries and its fantasy theme of a statue coming to life is in stark contrast to the brutal realism of Aftermath but still Genesis is not quite the radical departure from his other work that others might think it is. This is unquestionably the director’s unique stamp and style. It also makes for a perfect companion piece to Aftermath as it explores the 3rd stage of death, which is what happens to the survivor after a loved one dies. Beautiful and haunting, Genesis is another film that will stay with you long after the credits roll.

The special features are among some of the best I’ve ever seen. This one’s packed to the rafters with goodies such as a director commentary track for all 3 films where Cerda explains in fluent English how the films came to be made. We also get a 20-minute film on “The making of Aftermath”, trailers, storyboards, production stills and best of all, a 10-minute dual interview with Nacho Cerda and German madman Jorg Buttgereitt of Nekromantik fame.

Originally posted by LGZKRG...

I saw Aftermath before a screening of Nekromantik at Cinema DuParc... silly, both of them.

Rubber Johnny ---> here