House of Flesh Mannequins
April 15th 2010 23:59
“Impressions of our Earth from space, swirls of blue and white and green, illuminated sharply against a dark background, a distant cold beauty, silent, lonely, timeless. From high above seemingly placid …”
… but down upon the surface and in the underground lie the carnal beasts and smut merchants of prey, sliding in and out of the shadows, lurking, beckoning, taunting, caressing, torturing, murdering. Who are the freaks really? Where does reality end and phantasy begin?
Sebastian (Domiziano Arcangeli) is a scarred walking shell of man, who treasures his movie camera, obsesses over his projections, deeply neurotic, the ghosts of his childhood haunting him, provoking him, pushing his fragile composure closer to the abyss.
Sarah (Irena A. Hoffman), just across the hallway, a svelte and gorgeous creature, under her crippled father, Mr. Roeg (Giovanni Lombardo Radice)’s thumb, eager to know, eager to please, eager to delve into Sebastian’s mind and discover his passion, but unaware of the danger.
These tortured souls will collide like a cold clammy hand sliding into a warm velvet glove, their desires ejaculating over each other, soiling their best intentions with the stains of another’s blood as they dance each other to the end of love through the darkened, disturbing realm that is the house of flesh mannequins …
Italian provocateur Domiziano Cristopharo licks at flames, plays with fire and creates a desperate piece of fetishistic cinema, pushing buttons, stretching boundaries, embracing expressionistic abandon. By no means easy viewing, this is a movie slick with bodily fluids, made on the smell of an oily rag. Horror as catharsis, a wet nightmare with no holds barred, balancing precariously as pantomime, grotesquerie and beauty on an avant garde pedestal.
Picture David Lynch and John Waters jacking each other off in a smoky back room during a private screening of Peeping Tom (1960) and snuff movies, whilst Dario Argento peers through the keyhole, grimacing as Rinse Dream molests him from behind and Cecil Howard films them from behind a curtain.
Professional actors merge with pseudo-thespians while amateur models toy with unknown porn players. Simulated gore blurs with authentic sadomasochism, while flashes of explicit sexual activity pepper the contrived narrative; this is an oneirodynia art performance that veers toward the risible and absurd, and yes, there is a seedy dwarf backstage being fellated by an ample-bosomed bella in glamorous attire, much to Sebastian’s shock and arousal!
Sarah’s ebony eyes glisten in the darkness, her luscious lips forming the words Sebastian wants to hear, but she pushes too far, and he pulls her too near, the flickering light of the movie projector bouncing shadows off the walls of their emotional façade, and they fuck in rhythm and sorrow, as the castrati’s voices echo amidst the throbbing drone of the church organ.
Sebastian was the shaking leaf upon a branch that I broke from a withering tree …
Betrayal rears its ugly head, Sarah’s lover Tommy (Jerred Berg) finds himself between the sheets of their bed with uber-buxom Julie (Khira Thomas) wanting head, and Sarah’s wrath and rifle know best, and Sebastian’s lens is primed and ready to capture all the death.
Tommy accepted my rifle as our last kiss …
Sarah brandishes the knife (the heart is a lonely hunter) and carves out her future in the soft flesh of Lisa’s back, her heart beating as loud as her vertical leer is wet, and her inky nectar eyes gleam as she turns her neck and smiles to the camera … Click.
Welcome to the House of Flesh Mannequins ... shed your inhibitions and fear and slide inside.
Here's the teaser trailer:
… but down upon the surface and in the underground lie the carnal beasts and smut merchants of prey, sliding in and out of the shadows, lurking, beckoning, taunting, caressing, torturing, murdering. Who are the freaks really? Where does reality end and phantasy begin?
Sebastian (Domiziano Arcangeli) is a scarred walking shell of man, who treasures his movie camera, obsesses over his projections, deeply neurotic, the ghosts of his childhood haunting him, provoking him, pushing his fragile composure closer to the abyss.
Sarah (Irena A. Hoffman), just across the hallway, a svelte and gorgeous creature, under her crippled father, Mr. Roeg (Giovanni Lombardo Radice)’s thumb, eager to know, eager to please, eager to delve into Sebastian’s mind and discover his passion, but unaware of the danger.
These tortured souls will collide like a cold clammy hand sliding into a warm velvet glove, their desires ejaculating over each other, soiling their best intentions with the stains of another’s blood as they dance each other to the end of love through the darkened, disturbing realm that is the house of flesh mannequins …
Italian provocateur Domiziano Cristopharo licks at flames, plays with fire and creates a desperate piece of fetishistic cinema, pushing buttons, stretching boundaries, embracing expressionistic abandon. By no means easy viewing, this is a movie slick with bodily fluids, made on the smell of an oily rag. Horror as catharsis, a wet nightmare with no holds barred, balancing precariously as pantomime, grotesquerie and beauty on an avant garde pedestal.
Picture David Lynch and John Waters jacking each other off in a smoky back room during a private screening of Peeping Tom (1960) and snuff movies, whilst Dario Argento peers through the keyhole, grimacing as Rinse Dream molests him from behind and Cecil Howard films them from behind a curtain.
Professional actors merge with pseudo-thespians while amateur models toy with unknown porn players. Simulated gore blurs with authentic sadomasochism, while flashes of explicit sexual activity pepper the contrived narrative; this is an oneirodynia art performance that veers toward the risible and absurd, and yes, there is a seedy dwarf backstage being fellated by an ample-bosomed bella in glamorous attire, much to Sebastian’s shock and arousal!
Sarah’s ebony eyes glisten in the darkness, her luscious lips forming the words Sebastian wants to hear, but she pushes too far, and he pulls her too near, the flickering light of the movie projector bouncing shadows off the walls of their emotional façade, and they fuck in rhythm and sorrow, as the castrati’s voices echo amidst the throbbing drone of the church organ.
Sebastian was the shaking leaf upon a branch that I broke from a withering tree …
Betrayal rears its ugly head, Sarah’s lover Tommy (Jerred Berg) finds himself between the sheets of their bed with uber-buxom Julie (Khira Thomas) wanting head, and Sarah’s wrath and rifle know best, and Sebastian’s lens is primed and ready to capture all the death.
Tommy accepted my rifle as our last kiss …
Sarah brandishes the knife (the heart is a lonely hunter) and carves out her future in the soft flesh of Lisa’s back, her heart beating as loud as her vertical leer is wet, and her inky nectar eyes gleam as she turns her neck and smiles to the camera … Click.
Welcome to the House of Flesh Mannequins ... shed your inhibitions and fear and slide inside.
Here's the teaser trailer:
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Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Great stuff, sounds like you're having a mind-warpingly good time taking in these festival works.
Comment by Bryn
Horrorphile
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic