David Cronenberg’s long illustrious career began with two infection films in the mid to late 1970s, ‘They Came From Within,’ and ‘Rabid’. Before solidifying himself as the master of abnormal psychedelic horror, Cronenberg released two features exploring the nature of highly contagious, sexual parasites. Although ‘Rabid,’ and ‘They Came From Within,’ are early pictures, the perverse themes of abnormality and infection are undoubtedly present, paving the way for Cronenberg’s later masterpieces, like ‘Videodrome,’ ‘Scanners,’ or ‘Dead Ringers’. What makes these early films crucial viewings, are the perspective they offer in analyzing the filmmaker’s growth through the years, existing as a starting point for a long fascination with the bizarre in every day life. READ MORE…
The The ABCs of Death “26th Director” Contest is under way, and this year directors are asked to submit an original short horror film inspired by the letter “M.” CVLT Nation’s favorite director Justin Oakey has submitted a chilling piece entitled “M is for Motherland,” and today CVLT Nation is honored to bring you this little piece of terror to add chills to your day! Justin needs at least 2K facebook votes on his film to make it into the final cut, so check out this amazing short film below and make sure to head HERE and click the “like” button above the player to place your vote. The soundtrack is an original piece entitles “Motherland” composed and performed by Wolves of Heaven, a side project of Column of Heaven, and we are also honored to be streaming it for you today!
Stream after the jump…
Brazil, like many South American countries tends to have a very powerful Christian presence woven into its culture. Even in 2013, the influence of the Catholic Church casts an enormous shadow and one doesn’t have to look far in Rio de Janeiro to see the colossal statue of Christ the Redeemer surveying the city. Given the predominance of religious influence that exists in Brazil today, it’s safe to say that fifty years ago, religion was still a huge part of the Brazilian culture, despite the passage of time since the 1960s allowing for an increase in secular views in a wider global context.
Imagine then, how shocking it would have been for a low budget, independent horror film to be unleashed on an unsuspecting society as religiously motivated as the Brazilian, with a main character who mocks the Church and defiles many taboos not only with apparent relish, but with an almost unrestrained pathological hatred and antagonistic insidiousness.
DIRECTOR: Uli Edel
STARRING: Natja Brunckhorst, Thomas Haustein, David Bowie
Addiction films have become a household name these days, whatever the nature of abuse; rarely do these pictures differ in their bleak portraits of the rise and fall of a junkie. You’ve seen the good films, and you’ve seen the bad, but Uli Edel’s 1981 picture of the daft Berlin youth in the 1970s, ‘Christiane F. Wir Kinder Vom Bahnhof Zoo,’ might be the genre’s greatest achievement. READ MORE…
COOKIE: I don’t understand why anyone would want to join a gang.
COOKIE: Why do I want some jerk telling me what to do all the time?
REDEYE: You could probably benefit from listening to someone else for a change.
COOKIE: I don’t want to be IN the gang. I want to be QUEEN of the gang. I’ll lead a rowdy, slutty tribe of stone FOXES to victory.
REDEYE: How slutty?
COOKIE: Like, you’ll get gonorrhea just by LOOKING at them. With a side order of syphillis.
REDEYE: Just like the good old days of high school hot tub parties.
It’s not uncommon for people afflicted with mental illnesses to report feelings of paranoia, isolation or a detachment from society. It can be a struggle to exist for people with severe cases. Not all mental illnesses are the same of course, but keeping the ideas of insularity and paranoia in, well…mind, they’re areas that help to drive David Cronenberg’s 1981 film Scanners in a far more intimate way.
How film noir remains relevant, particularly in regard to the threat of nuclear annihilation and how an idealised society falls apart when disruptive elements brewing below the surface reach explosive proportions.
California has long been presented to the world as a kind of mystical and otherworldly place. A kind of paradise of sunshine and freedom, where dreams can be realised and fortunes can be made. “Goin’ out west to California” is a phrase that has hopeful and idealistic connotations to it, it signifies that someone is searching for something great – fortune and glory. In many parts of the world, the dream and the allure of California is still as strong as ever. The marketing and tourism industry have their work cut out for them. Thinking of California, the thought of bright sunny beaches, hot babes and dreamboat guys, Hollywood and movie stars, palm trees and beautiful sunsets come to mind. It’s at mythical proportions. Maybe gang warfare, smog, drive by shootings and the LA riots don’t test all that well with potential tourists.
DIRECTOR: Roger Watkins
STARRING: Roger Watkins, Peter Fisher, Bill Schlageter
The faux snuff film has become somewhat of a sensation, with society’s rising demands for realistic depravity on screen, forerunners of the genre like Roger Watkins’ 1977 cult classic, ‘The Last House On Dead End Street,’ have fallen into relative obscurity. What makes this film memorable is its notorious reputation in the 42nd street grindhouse community. Filmed on a shoestring budget, with a majority of the funds supporting director/writer/actor Roger Watkins’ crystal meth habit, ‘The Last House On Dead End Street,’ creates an eerie and haunting picture of massive atmosphere. Originally under the working title, ‘The Cuckoo Clocks Of Hell,’ Watkins’ film was trimmed from an epic 175 minutes in length to its now timid, 76 minutes. One can only wonder at the sweeping genius of the uncut version, which is now reportedly lost. READ MORE…
I’m not going to even say too much, other than here is a cult classic movie for the ultra violent. CVLT Nation now showing A Clockwork Orange after the jump!
Kenneth Anger’s 1964 short film, ‘Scorpio Rising,’ is a brilliantly surreal picture that ranks amongst the most influential and avant-garde works to date. Often imitated, though never equaled, Anger’s film is just as poignant today as it was during the time of its release. Gritty and disturbing, ‘Scorpio Rising,’ contains some of the most powerful imagery from the 1960s. The haunting qualities of this picture are due largely in part to its documentary style filmmaking. It’s true that Anger staged certain aspects of the film, but a majority of the sets and events were mere bohemian photography. The film is titled after the zodiac sign, ‘Scorpio,’ which rules both sexual organs and machinery, two main components of Anger’s film.