Lynne Stopkewich
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In already notorious scenes that recall the demon birth of Andrzej Żuławski’s Possession and the controversial climax of Lynne Stopkewich’s Kissed (via Jörg Buttgereit’s Nekromantik ), Malone proves herself to be a fearlessly “out there” performer, even as her director succumbs to his most unabashed schlocksploitation urges.
But as unsavoury as the material is — be warned there is a necrophilia scene that makes the pervy 1996 Canadian movie Kissed look like a Disney film — one can’t deny the sheer potency of Refn’s painstakingly composed images, even if the cumulative impact of it all leaves one feeling as empty as the glamourous amazons populating the screen.
Films that feature extensive post-mortem images of dead bodies do exist (think of the little-seen but thoughtful arthouse thriller Kissed with Molly Parker and Peter Overbridge), but normally these visuals can be found in crime procedural shows such as CSI, which specialize in giving us corpses up close and personal.