Ruggero Deodato
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Connections, in both directions
Still, with that in mind, it's interesting to see how Roth's fanboyish impulse to top "Cannibal Holocaust" director Ruggero Deodato and his Italian contemporaries winds up inadvertently revealing the relatively humanizing aspects of "The Green Inferno" as a cultural critique.
Between one of the captives experiencing a bout of explosive diarrhea and another formulating a plan to get their captors high by stuffing a corpse with a bag of weed, it seems as if Roth was as inspired by Cheech and Chong as he was by Ruggero Deodato (whose notorious “Cannibal Holocaust” provides “The Green Inferno” with its title — the exact same as found-footage forerunner “Cannibal’s” film-within-a-film).
While not as luridly violent or extreme as that notorious touchstone Cannibal Holocaust directed by Ruggero Deodato, it's still a full-on, nerve-rattling experience.
The story of Cannibal Holocaust and The Green Inferno is the tale of two different approaches to horror filmmaking.
Kong: Skull Island (2017)
Directed by Jordan Vogt-Roberts
influenced by Cannibal Holocaust (1980)
Visuals
His take on Kong is densely packed with references to earlier movies; not just the original King Kong, but also contemporary monster movies like Predator and Jurassic Park (there’s a very cute shout-out to that film in Jackson’s dialogue) and even left-field homages to, oh, Cannibal Holocaust.
The most notable of these involves a scene in which a giant spider impales one man from the mouth to his bottom, eerily recalling the famous impalement scene from Cannibal Holocaust that got its filmmakers brought up on charges of obscenity and later murder.
One minute, it’s bombarding you with comic ultraviolence and gore that would not be out of place in The Evil Dead or Cannibal Holocaust, and the next it’s legitimately very funny.
Censors would have never allowed him to stab a man through the throat with a spider leg, an image lifted directly from the banned 1980 exploitation flick Cannibal Holocaust.
Censor tells a story set in the trash-horror film world of the 1980s—in Britain, the era of gut-ripping "video nasty": pictures like Cannibal Holocaust, The Driller Killer, and Gestapo's Last Orgy.
One of the first “video nasties” was Abel Ferrara’s The Driller Killer , others include Wes Craven’s The Last House on the Left , Cannibal Holocaust , and I Spit on Your Grave .
Think Abel Ferrara’s The Driller Killer , or Cannibal Holocaust : eerie exercises in sociopathy that thrill their fans and terrify their detractors.
Blair Witch (2016)
Directed by Adam Wingard
influenced by Cannibal Holocaust (1980)
Visuals Plot Themes
The “found footage” conceit seemed fresh and new (particularly to people who’d never heard of Ruggero Deodato’s 1980 found footage nasty, Cannibal Holocaust), and audiences flocked to the movie in droves.
Mockumentary and found footage had been done before (see 1980's Cannibal Holocaust), and the art houses were awash at the time with semi-improvised films shot on handheld digital rigs, for example.
Predecessors include Ruggero Deodato’s 1980 Cannibal Holocaust , which beat Myrick and Sánchez to the punch by nearly two decades, while Stefan Avalos and Lance Weiler’s The Last Broadcast premiered the year before The Blair Witch Project took Sundance by storm.
Although technically not the first of a kind (the dreadful Cannibal Holocaust owns that medal), Daniel Myrick and Eduardo Sanchez’s low-budget romp through the woods popularized it.
A blood-soaked anti-imperialist fable and intertextual genre movie it most definitely is, it references everything from The Most Dangerous Game , The Cars That Ate Paris and Cannibal Holocaust to Mad Max: Beyond Thunderdome , but the film is equally – more importantly – a staunch celebration of home, land and communal bonds.
One could easily make the argument that for all its ingenuity (including introducing the found-footage format), Ruggero Deodato’s depraved 1980 grindhouse splatterfest Cannibal Holocaust was itself “elevated horror,” despite going about as low as a movie could possibly go.
Y todo esto es un coqueteo tiene mucho que ver con la vieja herencia del found footage desde Cannibal Holocaust (1980) hasta REC (2007) pasando por The Blair Witch Project (1999) (que aquí tiene varias citas puntuales con moco y cámara cercana) y la olvidada Incident in Lake County (1998).
Two movies have accomplished this masterfully, Ruggero Deodato's "Cannibal Holocaust" and the aforementioned "Blair Witch Project."
But as directors as disparate as Robin Hardy (The Wicker Man) and Ruggero Deodato (Cannibal Holocaust) knew, the horror doesn’t only lie in the “foreigners” our onscreen avatars find themselves among; it’s also in how “we” change, or don’t, in relation to them or in response to them.
This culminates in the film feeling like an arthouse version of HOSTEL or CANNIBAL HOLOCAUST, with detached westerners coming in to judge a different society while displaying their own horrible ways.
Tal vez, los antropólogos en pantalla son una caricatura ridícula; tal vez, sus métodos y conocimientos son altamente cuestionables; en cualquier caso, como Deodato en Cannibal Holocaust , Aster nos está convidado a ser mejores que ellos y aprender de sus errores.
As much as The Wicker Man, Midsommar owes a debt to films like Cannibal Holocaust or Colin Eggleston's Long Weekend.
Granted, praising a film for being “funnier than Hereditary” is a little like saying it has more tap-dancing than Cannibal Holocaust, but the audience at the premiere was laughing far harder and more often than I ever would have expected.
A strong constitution is certainly required for watching this early Blair Witch precursor, which purports to tell the real-life tale of a professor (Debbie Does Dallas porn legend Robert Kerman) who goes in search of missing documentarians in cannibal-infested Amazonia, discovers their celluloid last will and testament, and then watches their filmed demise at the hands (and mouths) of organ-eating tribesman.
For many moviegoers, the act is so abhorrent that its depiction must be associated with a last-resort effort to survive (Alive, 1993), an uncivilized tribe (Cannibal Holocaust, 1980), families of regressed or inbred killers (The Texas Chain Saw Massacre, 1974; The Hills Have Eyes, 1974), or a mythical spirit that compels the hunger (Ravenous, 1999).
But his work, as with the films of “Cannibal Holocaust” maven Rugero Deodato, is technically assured and has always been slyly satirical, even thoughtful — nuances that are often lost in the pursuit to eviscerate him for eviscerating his characters.
This genre tradition spins backward from The Devil Inside, District 9 and the Paranormal Activity franchise to The Blair Witch Project and, decades before, to the mega-lurid Italian atrocity films Cannibal Holocaust and Addio Zio Tom (Goodbye Uncle Tom).
Nearly 15 years after The Last Broadcast/The Blair Witch Project, and over 30 since Cannibal Holocaust, what was once a quirky way of telling a story has become commonplace.
The plot moves on 'discovered' footage (like The Blair Witch Project--and Cannibal Holocaust before it, let's face it), with cable news reports glimpsed therein revealing the first truly nasty surprise of the piece.
Like Cannibal Holocaust, which used torture and reprehensible atrocities to take on the glaring, unforgiving eye of the filmmaker, Reeves reinvents the giant creature category of horror to question our perverse POV fixation.
A cheese-fest epic full of breathtakingly stupid point-of-view shots, whip-pans, avalanches of human heads, and still-beating hearts shown to owners, Mola Ram-style, Apocalypto resembles a fever dream of Indian-fear not entirely unlike the legendary Italian exploitation flick Cannibal Holocaust.
Disney�s) answer to Cannibal Holocaust.
Director Dan Trachtenberg fashions heart-pounding set-pieces adorned by stunningly captured settings and vistas making Prey feel prestige (think Jane Campion and Werner Herzog directing Cannibal Holocaust ).
“1917” will inevitably engender comparisons to the classic tales that have come beforehand (the “Odyssey” similarities are baked right in), but Mendes has also keenly imagined it as something of a horror film, complete with an often unbearably tense score and enough shots of discarded corpses (human and animal alike) to make even “Cannibal Holocaust” look restrained by comparison.
Picture Cannibal Holocaust as an emotionally driven coming-of-age movie set within a Gallic veterinarian college, and you'll get an idea of what Ducournau (who also wrote the script) has come up with here.
As a result, films like Maniac , The Evil Dead , Cannibal Holocaust , and The New York Ripper were either cut, edited, or banned altogether.
I’d like to be the first, if I may, to partner Cannibal Holocaust with Sidney Lumet’s Network.