Da 5 Bloods
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I May Destroy You
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i love this movie for its unrelenting bleak view of life
On the surface The Cannibal Man is about a slaughterhouse worker called Marcos who kills a man by accident during a fight. Soon he beings to lose his grip on sanity and the body count rises as he attempts to cover up his crimes and dispose of his victims. However if you look a little deeper the film has an interesting political and gay subplot. A fascist Spain, in particular the early 70s dictatorship of Franco's regime as referred to by social status and more complex characters and situations make up the second act. The interactions between the two male characters are the most interesting, the swimming scene being a highlight. There's far more to this film that your average psychological horror film thanks to the interesting subtexts Eloy de la Iglesia added.
Sordid and macabre Spanish horror with a killer obligated to murder during a long week--Cool quirky film!!
Not a bad film in its genre, though I think the ending could've been much better had it gone another direction.
"Cannibal Man" is really not an appropriate title for this. It's more of a downbeat character study with some pretty explicit violence and political subtext.
Ihmishenki on halpaa 1970-luvun alun Espanjassa, kun duunarista tulee sattumien kautta sarjamurhaaja vakavissaan tehdyssÃ¤ mutta silti paikoin tahattoman koomisessa, verisessÃ¤ kauhudraamassa.
Loads of "man" and hardly any "cannibal". The ratio was all fucked up. This film does what many of the video nasties of the 70s/80s tried to do and cover up the lack of quality with a hamfisted political message which may or may not actually be there. Try watching this without thinking "I hear this is meant to have a deeper meaning" and you'll realise it's just a very slow film about a man who kills a couple of people and may/may not be gay.
This is the most homo-erotic horror movie I've seen since Nightmare on Elm Street 2.
Once you realize that this isn't going to be your typical fright flick, the political and cultural agendas become painfully obvious. This makes Eloy de la Iglesia a very interesting filmmaker, one not afraid to mix genre, metaphors, and meaning to get to the heart of his obsessions. It also means he flirts with self-indulgence and pretension. You decide if he crossed the line.
No moral judgements, just a crude and realistic study of the methods of a psychopath, or maybe he was just another poor and ordinary victim of the repression of Franco's regime.