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A serbian film is really one fucked up movie. So fucked up, that the only way someone would ever conceive a movie like this, is if the those making it are equally fucked up too. I dont think any other movie will top the shock value of this one for a long while. It made Human Centipede and Hostel look like disney movies in comparison. In fact these are the type of movies, should never even be made.
kagabi pinanood ko yung after life ni cristina ricci/justin long/liam neeson
grabe nakakapraning siya
Yeah, word has it, that the movie was supposed to be a metaphor about what is going on in serbia. Like the director was supposed to be the serbian government hypnotizing people to do crazy sh!t like this. But I bet even murderous dictator would never conceive such a film. Besides, I do believe that the makers of this film are as malevolent as those they try to metaphor. Its like trying to explain someone what its like being a rape victim by making them as traumatized as the rape victim is. If its so terrible, then why would you want other people to go trough it? The makers of this one really attempted traumatizing its audience with this move. Kaya nga, political propaganda my @ss.
Wouldnt even recommend it to hardcore horror junkies, because its really one of those films that can psychologically damage you if you are weak minded. Although of course its just a movie and everything is just simulated, it was so well made, so well conceived, that its more gripping than any snuff film that is out there. To its credit, I do agree that it is well made as far as the technical aspect is concerned.
Ano ba tong A Serbian Film na ito? Meron ba to sa YouTube? na-curious tuloy ako..
I watched Serbian film out of curiosity also. It has the worst scenes ever possible in film..involving unbelievable cruelty. It also involves some lines which should never be crossed involving a kid and a newborn..I wont say anymore..but I warned you.
But if I were you, Id really take the warning. There are some images here that your gonna see that you can not unsee. It sticks in your mind, and as I said this is one of those films that can literally traumatize you. Personally, had it not been for the other crazy sh!t I have seen on film in the past, had it not for me knowing before hand the spoilers I would have been seeing a psychologist siguro. Ilang araw din ako nalamig at naghina sa tuhod after watching it. And I aint exaggerating either
Its not even the gore thats disturbing here. Its the perversions itself of the people and what they were willing to do thats so disturbing. Plus its also well made kaya maganda shock effect nya.
But anyway dude, your a grown up person, still though Id hate to see your ind ****ed up over this. Proceed with extreme caution.
^^nabasa ko nga synopsis nito sa wiki, totally NOT for me to watch. tingin ko matutulala ako nun ng ilang weeks.
a serbian film? lost appetite sa pron
^Trailer pa lang ng A Serbian Film, napa- na ako. UNF.
Eh. Parang ayaw ko talaga panoorin yung A Serbian Film.
Some of the online sa isa pang forum eh sobrang sick and disturbing daw talaga.
Sabi ng isang user:
I don't know why I replied to this because I don't really want to talk about it (the friend I went with walked out of the theatre in tears, it was a really devastating experience for her).
MEAT GRINDER (thai movie)
Bottom Line: This gory feast of murder and cannibalism may convert you into a vegetarian.
BUCHEON, South Korea -- Thanks to "Meat Grinder," Thai cinema now boasts its own Sweeney Todd in the form of a female psychopath who grinds her victims into meatballs for noodle soup. Tiwa Moeithaisong (who multi-tasks in direction, cinematography editing and lighting) joins the ranks of Hong Kong B-movie expert Herman Yau (whose "Bun Man: The Untold Story" is a prototype) in cooking up the kind of extreme cult Asian horror that has an intriguingly-told story, indelible protagonist and auteur style to burn.
For those who like their horror flicks raw and bloody, "Meat Grinder" is the steak tartar of the genre. For all its artsy production aesthetics and psychological insight, the film has faint hope of crossing over to the mainstream: A lot of the content is just stomach churning. So far, it has only sold to Taiwan and Hong Kong. Since its domestic release with cuts in March, "Meat Grinder" has yet to find an overseas distributor. No doubt, it will appear on the menu of some horror-themed festivals, and eventually turn up in ancillary markets.
After a grotesque prologue depicting a kitchen from hell, the protagonist Buss (Mai Charoenpura, demonstrating great emotional range) emerges from her dingy dive, to deal with the inquisitive fiance of her disappeared employee Aoi. Without further ado, the man is crucified to the carving table by his fingernails. As the story progresses, his Sisyphean escapades grimly result in more body parts being lopped off.
The bloodiness just escalates as more prey turn up, motivating Buss to expand her business from street-side noodle cart to a full-fledged restaurant business. Complications arise when she meets and falls for Attapon (Rattanaballang Tosawat) during a student riot. The gullible man takes a while to wonder why she stockpiles sedatives from his pharmacy.
The structure of "Meat Grinder" is complex, modulating between past and present, reality and fantasy in an enigmatic stream of consciousness. The dazzling alternations from color to monochrome intensify the sense of disorientation, thus establishing empathy both for the victims and the hallucinatory Buss. The plot is also strewn with dark twists, (especially one regarding "family recipes") that are meaty enough to be standalone films-within-films.
Sometimes the cinematography feels like a parody of the Philippine new wave -- conveying bleak realism in somber black-and-white. Other times, the colors are stingingly saturated. Mingled with mellow lighting and a swooning romantic score of Thai oldies, the images of mutilation and disembowelment, crosscut with Buss giving Attapon an arousing massage are uncannily imbued with the romantic sensuality of a Wong Kar Wai film.
As much as Buss' crimes repulse or titillate, the film prevents the audience from passing hasty judgment by elucidating her motives (often expedient or defensive) through a humanizing and arguably feminist perspective. Flashbacks reveal an abusive upbringing, her tender love for her daughter Bua (Tirachaya) and the highly unsympathetic nature of most victims -- from greasy, horny loan sharks to a cheating husband. By the end, it is hard to say which is more harrowing, her tragic life or the murders she compulsively commits.
kadirs naman yang grotesque at meat grinder