Saturday, November 7, 2015
Marian Dora: The Darkest Filmography
By Lacey Paige
Cannibal (2006) - Dora’s feature-length debut began as a project initiated by established genre auteur Ulli Lommel, but was released independently by Dora in 2006 after being rejected by Lommel due to its extremely graphic, nausea-inducing content. The feature depicts a fairly accurate retelling of the events surrounding the infamous Armin Meiwes murder case. Two men—“The Man” and “The Flesh”—meet in an Internet chat room for extreme fetishists. The Man seeks a partner of which to enact his ultimate cannibalistic sexual deviances with; in a desperate search for sexualized suicide, The Flesh seeks to be killed and consumed by someone worthy of doing so. Set against a Dora-signature bleakly beautiful backdrop, with very minimal dialogue and a hauntingly poignant score, the film conveys a feeling of grim romanticism, and the darkest nether regions of sexual impulsiveness. Ultimately the men satisfy each other’s most depraved desires, and viewers are left to wonder if the terms “victim” and “perpetrator” justifiably apply to a case in which murder and cannibalism were consensual.
Melancholie der Engel (The Angels’ Melancholia, 2009) – An exploration of impulsive immorality and diabolical devilishness, Dora’s second feat portrays the final days of Katze and his noxious camaraderie with life-long partner in crime, Brauth. Death is imminent for Katze, so he and Brauth set out to engage in terminal tyranny in an old decrepit house that holds the ghastly secrets of their past debaucheries and deviances. Along with two other acquaintances, the two friends endeavor to traverse the subterranean depths of sinfulness, engaging in the most vile and vicious behavior inhumanely possible. The film is a nihilistic journey through the darkest recesses of a defective human psyche. This particularly soiree into sadism includes copious authentic on-screen animal killings, scat porn, vaginal penetration with a knife, pig slaughter and the perverse defilement of its carcass, and just about every other disgusting depiction of death, decay and defecation one could possibly think of. But the explicit content of the film is contrasted rather poetically by Dora’s cinematic prowess and virtuosity for the vulgar. The film is a 2 ½ hour-long test of endurance for those who, for whatever god-forsaken reason, wish to immerse their minds in an expedition of unfiltered evil.
Reise nach Agatis (Voyage to Agatis, 2010) – An extension of Dora’s previous short film, “Caribbean Sunrise”, Voyage to Agatis follows a nefarious sadomasochistic couple who are experiencing a low point of their relationship and thus seek out a beautiful young blonde to accompany them on a yacht trip, and subsequently inflict their darkest, most depraved fantasies upon. The events that transpire are a gut-churning portrayal of misanthropic immorality, sexual sadism and morbid malevolence—all juxtaposed against Dora’s signature stunning cinematography and the lush backdrop of the Croatian coasts. Voyage is another Dora-esque portrayal of the inhumane carnage that deviants are capable of inflicting upon other living beings.
Debris Documentar (2012) – Arguably his filthiest yet least violent feature, Dora’s Debris Documentar is introduced as a prelude of sorts to Melancholie der Engel, and according to the director himself is, for the most part, an accurate chronicle of lead actor and Dora regular Carsten Frank’s life. The absence of English subtitles makes any semblance of a plot difficult to follow at times, but the juxtaposition between mundane every-day human existence and grotesque curiosities speaks for itself. Although thematically similar, Debris lacks the poetic resonance and morbid melancholy that Dora’s cinematic prowess exhibits so flawlessly in Melancholie and Cannibal. At its core, the revolting imagery that is delivered in spades in this film functions as a metaphor for human waste and the futility of human existence. Every frame is occupied by festering human filth and the process in which it is exits the body—excrement, urine, bile, cum, mucous… Dora once again explores repugnant fetishes such as coprophilia, scatophagia, genital mutilation, regurgitation, and the list goes on. But it is worth noting that aside from the inclusion of dead animal carcasses, the film contains no killing or graphic violence until the last act.
Carcinoma (2014) – Dora’s most bitingly visceral and horrifically human soiree into sick, sadistic cinema yet, Carcinoma chronicles the trials and tribulations of a man diagnosed with colorectal cancer, who refuses treatment and establishes a carnal fixation on the tumor that slowly siphons the life out of him. Definitely not recommended for the average hypochondriac, or person(s) who suffer from a deep-seeded fear of the inevitable, bodily decay, Carcinoma explores the vast array of emotions and mental states that accompany the diagnosis of terminal illness. The manifestation of the tumor is pathologically exaggerated over the course of a two-year period, where the character experiences phases of aggression, counteracted by periods of non-aggression, and then descends into a deep depression before suppressing the situation through denial. Eventually the man accepts the tumor as part of his body, which eventually evolves into an erotic obsession. The project was designed to adhere to accurate medical research, and is the reconstruction of real-life events. Although medically accurate, the film is presented in an unorthodox fashion: but the circumstances and exact chronology of the illness are what sets the film in the realm of fantasy. Dora hired a team of certified medical professionals to supervise the production of Carcinoma in order to maintain the legitimacy of the case.