100 Essential Films That Deserve More Attention - 20. Reflections of Evil

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Reflections of Evil

Director - Damon Packard

Country - USA

Year - 2002

Runtime - 138 Minutes

In 2013, Escape from Tomorrow enamoured audiences at the Sundance Film Festival with its audacious approach to guerilla film-making. Sequences of this fantastical horror were secretly shot inside Disney World, Florida, and although the film as a whole was flawed, this generated enough hype and publicity to garner Escape From Tomorrow a cult following.

It escaped my attention until a few years later that another bold and intrepid film-maker had explored this very idea before, albeit with scenes captured at Universal Studios over a decade earlier. The end result was Reflections of Evil, an unconventional masterpiece that subverts the film-making techniques used by so many Universal Pictures features to confront and provoke audiences in a far more effective way than Escape From Tomorrow did. I recommend this film cautiously, as its radical perspective is divisive among cineastes; some (myself included) claim it to be a breathtaking achievement, whilst others view it as worthless garbage. I would expect that those with an open mind set will surely revel in the warped world of Director Damon Packard.

The bizarre sensibilities of Packard are apparent from the very first scenes of his film. We are introduced to Reflections of Evil by none other than actor Tony Curtis whose voice has been dubbed over to convince us that the words of immense praise he is expressing are directed towards star and Director Damon Packard. When Packard's character eventually appears on screen - a larger than life bumbling watch salesman - he proceeds to fail miserably whilst selling watches, vomits intermittently and occasionally stumbles headfirst on to the floor, spraying blood over the pavement with every exaggerated impact. These are not the acts of a sane individual, nor are they the actions you would expect to see depicted by a credible film-maker, but the humourous delivery of Packard's encounters work well with the gross out elements and will certainly help to establish if this is a film you would be willing to sit through. At this point, my curiosity had been suitably enticed, how on earth would this deranged opening segment be sustained into a film that lasts close to two and a half hours?

The carnage continues in a similar vein for the next two thirds of the film, with little discernible plot to speak of - imagine if Lynch and Linklater collaborated on a Troma picture - and the onslaught of violence, foul imagery and erratic camera movements will inevitably leave viewers drained. Stick around for the ride though and you will reach the films crescendo into brilliance as Packard's character descends upon Universal Studios, the culmination of his constant beration of Spielberg's cinematic world through cheap imitations that showcase his perverted sense of humour.

Here we take a darkly hilarious journey through the E.T. ride and also see the directors own interpretation of a film related attraction that is so twisted I find it hard to believe that Packard followed through with it. The foul, disgusting character we are introduced to is finally superseded in repulsiveness by an abhorrent concept that is cruel and shocking yet utterly engaging. If you have the stomach to sit through the previous two hours of the film then there is a very high chance that you will appreciate the route Packard takes. This is black humour so close to the bone you will begin to question your own morality if you find yourself amused by his heartless creation.

There are only certain types of audiences who are going to enjoy this film - hell, I haven’t even risked showing this to some of my closest friends, but I can imagine it going down particularly well in the late night slot at a horror festival. There is nothing quite like it out there and films that tread a unique path will always appeal to me, particularly when they are pushing the boundaries of that which is deemed acceptable. If, like me, you get a kick out of the depraved side of cinema, then hopefully my praise for Reflections of Evil will be enough to convince you to take a punt on this crazy piece of guerrilla film-making.

If you take the time to watch Reflections of Evil then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 19. The Cremator

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

The Cremator

Director - Juraj Herz

Country - Czechoslovakia

Year - 1969

Runtime - 95 Minutes

Cremating human bodies is a rather unappealing profession, which raises alarm bells when we meet Kopfrkingl (Rudolf Hrusinsky), a cremator who seems to take far too much pride and enjoyment in the self-proclaimed ‘crucial’ role he plays in society. Set during the build-up to the outbreak of World War Two, Kopfrkingl heeds the advice of an old war friend to be as ‘Aryan’ as possible in the pursuit of self-preservation and to further his career. This prompts a troubling conundrum for the cremator, as his wife is Jewish and they have a son and daughter who exhibit characteristics of the race he is eager to distance himself from.

For a man who burns dead bodies almost daily (and eloquently vents his frustrations that society doesn’t condone cremating on Christmas day), Kopfrkingl is incredibly relaxed and assured. He is a presentable and polite man, even if the views he develops are a huge cause for concern, and he remains calm in any given situation. When the cremator begins to demonstrate the behaviours of a psychopath it doesn’t come as a surprise; his demeanour is peculiar from the outset, and his morbid fascination with death leads him to believe that he is the saviour for all who enter into his sacred crematorium.

This is a dark and disturbing film that has perhaps been unfairly labelled with the horror genre over the years; yes - the situation is horrific, but the approach taken by director Juraj Herz is more akin to that of a surreal black comedy. Those expecting a traditional horror could be disappointed as this is not a scary film, even if the warped art house sensibilities do have their roots in the macabre and the storyline is deeply unsettling. The care and attention taken in the delivery of this twisted tale makes it a worthwhile viewing experience for those who approach the film with an open mind-set, providing you are not jaded by the labels given to it by others that can lead to inaccurate presumptions being made.

When the film starts the musical accompaniment is a sombre symphony; the perfect partner to the funereal atmosphere that pervades the crematorium parlour. This solemn sound evolves into a surge of pomp and circumstance, chiming with the cremator’s rise to power as his desire for success propels him into the limelight of the Nazis. From Kopfrking’s own perspective his character arc may be a crescendo of glory but it is a bleak and horrifying tale for outsiders. Thus the soundtrack is fitting for its main character but it is in stark contrast with the emotional journey experienced by the viewer.

At key moments in the film, particularly during stunning scenes inside the heart of the crematorium, Herz distorts our view with the use of a fish eye lens. This hints at the warped view Kopfrkingl has of the world and exaggerates the strangeness of his outlook on life, as well as emphasising the intensity of these unnatural moments by making the audience feel uneasy and off kilter. A sequence in which he heartlessly pursues an unfortunate victim through his stacks of coffins features mesmerising cinematography, combining a beautiful vision with disturbing actions in an amalgamation of contrasting moods that is both provocative and fascinating to behold.

With the story taking place in a testing time for the Czechoslovakian population, Herz delves deep into the political and social upheavals of the time, and does so in a manner that both intrigues and educates. It is frightening to witness the blind faith that guides those who believe in the final solution and the lengths that individuals will go to in order to secure their own successful future. The final haunting scenes evoke an overwhelming sense of dread; we have witnessed the full extent of the cremator’s insanity, and although it is a fitting finale, it is one that makes your skin crawl as it leaves a lasting impression of a cruel and unforgiving time in history.

If you take the time to watch The Cremator then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 18. Taste of Fear

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Taste of Fear

Director - Seth Holt

Country - UK

Year - 1961

Runtime - 81 Minutes

Hammer horror films are synonymous with all things gothic and macabre; traditional horror tales featuring gloomy castles and stereotypical villains that perhaps haven’t dated so well and occasionally veer into camp territory. This is by no means a comment on the quality of the studio’s output but a reflection on how far the horror genre has come since one if its defining eras, as the once shocking moments can often seem tame in comparison to the violence, gore and relentless jump scares that today’s audiences are accustomed to. A Hammer film that has avoided this pitfall is the suspenseful thriller Taste of Fear; a horror that has more in common with classics of the genre such as Psycho and Les Diaboliques than the usual gothic tendencies associated with the studio. It relies on sharp storytelling and sidesteps the hallmarks of the genres villains we are all familiar with, providing audiences with visceral thrills that still maintain the power to startle.

Susan Strasberg is Penny Appleby, a young wheelchair bound lady who visits her father’s remote mansion on the coast of France. Upon arrival she is greeted by her new stepmother, Jane (Ann Todd), who informs her that her father is nowhere to be seen. Later that night, Penny explores the grounds of the house and has an unsettling encounter with what appears to be her father’s dead body. She enlists the help of her father’s chauffeur who gave her a lift from the airport, Robert (Ronald Lewis), to find out if her imagination is playing tricks on her or if there is something more sinister afoot. This simple yet effective premise provides an intriguing mystery that even the most attentive viewers are unlikely to piece together until all is revealed in the film’s gripping final act.

Shot in black and white, the film utilises shadow and lighting to evoke a sinister atmosphere, adding to the sense of fear as Penny grapples with both her emotions and her stepmother to uncover the truth. The set locations are full of character, with the foreboding and rarely used swimming pool that lurks in front of the house being a source of much anxiety for Penny and her disability, along with the precarious cliff tops that act as a natural barrier between the house and the shoreline. Interiors lit eerily with candle light hint at the magnificence of her father’s fortune; the decadence of grand pianos and ornate dining tables showcase a homestead that has been adorned with riches that one can believe might drive a greedy person to murder another.  

With a runtime of only 81 minutes, Taste of Fear packs a lot into its short duration. Almost every shot is used to propel the story forward, giving us a glimpse into the shrouded secrets that torment Penny, and bringing us closer to the horrifying truth of the situation. This is a masterclass in taut screenwriting; all loose ends are addressed before the film’s finale, and we are given a clear indication of each character’s motivations. We may not be able to relate to that which compels them to commit heinous acts but we can certainly understand what drives them to such extreme actions.

The involvement of Hammer stalwart Christopher Lee is a welcome addition to the proceedings, his portrayal of the dignified and reserved Dr Pierre Gerrard, a close friend of Mr Appleby, is a grounding performance that merits further attention. His intentions appear to be genuine but his closeness with Jane means that Penny is understandably dubious about his trustworthiness. Ronald Lewis also delivers as the stoic chauffeur, aiding Penny in her search and literally carrying her through her darkest hours, his openness and bluntness offering Penny a respite from the horror she finds herself in. It is unsurprising when hints of a budding romance between the two begin to show, and it is pleasing that such an endearing character like Penny has found the support and love to remove some of her vulnerabilities.

It is Strasberg and Todd that are the real stars of the show though. As Penny and Jane begin an amicable relationship that gradually progresses into a downward spiral of suspicion and mistrust, the two actors deliver staggering performances and lead us into an unforgettable final confrontation. The whereabouts of Penny’s father will come as a revelation but there are far more disturbing secrets that leave us in as much shock and awe as the main characters, ensuring that this is a film that demands repeat viewings to appreciate the subtle clues and intricacies that become apparent the second time round.

An underappreciated landmark in horror cinema, Taste of Fear deserves to be revered by all film fans who delight in the mischievous nature of a cleverly executed screenplay that twists and turns to its final resolution. It could easily stand alongside much of Hitchcock’s work in exemplifying everything that was enthralling about British cinema in the 60’s and, in my eyes at least, it is one of Hammer horror’s crowning achievement.

If you take the time to watch Taste of Fear then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 17. The Unknown

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

The Unknown
Director - Tod Browning

Country - USA

Year - 1927

Runtime - 63 Minutes

Tod Browning is a renowned director, actor and screenwriter from the latter days of silent cinema, most famous for his controversial classic Freaks and his adaptation of Bram Stoker's Dracula. Freaks is a provocative expose on the inherent evil of human nature that was banned for years after its initial release and cast a shadow over the remaining years of Browning's career. It explores the seedy underbelly of a circus and its side show performers, and a film like it could not be made today.

Many of Browning's films explored the darker side of the circus; his curiosity in the lives of those who were shunned or outcast from society for their appearances showcased a world hitherto unseen by most of the general public. These pictures have added resonance for today's audience, providing us with a glimpse into an exploitative existence that is thankfully no longer common place. The Unknown does not traverse this path as vigorously as Freaks but it is clearly a foreshadowing of where Browning was headed in terms of direction and storytelling.

Whilst it is revered by those who have seen it, The Unknown is not noted as a landmark in the annals of horror history and is regularly overlooked in favour of Dracula and Freaks. Its unsettling story line and macabre tale of unrequited love makes for a compelling viewing experience that is far more chilling than Browning's Dracula, although it doesn't quite match the twisted audacity of Freaks.

Time has been unkind to a lot of early horror; what was once scary or shocking can eventually appear tired and stale, even if it was groundbreaking for its era, and this can detract from the overall impression of the film. The Unknown has avoided suffering from this fate and remains essential viewing, perhaps in part due to its central conceit - an impressive sleight of hand that is inventive and fascinating. Its story lies firmly in the shocking camp as opposed to being scary, although there is no doubt that this sadistic tale retains the power to creep under the audience's skin.

The story centres around Alonso (Lon Chaney), an armless knife thrower who uses his legs to perform his spellbinding act. Alonso takes refuge in the circus when on the run from the law, and here he falls for the circus owner's daughter, Nanon (Joan Crawford), and competes for her affections with Malabar the Mighty (Norman Kerry), the circuses very own strong man.

The circus owner is perturbed by Alonso's approaches towards his daughter and lashes out at the helpless knife thrower, causing a rift between the two that leads to more violence and bloodshed. Once her father is out of the picture, Alonso takes action to secure his place in Nanon's heart. Aware that she despises being touched by men, Alonso encourages Malabar to pursue her affection, content with the knowledge that Nanon will continue to recoil from his touch. Thus begins a volatile and disturbing love triangle that is the driving force behind a drastic and life-altering decision.

Chaney's performance is mesmerising considering the physical limitations imposed upon him by the role. It may be unsurprising to learn that he is referred to as the man behind a thousand faces due to the chameleon like transformations he would apply to each of his characters, particularly those he portrayed in the horror genre. His pairing with director Browning was a successful collaboration that gave rise to many fascinating characters, and The Unknown is undoubtedly one of their crowning achievements. Crawford herself said that it was Chaney's intense concentration and dedication to his craft in The Unknown that inspired her to become a better actress.

Sadly, parts of the film are feared missing forever. Scenes depicting Alonso's criminal escapades towards the start of the story have gone astray from the version available today. Fortunately, this does not detract from the film's impact as it is only a minor subplot, although it does leave you wondering what other memorable scenes Browning and Chaney had created whilst working on The Unknown. Many films from the silent era are now lost forever, so we should be thankful that The Unknown is available in its current guise, even if it is partly incomplete.

As you may come to expect from a Tod Browning film, the culmination of this love triangle is not a happy ending, with a devilish and tragic denouement that impressively retains its power to shock almost a hundred years after its creation. Silent cinema is somewhat of a niche interest to modern audiences but with stories as captivating and thrilling as The Unknown it will inevitably continue to attract and reward any curious film-fans who are willing to step back into time and trust in the hands of a true horror auteur.

If you take the time to watch The Unknown then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 16. Schramm: Into The Mind Of A Serial Killer

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Schramm: Into the Mind of a Serial Killer

Director - Jorg Buttgereit

Country - Germany

Year - 1993

Runtime - 65 Minutes

Many Film Directors have taken on the unenviable task of delving deep into the mind of a Serial Killer in an attempt to accurately portray the twisted motivations of remorseless murderers, whether real or fictional. German born Jorg Buttgereit is one such Director who went to extreme lengths when exploring this notion. All who brave his grotesque horror; Schramm: Into the mind of a Serial Killer, will experience a disturbing facet of the carnal instincts that can drive a man to butcher his own kind, in a film that shows us the horrific last days of a fictional murderer known as the Lipstick killer.

Buttgereit’s most infamous film is Nekromantik, a notoriously sickening horror about a necrophiliac. If you are familiar with its style of exploitation in the guise of art, then you should expect more of the same in Schramm; an underappreciated head trip that visits the dark and disturbing recesses of a killer’s psyche. Just like in Nekromantik, no topic is considered taboo, and the images of torment we are subjected to throughout Schramm’s short runtime test the extremes of a viewer’s patience and disposition in the face of vile depravity. Whilst this depravity is artfully construed in places, there are elements of violence that have no redeeming qualities, and their inclusion is meant purely to shock and upset the audience. Those with a nervous disposition may wish to sidestep this recommendation entirely; these grotesque scenes cannot be unseen, even if taken as a whole they combine to create a lurid and macabre tale that challenges our preconceptions of human nature.

The lipstick killer’s story is told through a series of mesmerising flashbacks that invite us into his darkest dreams and fantasies, as well as showcasing the cruel moments of violence that he inflicts on himself and others unfortunate to cross his path. These moments are accompanied by Buttgereit’s trademark industrial soundtrack that brings a sombre mood to the proceedings; its deep, brooding synthesisers prolonging the sense of dread and unease as the lipstick killer savages innocent victims and retreats into the safety of his twisted thoughts. The pervading sadness of the music is overwhelming, evoking the sense of being at a funeral parade or being subject to a wash of negative emotions as we watch the killer’s downward spiral unfurl in front of our eyes.

The killer’s only companion in life is the hooker next door who brings out his compassionate side and protective nature, as he taxis her to lucrative yet dangerous jobs. When clients visit her at home he struggles to hold back his animalistic urges and we are forced to watch as he acts on his inner desires in an uncomfortably voyeuristic scene.  The subsequent nightmare he suffers feels like the bastard child of Lynch and Cronenberg; a perverse slice of body horror that defies description and manages to top the excruciating sequence of genital mutilation that confronts us earlier on in the story.

Those involved in creating the special effects have succeeded in depicting all of the grim details in a very realistic manner. The gore on show is incredibly visceral, and Buttgereit frames it centre stage, adding to the sense of realism as we see in close detail the butchery of various body parts. The grain of the film stock enhances the feeling that we are watching a homemade snuff film, and the erratic camera work adds to this uneasy atmosphere. There is a raw brutality to Schramm that is troubling, even when we know that the scenario is fictional and the acts of wanton violence we are exposed to are not really happening. This is the work of a warped mind, and a provocative journey for anyone who is willing to take it, regardless of your predisposition for films that tackle such a dark and horrific subject matter.

If you take the time to watch Schramm then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 15. Angst

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Angst

Director - Gerald Kargl

Country - Austria

Year - 1983

Runtime - 87 Minutes

Angst: ' a feeling of deep anxiety or dread, typically an unfocused one about the human condition or the state of the world in general.' The feeling of dread and anxiety you will experience when watching Gerald Kargl's masterpiece will undoubtedly leave even the most desensitised viewers unsettled. Angst is Kargl's only feature film, and what an incredible film it is, portraying the brutal, murderous rampage of a twisted killer in a style that left an indelible mark on extreme cinema. Gaspar Noe (Irreversible, Enter The Void, I Stand Alone - also featured in this series) cites Angst as a huge influence on his oeuvre and his films certainly come close in matching the intensity and raw horror of the sickening events that are depicted in Angst.

An under-appreciated landmark in Austrian horror cinema (perhaps the only landmark!), Angst follows the events of a deranged serial killer over the course of two days as he embarks on a series of violent and unprovoked attacks on the innocent people he encounters. The violence depicted is bloody and savage - a cruel display of the worst aspects of human nature. This may be shocking to behold but its true power lies in the craftsmanship of those involved. What could have been a lowbrow B-Movie transcends into the realm of a horror masterpiece thanks to the director's artistic prowess. The seemingly frenzied yet meticulous camerawork and excruciating but hypnotising long takes offer a glimpse into a savage world that is rarely displayed with such appreciation for the cinematic medium. The intensity of the violence is matched by a nerve-shredding soundtrack that claws its way under your skin and exacerbates the relentless nature of the on-screen carnage.

Angst passes by at a breakneck speed - and its short runtime is necessary for a picture of such ferocious barbarity – two hours of this cruelty would be too much for most to take. Its grim exploration of a psychopath’s existence sidesteps the exposition for any of his motivations and shoves the viewer straight into a barrage of frantic and disturbing sequences. For this reason, those with a nervous disposition should steer well clear of Angst but those with a thirst for the darker side of cinema should seek it out immediately, as it will not disappoint.

Erwin Leder’s portrayal of the nameless killer is incredible to behold. His character’s cold, evil glare transforms into an intense excitable stare when he acts on his violent impulses, taking pleasure from the suffering of others and clearly relishing the pain he inflicts on his victims. All of those who fall foul to his nefarious ways appear genuinely terrified and rightly fearful for their lives. These enthralling performances heighten the sense of realism, making the graphic depictions of violence even more shocking.

It is rare for the impact of horror films to not diminish over time. The advancement of techniques used within the genre; the gradual cultural shifts that leave past fears behind, and the constant attempts of horror film directors to push the boundaries of acceptability all play their part in disrupting the expectations of a modern viewer. Angst has somehow managed to avoid the common pitfalls of a horror film that is thirty five years old and remains a confrontational, provocative, and horrific experience that should not be missed.

If you take the time to watch Angst then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here