"Moist Vagina"

She has a moist vagina
I particularly enjoy the circumference
I've been sucking the walls of her anus
anilingus

I prefer her to any other

Marijuana

She had a moist vagina
I prefered her to any other

Marijuana

- Nirvana

[Movie] Salò o le 120 giornate di Sodoma

Salò o le 120 giornate di Sodoma (Salò or the 120 Days of Sodom), commonly referred to as Salò, is a controversial 1975 Italian drama film written and directed by Italian director Pier Paolo Pasolini with uncredited writing contributions by Pupi Avati.[It is based on the book The 120 Days of Sodom by the Marquis de Sade. Because of its scenes depicting intensely graphic violence, sadism, and sexual depravity, the movie was extremely controversial upon its release, and remains banned in several countries to this day. It was Pasolini's last film; he was murdered shortly before Salò was released.

The film focuses on four wealthy, corrupted fascist libertines in Benito Mussolini's Italy in 1944 who kidnap a total of eighteen teenage boys and girls and subject them to four months of extreme violence, sadism, sexual and mental torture before finally executing them one by one. The film is noted for exploring the themes of political corruption, abuse of power, sadism, perversion, sexuality, and fascism.

Although it remains a controversial film to this day, it has been praised by various film historians and critics, and while not typically considered a horror film, Salò was named the 65th scariest film ever made by the Chicago Film Critics Association in 2006.

The film is set in the Republic of Salò, the Fascist-occupied portion of Italy in 1944. The story is in four segments loosely parallel to Dante's Inferno: the Anteinferno, the Circle of Manias, the Circle of Shit, and the Circle of Blood.

Four men of power, the Duke (Duc de Blangis), the Bishop, the Magistrate (Curval), and the President (apparently Durcet) agree to marry each other's daughters as the first step in a debauched ritual. With the aid of several collaborator young men, they kidnap eighteen young men and women (nine of each sex), and take them to a palace near Marzabotto. Accompanying them are four middle-aged prostitutes, also collaborators, whose function in the debauchery will be to recount erotically arousing stories for the men of power, and who, in turn, will sadistically exploit their victims.

The story depicts some of the many days at the palace, during which the four men of power devise increasingly abhorrent tortures and humiliations for their own pleasure. In the Anteinferno segment, the captures of some victims by the collaborators are shown, and, later, the four lords examining them. The Circle of Manias presents some of the stories in the first part of Sade's book, told by Mrs. Vaccari (Hélène Surgère). In the Circle of Shit, the passions escalate in intensity from mainly non-penetrative sex to coprophagia. A most infamous scene shows a young woman forced to eat the feces of the Duke; later, the other victims are presented a giant meal of human feces. The Circle of Blood starts with a black mass-like wedding between the guards and the men of power, after which the Bishop has sex with a male victim. The Bishop then leaves to examine the captives in their rooms, where they start systematically betraying each other: one girl is revealed to be hiding a photograph, two girls are shown to be having a secret sexual affair, and finally, a collaborator (Ezio Manni) and the black servant (Ines Pellegrini) are shot down after being found having sex. Toward the end, the remaining victims who chose to not collaborate with their fascist tormentors are murdered through methods like scalping, branding, tongue and eyes cut out as each libertine takes his turn to watch, as voyeur.

The film's final shot portrays the complacency, myopia, and desensitization of the masses: two young soldiers, who had witnessed and collaborated in all of the prior atrocities, dance a simple waltz together. - Wikipedia

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[Movie] Irreversible

Irréversible (2002, France) is a film written, directed, edited, and photographed by Gaspar Noé. It stars Monica Bellucci and Vincent Cassel. Several reviewers[who?] declared it one of the most disturbing and controversial films of 2002. The film employs non-linear narrative. The music is by French electronic musician Thomas Bangalter, who is best known as half of the band Daft Punk.

Irréversible won the "Bronze Horse" award at the Stockholm Film Festival and competed for the Palme d'Or at the 2002 Cannes Film Festival,[1] as well as the "Best Foreign Language Award" by the Film Critics Circle of Australia. It was also voted "Best Foreign Language Film" by the San Diego Film Critics Society (tied with Les Invasions Barbares).

Irréversible contains thirteen scenes presented in reverse chronological order.

The beginning of the film (that is, the chronological end of the story) features two men talking in a small apartment suite. One of them is the "Butcher", the protagonist of Noe's previous film, I Stand Alone. In a drunken monologue, the Butcher reveals that he was arrested for having sex with his daughter, which happens in I Stand Alone. Their philosophical musings shift to the subject of a commotion in the streets outside, which is derisively attributed to the patrons of a nearby homosexual S&M nightclub called "The Rectum."

Minutes earlier, two men named Marcus (Vincent Cassel) and Pierre (Albert Dupontel), are escorted out of that nightclub by the police. Marcus is on a stretcher, apparently injured, and Pierre is in handcuffs. Men on the streets shout anti-gay insults at them. Earlier that evening, Marcus and Pierre arrived at the club in a frantic search for somebody nicknamed le Tenia — "the Tapeworm". Marcus finds the man believed to be le Tenia and attacks him. The man pins down Marcus, then snaps his arm and attempts to rape him. Pierre rescues Marcus by bludgeoning the attacker's face using a fire extinguisher, brutally and fatally crushing the man's skull after repeated blows. During the onslaught, the real le Tenia is seen bemused by the situation.

Before entering the club, it is learned that Marcus and Pierre went in search of le Tenia after questioning several prostitutes. Apparently their goal is retribution for someone's rape. They track down a transsexual prostitute named Concha who identifies the rapist as le Tenia after Marcus threatens to slash her with a piece of broken glass. Concha also reveals that the rapist is likely to be found at a nightclub called The Rectum.

Marcus and Pierre were aided in their search by a street thug named Mourad and his friend. Mourad promised to help them find le Tenia for money so that Marcus could have his revenge, rather than leave the matter to the police. It is revealed that le Tenia anally raped Marcus's girlfriend Alex (Monica Bellucci), and placed her in a coma by beating her severely. - Wikipedia

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[Movie] No Moriré Sola (I’ll Never Die Alone)

Rape-revenge flicks are a particularly tough sub-genre. Not only are they literally tough, as in brutal, but they’re difficult movies to juggle in a moral sense. If a horrorphile says they get off on monster movies, that’s fine, if they say they get off on slasher flicks, that’s cool, if they say they get off on torture-porn, that’s okay, but if they say they get off on rape-revenge movies, it sounds a little dodgy. The depiction of rape on screen is still considered one of the last taboos of filmmaking, especially if its used in the context of an exploitation flick.

I’ll Never Die Alone (2008), a low-budget Argentinean movie directed by Adrián García Bogliano, bears a few similarities to I Spit On Your Grave, chiefly in its protracted rape sequence (although nowhere near as long), but also in its rural setting and the systematic savage revenge against several male attackers. But I’ll Never Die Alone is intrinsically different. The visual style and cinematic conviction, although bearing the hallmarks of guerrilla filmmaking, is of a “high calibre”. This is hardened exploitation wearing a high level of distinction.

Four attractive university students, Leonor (Marisol Tur), Moira (Andrea Duarte), Carol (Gimena Blesa) and Yasmin (Magdelena De Santo) are driving home through the sub-bleached rural community of the La Plata region in Argentina. There journey is interrupted when they pass a mortally-injured woman beside the road. Not far into the undergrowth they spot the perpetrators; three men illegally hunting the wild life. The four girls manage to rescue the semi-conscious woman and swiftly drive to the local village and its police station, but the woman dies in the backseat.

The sergeant (Rolf Garcia) starts the paperwork when the van with the hunters arrives. It turns out they’re his plain-clothes superiors. The girls quietly panic and after being released they skip town pronto. But the van is in hot pursuit and the police order them to stop at gun-point. The girls try to escape but Yasmin is shot and wounded. The girls are forced into the bushes and while Yasmin is tied to a tree and beaten the other three girls are each stripped naked and raped.

After Yasmin is abducted the remaining three, in a state of shock, manage to trudge through the undergrowth until they reach an abandoned cottage. But the nightmare isn’t over. The three men surprise them and further shocking violence ensues. The uniformed sergeant arrives, but he is entirely ineffectual. It’s up to Leonar and Moira, who’ve become almost mute through shock and steely determination, to settle the score.

’ll Never Die Alone, with its aggressively sensationalist statement title (just like I Spit On Your Grave), is pure modern grindhouse. Director Bogliano not only wrote the screenplay, but also camera-operated and co-edited. The cinematography with its muted greens and browns, sun-flares, and intense close-up shots, looks as if it was shot on Super-16mm. The visual style of the movie is genuinely 70s in look and feel. The sound design is heightened nature (insects, wind in the trees, creaking bark … and the ghastly squeals of ravenous boars), but also in several crucial sequences the beat of the heart thumps as adrenalin surges. This soundtrack takes on a sinister edge, as does most of the environment; the surrounding trees, even the dappled sunlight, seem to watch with a haunted indifference... - Horrorphyle

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[Movie] La Peau Blanche (White Skin)

White Skin (French title: La Peau blanche) is a 2004 Canadian horror film directed by Daniel Roby. It was released on video in the United States under the title Cannibal. This film won the CityTV award for Best Canadian First Feature Film at the 2004 Toronto International Film Festival. In this movie, two men discover that one's girlfriend isn't human at all... she's a vampiric creature that needs to feed on human flesh. - Wikipedia

Thierry Richard [Marc Paquet] and Henri Dieudonné [Frédéric Pierre] are students at the University in Montreal, as well as good friends and roommates. Thierry is white and Henri is black, which leads them into many philosophical discussions about the human races and some newly-discovered information that blackness is the original color of the species and whiteness is a genetic mutation. Thierry only knows that, as a straight white guy, he'll never be able to get his writings published. He also knows that, when it comes to skin color, he doesn't like redheads with their pale, translucent skin and visible veins.

It's Thierry's birthday, and Henri has decided to make him a present of a hooker. They hire two girls; Thierry gets the brunette while Henri takes Marquise [Jessica Malka], the redhead. Shortly after they pair off in separate rooms, Thierry becomes aware that Henri's moans have turned into screams. Thierry runs to Henri's room and finds his friend covered with blood from a knife wound to the neck. Marquise opens a window and jumps out into the street. Thierry helps Henri get to the hospital but, rather than admit they were in a whorehouse, they concoct a story about Henri being attacked in the street by a bunch of racist skinheads. - IMDB

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[Music] NON - discography

Boyd Blake Rice (born December 16, 1956) is an American experimental sound/noise musician using the name of NON since the mid-1970s, archivist, actor, photographer, author, member of the Partridge Family Temple religious group, co-founder of the UNPOP art movement and current staff writer for Modern Drunkard magazine.

NON

Under the name NON, originally with second member Robert Turman, Rice has recorded several seminal noise music albums, and collaborated with experimental music/dark folk artists like Current 93, Death In June and Rose McDowall. Most of his music has been released on the Mute Records label. Rice has also collaborated with Foetus, Tony Wakeford of Sol Invictus and Michael Moynihan of Blood Axis. His later albums have often been explicitly conceptual.

On Might! (1995), Rice layers portions of "Ragnar Redbeard"'s Social Darwinist harangue, Might is Right over sound beds of looped noise and manipulated frequencies. 1997's God and Beast explores the intersection in the soul of man's physical and spiritual natures over the course of an album that alternates abrasive soundscapes with passages of tranquility.

In 2006, Rice returned to the studio to record raw vocal sound sources for a collaboration with Industrial percussionist/ethnomusicologist Z'EV. In addition he and long time friend Giddle Partridge had planned an album titled LOVE/LOVE-BANG/BANG!, under the band name of Giddle & Boyd. In 2010, Rice announced that the album had been cancelled due to personal differences.

Crowd control

Early NON performances were designed to offer choice to audience members who might otherwise expect only a prefabricated and totally passive entertainment experience. Rice has stated that he considers his performances to be "de-indoctrination rites". Rice has performed using a shoe polisher, the "rotoguitar" (an electric guitar with an electric fan on it), and other homemade instruments. He has also used found sounds, played at a volume just below the threshold of pain, to entice his audiences to endure his high decibel sound experiments.

Rice coupled his aural assaults with psychological torture on audiences in Den Haag, the Netherlands, by shining exceedingly bright lights in their faces that were deliberately placed just out of reach. As their frustration mounted, Rice states that he:

..continued to be friendly to the audience, which made them even madder, because they were so mad and I didn't care! They were shaking their fists at me, and I thought that at any minute there'd be a riot. So I took it as far as I thought I could, and then thanked them and left. - Wikipedia

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[Music] Diamanda Galas - Discography

Diamanda Galás (born August 29, 1955) is a Greek-American avant-garde composer, vocalist, pianist and performance artist.

Known for her expert piano as well as her distinctive, operatic voice, which has a three and a half octave range, Galás has been described as "capable of the most unnerving vocal terror"[1]. Galás often shrieks, howls, and seems to imitate glossolalia in her performances. Her works largely concentrate on the topics of suffering, despair, condemnation, injustice and loss of dignity. She has worked with many avant-garde composers, including Iannis Xenakis, Vinko Globokar and John Zorn. - Wikipedia

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[Animation] Animated Soviet Propaganda (Incomplete)

Films by Jove in association with SoyuzmultFilm Studios presents

ANIMATED SOVIET PROPAGANDA

FROM THE OCTOBER REVOLUTION To PERESTROIKA

A landmark four disc Box Set

Unearthed from Moscow's legendary Soyuzmultfilm Studios (est. 1935), the 41 films in ANIMATED SOVIET PROPAGANDA span sixty years of Soviet history (1924 - 1984), and have never been available before in the U.S.

The set is divided thematically into four discs, all dealing with different subjects of the Soviet propaganda machine.

AMERICAN IMPERIALISTS (disc 1) contains seven films, almost all of which are drawn from the Cold War era. The recurring image is of the money hungry industrialist self-destructing because of his greed.

FASCIST BARBARIANS (disc 2) is a 17 film reaction to the Nazi invasion of 1941. While Americans were mocked relentlessly, at least they remained human. After breaking the non-aggression pact and declaring war, the Nazis became animals in the propaganda films, turning into snarling warthogs and depraved vultures.

CAPITALIST SHARKS (disc 3) contains six films that take on the bourgeoisie the world over - and sometimes beyond. In INTERPLANTERY REVOLUTION (1924), capitalists escaping to Mars discover the revolution has spread throughout the galaxy.

ONWARD TO THE SHINING FUTURE: COMMUNISM (disc 4) contains 11 works, most of which mythologize the state and envision the inevitable utopias of the future. Dziga Vertov's SOVIET TOYS (1924), however, offers criticism of the state. Generally agreed to be the first Russian animated film, it satirizes the communist members who cashed in on Lenin's New Economic Policy (NEP), which introduced a limited form of capitalist enterprise.

Containing 6 hours of rare material in all, this four-disc DVD set offers a fascinating look at the history of Soviet propaganda. It is an invaluable resource that displays how one of the greatest and most reclusive powers wanted their people to envision the rest of the world, as well as being an idiosyncratic tour through Russia's rich and varied history of animated art.

1924 - 1984 Russia B&W and Color

360min Full Screen (1.33:1)

In Russian with English subtitles 

- kinoondemand.com

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[Movie] Tsar

Tsar (Russian: Царь) is a 2009 Russian drama film directed by Pavel Lungin. It competed in the Un Certain Regard section at the 2009 Cannes Film Festival. - Wikipedia

In 16th-century Russia in the grip of chaos, Ivan the Terrible strongly believes he is vested with a holy mission. Believing he can understand and interpret the signs, he sees the Last Judgment approaching. He establishes absolute power, cruelly destroying anyone who gets in his way. During this reign of terror, Philip, the superior of the monastery on the Solovetsky Islands, a great scholar and Ivan's close friend, dares to oppose the sovereign's mystical tyranny. What follows is a clash between two completely opposite visions of the world, smashing morality and justice, God and men. A grand-scale film with excellent leading roles by Mamonov and Yankovsky. An allegory of Stalinist Russia. - IMDB


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[Movie] The Call of Cthulhu

At last, the stars are finally right...

The H.P. Lovecraft Historical Society presents its all new silent film of The Call of Cthulhu. The famed story is brought richly to life in the style of a classic 1920s silent movie, with a haunting original symphonic score. Using the "Mythoscope" process — a mix of modern and vintage techniques, the HPLHS has worked to create the most authentic and faithful screen adaptation of a Lovecraft story yet attempted.

This extraordinary motion picture is now available on DVD. The DVD also features a making-of documentary, high-fidelity and Mythophonic audio, special features, and intertitles in twenty-four languages. - cthulhulives.org


The film adheres very closely to Lovecraft's story, but there are a few changes. The sailors aboard the Emma first encounter the Alert abandoned at sea, rather than crewed by Cthulhu cultists as in the original story. Additionally, the film depicts the narrator present at the time of his great-uncle's death, who dies peacefully in his sleep, rather than being summoned upon the mysterious death of his great-uncle, who was presumably killed by Cthulhu cultists in the original short story. The narrator (Matt Foyer) notes as well that Inspector Legrasse, who had directed the raid on cultists in backwoods Louisiana, had died before the narrator's investigation began.

In the original story, the narrator does not seem to end in a lunatic asylum or experience any mysterious nightmares himself. - Wikipedia

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[Movie] Stalker

Stalker (Russian: Сталкер) is a 1979 science fiction film directed by Andrei Tarkovsky, with a screenplay written by Boris and Arkady Strugatsky, loosely based on their novel Roadside Picnic. It depicts an expedition led by the Stalker (guide) to bring his two clients to a site known as "the Zone", which has the supposed potential to fulfill a person's innermost desires.

The title of the film, which is the same in Russian and English, is derived from the English word to stalk in the traditional meaning of approaching furtively and not related to the contemporary meaning of harassing. In the film a stalker is a professional guide to the zone, someone who crosses the border into the forbidden zone with a specific goal.[2]

The sparseness of exposition leads to ambiguity as to the nature of The Zone. - Wikipedia

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[Movie] Andrei Rublev

Andrei Rublev (Russian: Андрей Рублёв, Andrey Rublyov), also known as The Passion According to Andrei, is a 1966 Russian film directed by Andrei Tarkovsky from a screenplay written by Andrei Konchalovsky and Andrei Tarkovsky. The film is loosely based on the life of Andrei Rublev, the great 15th century Russian icon painter. The film features Anatoly Solonitsyn, Nikolai Grinko, Ivan Lapikov, Nikolai Sergeyev, Nikolai Burlyayev and Tarkovsky's wife Irma Raush.


Andrei Rublev is set against the background of 15th century Russia. Although the film is only loosely based on the life of Andrei Rublev, its depiction of medieval Russia is realistic. Tarkovsky created a film that shows the artist as "a world-historic figure" and "Christianity as an axiom of Russia’s historical identity" during a turbulent period of Russian history, that ultimately resulted in the Tsardom of Russia. The film is about the essence of art and the importance of faith and shows an artist who tries to find the appropriate response to the tragedies of his time. The film is also about artistic freedom and the possibility and necessity of making art for, and in the face of, a repressive authority and its hypocrisy, technology and empiricism, by which knowledge is acquired on one's own without reliance on authority, and the role of the individual, community, and government in the making of both spiritual and epic art. [...]

Because of the films's religious themes and political ambiguity, it was unreleased in the atheistic and authoritarian Soviet Union for years after it was completed, except for a single screening in Moscow. A cut version of the film was shown at the 1969 Cannes Film Festival, where it won the FIPRESCI prize. In 1971 a censored version of the film was released in the Soviet Union. The film was further cut for commercial reasons upon release in the US in 1973. Because of this several versions of the film exist. Today Andrei Rublev is widely regarded as a masterpiece and one of Tarkovsky's best works.


Andrei Rublev is divided into seven chapters and a prologue and an epilogue only loosely related to the main film. The main film charts the life of the great icon painter through several episodes of his life. The background is 15th century Russia, a turbulent period characterized by fighting between rival princes and the Tatar invasions.

The film's prologue shows the preparations for a hot air balloon ride. The balloon takes off from the roof a church, with a man named Yefim (Nikolay Glazkov) roped beneath the balloon, at the very moment of arrival of an ignorant mob trying to thwart the flight. The man is highly delighted by the sight from the air, but can not prevent a crash landing. Yefim is the first of several creative characters, representing the daring escapist, whose hopes are easily crushed. After the crash, a horse is seen lolling by a pond, a symbol of life — one of many horses in the movie. - Wikipedia

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