As, no doubt, many of you are aware, there is a film causing headlines around the world at the moment for its perceived assault on decency. That movie is Srdjan Spasojevic’s A Serbian Film. I won’t go into explicit detail about what is contained within the film (that info is pretty easily found) but ‘a sickening film’ is one of the kinder reviews. Featuring the usual torture porn staples of extreme sexual violence, it appears A Serbian Film crosses that line where art becomes distasteful and unknowable, and where not even justifications ring true. In this case, the film is apparently an exploration of the post-war Serbian psyche. Having been to Belgrade myself, I realise there is an undercurrent of unresolved anger and tension apparent, but the consensus seems to be that this could be explored in a much more intelligent way. However, despite appearances, I am not here to discuss the pros or cons of this latest controversial piece, but discuss the wider themes surrounding it. The forbidden has always been associated with world cinema. Indeed, it is one of the main selling points of it. For American audiences prior to 70s new Hollywood, European art house represented a liberal sexuality that could only be hinted at back at home. For others it is a competition to see who has watched the most shocking films. I remember at university it was the big thing to watch Audition. More recently that title has fallen to Martyrs and now, possibly, A Serbian Film. Are shock tactics a good thing? An argument can be made for both yes and no. And I’ll attempt here to give validation to both in the briefest way. So, what hope for a foreign language film ostensibly about a subject far from the interest and cultural concerns of most audiences? The answer here is to provoke controversy, and therefore get your film discussed everywhere. Of course, your film needs to be of substance to withstand the exposure and prove to the more discerning cinema goer it is worth seeking out, but if it is, then shock tactics are a legitimate and inspired way to gain attention. The example I hold up here is Irreversible, a film with one of the most shocking and talked about scenes in recent times, but a film so full of meaning and subtext waiting to be discussed that it deserves to be seen, no matter what your eventual opinion. An even more recent example is Michael Winterbottom’s The Killer Inside Me, which, for me, at least, transcended its questionable portrayal of women and justified its brutal physical violence against them by making us question the larger concepts of cinematic violence and the audience’s reaction to it. However, on the flipside, a film gains notoriety for itself not to explore deeper themes but instead as an end in itself. It no longer extrapolates itself from the gruesome action depicted but instead becomes the controversy, losing its identity as a separate text. It essentially becomes an empty shell for the vehicle of (most often) violence depicted within. Look at the most notorious of shocking films, and you will find this substance there, even if the film itself is not to your taste. Cannibal Holocaust has it, Two Thousand Maniacs! is a classic of its genre, and Russ Meyer at his best is worthy of a deep appraisal. Many others are not, and I doubt that time will render them cult classics in a true and genuine sense. Looking Forward Baaria A real see it and make your own mind up type of film, though, so be prepared to disagree with my recommendation! Looking Back Tokyo Gore Police (2008 directed by Yoshihiro Nishimura) Set in a future Tokyo close to the edge, Tokyo Gore Police tells the story of Ruka (played by Audition‘sEihi Shiina), a revenge driven cop battling against mutants, corruption and corporations. By using extreme violence, of course. Technically superb in all aspects, this film is far more than a curio to boast about. It does, indeed, have some razor sharp barbs to launch against modern society, in much the same way all good sci-fi reflects the world it was made in. But it also has loads of samurai swords and machine guns, all coming together in some excellent comic violence which Asian cinema delivers so well. A definite one to seek out and enjoy with friends.
