Absurd
D'Amato remaking his own Anthropophagous as a Halloween knock-off. Grim and dull in equal measure.
1999 onward · 97 films
Films made to be difficult. Some have an argument, some are an endurance test with a poster.
A loose category for films whose defining feature is that they are hard to watch on purpose. Everything here is worth a warning before pressing play.
The term was coined by James Quandt in Artforum in 2004, and he did not mean it kindly. He was describing a run of French films combining explicit violence with art-cinema technique: Irréversible (2002), Trouble Every Day (2001), In My Skin (2002), and later Inside (2007) and Martyrs (2008).
Irréversible runs backwards, contains a nine-minute unbroken assault, and uses a sub-bass tone below the audible range in its opening reels to make the audience physically unwell. Roughly 200 people walked out of its Cannes screening.
Martyrs is the one that divides people who like this material. Its first half is a home-invasion revenge film. Its second is something else, and it has an argument about suffering and transcendence that it takes completely seriously. Whether it earns the argument is the entire debate about it.
Audition (1999) spends an hour as a romantic comedy in order to make the last twenty minutes land. Miike's method throughout his career is to establish a register and then break it.
Whether there is anything underneath. Martyrs, Possession and Irréversible are all about something and use the extremity as method. A large number of films marketed alongside them are not, and the marketing is identical, which is why this category needs a curator more than any other on the site.
Nothing here is a good first horror film. Several are films to watch once.
Open a chatbot with a question about this already typed out. Useful for a second opinion, a plot detail, or working out which cut you are holding.
D'Amato remaking his own Anthropophagous as a Halloween knock-off. Grim and dull in equal measure.
Mexican nunsploitation with an actual argument, and everybody in it screams for eighty minutes.
An Austrian film about a killer released from prison, shot with a camera rig nobody had used before.
Gareth Evans doing folk horror with the fight choreography left in. Much nastier than expected.
68 minutes, shot in nine days, and oddly melancholy for something on a banned list.
Go in knowing nothing. The structure is the point and every synopsis ruins it.
A class of Japanese schoolchildren are dropped on an island and made to kill each other. Kinji Fukasaku's last major film.
Ari Aster's three-hour anxiety odyssey, and it is horror only in the sense that being alive is.
The first gore film. Shot in four days for 24,500 dollars and it looks it, which is half the appeal.
Andy Milligan shooting in Staten Island with a hand-held Auricon. An acquired taste nobody acquires.
A slow western for 90 minutes, then one scene people never forget. You will know it when it starts.
The bloodiest film ever made at the time, and it is a comedy about a man and his mother.
The Philippou brothers' second, and considerably harder to sit through than the first. Sally Hawkins is the reason.
Sold as the most violent film ever made. Lenzi chasing Deodato and killing more animals to do it.
Found footage nineteen years before Blair Witch, and six animals actually died to make its point.
A BBFC examiner during the video nasties panic starts to come apart. Essential viewing for this site specifically.
A dance troupe, spiked sangria, and Gaspar Noé's camera refusing to cut. Unbearable by design.
The bleakest of Romero's trilogy, hated on release, and Tom Savini's best work.
Lamberto Bava, produced by Argento, and it is a film about a cinema audience being turned into monsters inside the cinema.
A man with a flamethrower and a steel room. The mother is the point and the film knows it.
Cursed cave dwellers from 12,000 BC eating people in modern Los Angeles. Incoherent throughout.
An ageing actress buys rejuvenating dumplings from a woman in a housing estate. You know what is in them.
Half remake, half sequel, and it turns the first film into slapstick without losing the nastiness.
Moves the cabin to a Los Angeles tower block. The cheese grater is the sequence people talk about.
The only British film on the DPP list. A novelist, a typist and Fiona Richmond in a farmhouse.
A mondo compilation whose most famous scenes are staged. Sold as real and marketed on being banned.
A home invasion built entirely on racial abuse. Genuinely hard to watch and not for craft reasons.
The title card arrives 33 minutes in, which tells you what kind of film it intends to be.
New French Extremity meets Texas Chain Saw, against the backdrop of a real French election.
Every line is dubbed, including scenes with nobody talking. Almost hypnotically incompetent.
Nazisploitation, and the tag exists because the shelf gets documented, not because this is worth time.
A punk band plays the wrong venue. Jeremy Saulnier does not flinch and neither does the film.
Clive Barker adapting his own novella, and the Cenobites are on screen for about eight minutes.
The film that named New French Extremity in the popular imagination, and its ending is still being argued about.
A Perth couple abduct a teenage girl, and the film is about the fracture between the two of them.
A women-in-prison film with a brainwashing subplot. Linda Haynes deserved better material.
Miike at his most gleefully unpleasant, and the sickbag handed out at Toronto was a marketing stunt that worked.
Brandon Cronenberg again. Wealthy tourists, a legal loophole and Mia Goth having a wonderful time.
A secret agent catches a serial killer, releases him, and does it again. And again.
Mastorakis watched Texas Chain Saw, counted the perversions and wrote a list. It shows.
Ebert called it the worst film ever made. Clover argued the camera is with her throughout. Both cases are live.
A student's guilt drags everyone he knows into a Buddhist hell, and the last third is that hell in detail.
Anita Ekberg as a morphine-addicted nun in a hospital. Nunsploitation with an actual performance in it.
Last House on a train, scored by Ennio Morricone, which is a sentence that should not be true.
The film that started the nazisploitation cycle. Lee Frost, a backlot, and no defence available.
A Belgian film crew follow a serial killer and gradually start holding the equipment for him.
Nicolas Cage, a chainsaw duel and Jóhann Jóhannsson's last score. Not for everyone and not trying to be.
Joe Spinell wrote himself the lead and Tom Savini blew his own head off on camera.
An Aztec-obsessed killer in New Orleans. A Blood Feast remake in all but name, and slower.
A man is imprisoned in a room for fifteen years with no explanation, released, and given five days to find out why.
A chainsaw killer on a Boston campus, made by Spaniards, and it is gloriously incoherent.
A vegetarian vet student develops an appetite. Julia Ducournau's debut and a genuine coming-of-age film.
A bride versus her new in-laws and their family obligation. Very funny and mean.
The funniest Lovecraft adaptation ever made, which is not what anybody expected.
Jodorowsky's most coherent film, which is a comparative statement. A circus, an armless mother and a son who lends her his hands.