The Misled Romance of Cannibal Girl & Incest Boy

The Misled Romance of Cannibal Girl and Incest Boy is a gorey yet cute “girl meets boy” short film. The short was shot on Super 8 film (one of my favorite formats) and has a quite appealing aesthetic. The Misled Romance of Cannibal Girl and Incest Boy also has Troma’s tromatic “seal of approval” and features Troma founder Lloyd Kaufman having his head appropriately stomped into a bloody mess. Any film featuring the Neo-vaudevillian antics of Lloyd deserves a look.

Cannibal Girl begins her short relationship with Incest Boy after eating incest boy’s sister's gash out to a point much rawer than any other meat curtain could be. The two lovers have sexual relations in a graveyard shortly after becoming acquainted. Cannibal Girl enjoys her ride on incest boy and his disgusting inbred mutant tail. The couple also encounters a group of lame ass looking scene people that would fit in well at a local pop punk concert. A couple that kills for each other is a couple that loves one another.



The Misled Romance of Cannibal Girl and Incest Boy features an atmospheric score that surprisingly works great with the erotically bloody short. Most short films (and low budget films in general) feature shitty music that was obviously put in the film as it was the only music available or as a promise to a friend. This may be the case for The Misled Romance of Cannibal Girl and Incest Boy, but it works. Whether it be Cannibal Girl biting off a perverts cock or the two lovers embracing each others bloody hearts, the psychedelic music fit’s the deranged image.

I give The Misled Romance of Cannibal Girl and Incest Boy an elite SS stamp of approval as it is an amateur short actually worth viewing. It borders between art and gratuitous trash. If you liked fucked up gore films and the early films of Gay Baltimore Auteur John Waters, The Misled Romance of Cannibal Girl and Incest Boy is the short for you. Supporting Super 8 Sinema is a godly act.

-Ty E

Automatons

Hollywood has been defecating out Armageddon and apocalyptic scenario films for decades now. The past couple years have seen an array of these anxiety promoting films. I personally find most of these movies to be complete trash and reflective of America’s (and abroad) apathy towards the continuation of mankind. There seems to be an irrational excitement involved with knowing that the world is about to end. I finally came upon an refreshingly original apocalyptic themed film and it certainly did not come out of Hollywood. The title of this micro-budget film is Automatons.

Automatons is a gritty black and white film that looks like it was actually shot in a bomb shelter after an apocalyptic event with the only available resources the survivors could find. The film has a similar aesthetic to Shinya Tsukamoto’s Tetsuo: Iron Man. Automatons also features a cyberpunk-like score that you would expect to hear in a Japanese cyberpunk flick. Like Tetsuo, Automatons is also set in a postmodern world of technological equipment overflow. A world where technology has physically and mentally overwhelmed man.


Phantasm tall man Angus Scrimm lends his charismatic linguistic talents to Automatons. Scrimm plays a scientist who has witnessed the dawn of “The Robot War.” He speaks out through a grainy television screen with words of hope for human survival. Scrimm’s wise words appear throughout the film allowing both the viewer and the films female protagonist know that they are not alone. I personally wouldn’t mind having Angus Scrimm’s voice guiding me through such catastrophic times.

Automatons is the kind of film that is a testament to one individuals drive to get their obsessive vision made. Writer, editor, and director James Felix Mckenney can be considered an unconventional individual as Automatons unique feel reflects. I don’t think many filmmakers aspire to make films featuring small metal toy robots fighting, featuring special effects that have a similar look to store bought sparklers (maybe they were?). Automatons is a labor of love of the underground sci-fi geek kind.


Automatons is like The Terminator with a low budget tin mans heart. Don’t expect to be “wowed” with big special effects and nonstop action. Automatons strengths lie in the films somewhat hopeful message and bomb shelter aesthetic. It may be the end of the world, but you won’t be lonely when you have Angus Scrimm guiding you through it.

-Ty E

The Big Shave

This short opens with a golden Saxophone score, triumphing as it outlines the pristine porcelain bathroom. Everything is normal in this American home. The knobs are clean and the faucet is leaking. An American man walks up and begins to shave. This seemingly normal exercise of masculinity is interrupted as soon as he doesn't stop. Scorsese asks for six minutes of your time, and in doing so, he cuts a swath of ideas you may have housed in your head towards any sort of political affairs.


In a scene that should have inspired Cutting Moments or Cabin Fever, he begins to peel his own skin off. The charming melodic oldie's makes this short visually horrifying and even more so, this beautiful American sink is stained with the blood of it's own forefathers. This all being said as this short was a Vietnam piece. Symbolism in hand, Scorsese maintains the same nihilistic atmosphere as trademarked in all of his films.


Long after Bunny Berigan's "I Can't Get Started" is done, the blood doesn't cease dripping. The suggested political involvement is made noticeable from it's previous name "Viet '67" The Big Shave is a metaphorical massacre; a gut punch in most student films. Scorsese had talents at a young age and proved his worth. This generation just houses cheap rockers making shitty no-budget zombie films.

-mAQ

Street Kings

Police Brutality has been given a new face thanks to the abundant amount of drop-out rappers, penning down their displeasement with the "five-oh" for busting them for heroin charges cause of their color. It proves hard to actually write a review on this film due to the stereotypical Negro and of course, the reaction of the film or even my writing to be considered "Racist", but when we face facts and statistics, Negroes are still the majority source of the crimes.


That's why they sent Keanu Reeves to clean up crime by any means in this fantastical crime film. With an all-star cast built up with Keanu Reeves, Forest Whitaker, and Hugh Laurie, this film was just given the title of being a high-octane action film with a killer soundtrack. Little did the primary audience (Blacks and urban wannabes) know that they were just going to witness a film with the deaths of only minorities.


Keanu Reeves plays the character of Tom Ludlow; a LAPD officer who is constantly killing people and having his boss (Whitaker) writing it off as an accident, or hiding the truth. Whether the reason is valid or not, Reeves takes no precaution in "capping niggas" While every crime film comes and goes, It's hilarious to see every rapper jump at the chance to play the stereotypical crime boss or goon. In this film, we see the underestimated Common (Great in Smokin' Aces) and The Game (As the ordinary "fool" that houses an AK-47.)

(And of course, due to his 3 minute long scene in Street Kings, he releases an album dedicated to his performance in which he didn't have to act)

The plot is one of which is dynamic in action films. Throw a single character that houses a great tragedy, in between his own people and create twists and turns, while constantly trying to breathe life into a single character. A plethora of people claim Reeves is the worst actor to ever grace the screen. I simply ask "Have you seen My Own Private Idaho?" They all reply "No." The argument is instantly won.

As will be demonstrated in Lakeview Terrace, Police might have too much authority and are mostly deemed as crooked. When Ludlow takes a job at the complaint desk, all we see is bitching black women screaming about "pre-nup" or some "foo'" that snitched on "dem". Ludlow is the merciless Captain America of our streets.


Street Kings is a great time and presents a firm reason to continue to root for the underdogs in the endless stream of typical blockbuster garbage. It doesn't top the visceral force that is Training Day, but it is a film made for audiences, not critics. Hugh Laurie shines in his short role, and Forest Whitaker is marvelous. The cast alone warrants a "view now" title, but if you go in expecting anything more than explicit violence, sadistic one-liners, and the degradation of "African-Americans", then you're sorely mistaken.

-mAQ

German Expressionist Cinema as Unintentional Nazi Propaganda

Leni Riefenstahl’s Triumph of the Will (1934) and Olympia (1938) are most often considered the masterpieces of National Socialist (Nazi) Germany. Both of these films epitomized the idealized view of Nazism and it’s obsession with aesthetics. Anti-Semitism is nowhere to be found in Triumph of the Will or Olympia. Fritz Hippler’s The Eternal Jew (1940), a film that did not hide Nazi Germany’s anti-Semitism, was a failure in Germany. Germans seemed to be more concerned with a once again powerful Germany than their hatred of the Jews. Before the Nazi era in Germany, German expressionist cinema was already bringing up the idea of the “evil outsider” and the Jewish other (whether intentional or not). Paul Wegener and Henrik Galeen’s Der Golem (1915) predicted a threat to European Jewry and what would later erupt in the holocaust. In this essay, I will examine two German expressionist masterpieces and their psychological effects on the German audience (whether being conscious or subconscious).

F.W. Murnau’s Nosferatu (1922) and Fritz Lang’s M (1931) both focus on a subversive element hiding in the shadows of German cities. These films were able to strike fear in the German audience while at the same time promising the triumph of “good” over “evil.” The Nazis considered German expressionism (and expressionist cinema), for the most part, the result of Jewish mental illness and deemed it “degenerate” art (Kracauer, 1947). Nazi minister of propaganda Dr. Joseph Goebbels had many German expressionism films banned (Eisner, 1976). Ironically, he was so impressed with Fritz Lang’s dystopia masterpiece Metropolis (1927) that he offered Fritz Lang the job of being the head of Nazi Germany’s propaganda film industry despite Lang being of Jewish ancestry (in which he mentioned to Goebbels). Lang fled Germany almost immediately after the offer from the Nazi propagandist (Eisner, 1976).

I chose Noseratu: A Symphony of Horror (1922) and M (1931) to examine for their more realistic expressionist sets in contrast to the ultra surrealist and nightmare like sets found in German expressionist films such as Robert Wiene’s The Cabinet of Dr. Caligari (1920) and Murnau’s Faust (1926). I found the dark realist aesthetic of both Nosferatu and M to be taken more literally by the German audience than expressionist films dealing with what seems like more of a nightmare. Murnau even utilized the real ruins of a Slovakian castle to more realistically portray the immortal decay of an outsider that desires new blood.

Although F.W. Murnau was not of Jewish ancestry, he was a closet homosexual (Anger, 1981). The Nazis deemed homosexuals also as degenerates resulting in many of their deaths in the holocaust. Murnau left Germany in 1926 to work for Fox studio before the rise of Nazism in Germany. Murnau (like Lang) is often cited as being one the most important innovators of cinema and the directors as author (auteur). His contribution to cinema is immeasurable.

Nosferatu is based on the novel Bram Stoker’s Dracula. Count Orlok (a pseudonym for Dracula) desires to acquire real estate in the fictional German city of Wisborg. He is a royal outsider from Transylvania, Romania (although filmed in Slovakia). Upon count Orlok’s arrival in Wisborg, a series of deaths occur in the city which are blamed on the plague. It is important to note that the plague (the black death) was accused of being an international conspiracy of Jewry to poison European Christendom. This anti-Semitic lie closely parallels the “behind the shadows” blood draining carried out by Count Orlok. F.W. Murnau’s niche for evil that lurks behind shadows acts as a metaphorical representation of the myth of Jewish back stabbing during the first World War. The citizens of Wisborg are obsessed with finding the source of the creeping death that has plagued the city. Real estate employer Knock eventually becomes a scapegoat (just as the Jews were after the second world war) for the mysterious deaths of the peoples of Wisborg.

Rosa Luxemburg

Another fear of Germans after the first world war was the threat of international bolshevism. German-Jewish communists (called Spartacists) such as Rosa Luxemburg and Karl Liebknecht were calling for a revolution in Germany which ultimately failed (Craig, 1982). The ultra right wing Nationalist Freikorps eventually had both Luxemburg and Liebknecht assassinated. This ended any potential German proletarian (or more accurately banker) revolution. Although Jewish communists made up a very small minority of German Jewry, Nazis used what they called “Judeo Bolshevism” to their propaganda advantage (Rosenberg, 1982). The majority of Jewish Bolsheviks were atheists that had already been far removed from the Jewish collective. Jewish Bolsheviks in the Soviet Union (another source of propaganda) were also known to be anti-Semitic despite the ethnically Jewish dominated government (Solzhenitysn, 2007). Nazi theorists such as Alfred Rosenberg claimed that the Bolshevik revolution was organized in attempts to destroy Western civilization through subversive and violent means (Rosenberg, 1982). Nazis took full advantage of “Judeo Bolshevik” propaganda.

F.W. Murnau’s Nosferatu uses the fear of the infiltrating outsider to scare the audience. Count Orlok could easily be looked at as the impending Bolshevik threat. The vampire is a foreign subversive element that is bent on destruction through unconventional means (blood sucking). Although I doubt that it was Murnau’s intent to scare the audience with the threat of Bolshevism, the psychological fear that Nosferatu conjures up is the same. The audience expects an invasion that lurks behind shadows that uses strange and unpredictable methods to acquire it’s goal of destruction. Subconsciously, the viewer would have acquired the fear that Nazis also used in the propaganda against Jews.

Fritz Lang’s M also captures the audience in a world where a dark element hiding behind the shadows of a German city. The film was originally titled Murderers Amongst Us and Nazis used that title to their full advantage. Fritz Lang, in the middle of negations of the film, seized the managers lapel and found a Nazi badge on it’s reverse (Eisner, 1976). Nazis had used the original title in reference to German Jewry (and Fritz Lang and star Peter Lorre himself). The Nazi propaganda film The Eternal Jew also featured the end speech by Peter Lorre in M as proof of Jewish proneness to criminality. Quite absurd propaganda indeed, Fritz Lang’s M was also labeled as Jewish “degenerate” art (among other Fritz Lang films).

The “heroes” of M are the underground organized crime elements that are found in the city that the killer stalks. These heroes could easily be looked at as the Nazi “heroes” that saved Germany from bolshevism (which would later ultimately prove to end in Germany’s destruction). Peter Lorre epitomized what the Nazis thought of as the degenerate Jew. It makes me wonder why Fritz Lang would have directed such a film when only 2 years later (1933) the Nazis would take power in Germany. The Nazis threat by this time was quite obvious. I would argue than M has done more in the way of Nazi propaganda than any of the actual Nazi propaganda films (aside from the ones used as “entertainment”). Lang would later immigrate to the United States and direct the anti-Nazi propaganda film Hangmen Also Die (1943) which was loosely based on the assassination of Nazi chief holocaust architect Reinhard Heydrich.

The child murderer in M also is stamped with an M (for murderer) in the film. German Jewry would also face a similar fate when forced to wear Star of David badges to signify their background. The mark of “M” and the “Star of David” are emblems of a target. They let the population know that these individuals are outsiders and an abstraction from collective society. German-Language Jewish fiction writer Franz Kafka brought up a similar feeling with his novel The Trial. The Jew has become an object of judgment for a crime that he has not committed. He is “guilty” because he is a Jew. The same feeling was experienced by German Jewry in their horrific fate throughout Nazi rule.

Whereas F.W. Murnau’s count Orlok is a monster of horrible and obvious evil, Fritz Lang’s child murderer is a pathetic and weak individual. The child murderer acts as a conspirator of subversive hedonistic pleasures. He admits that he cannot control his perverse urges (another reason why Nazis used M as propaganda). The German psyche would respond to such a character as someone to look out for in everyday life. After watching the film, the German citizen might take a second glance at the “ordinary“ German. Everyone (especially the Jew) becomes a potential threat to the German way of life. The child murderer in M is more horrifying than any monster because he is the person we would least expect to commit such a crime.

Although I don’t believe it was intentional, the German expressionist film movement fueled fear that would result in anti-Semitic eruptions. Eruptions that would ultimately lead to the holocaust and stain Germany’s reputation forever. The filmmakers of the German expressionist movement for the most part, were far removed from the Nazi ideology (many fleeing Germany in the process). After the second world war, the German expressionist aesthetic is even more powerful and relevant now, than it was during it’s existence. The dark political and psychological elements surrounding this time period I believe, are best captured in these important films.

-Ty E

The Brood

The Brood (1979) is an early masterpiece from Canadian psychological horror auteur David Cronenberg. A film that actually utilizes the “creepy child” technique in a successful way. The Brood is a film about mentally ill individuals and their experiments with “Psychoplasmics,” a sort of fucked up experimental therapy similar to psychoanalysis. Psychoplasmics becomes deadly when rage fuels asexual monster children to unload brutal attacks on adults. These children lack self control as much as they lack facial features.

David Cronenberg might possibly be the most intelligent man to ever be involved with the horror genre. A director that incriminates himself as being obsessed with sexual perversion and disturbing situation violence (and death). In The Brood, the mother's womb becomes obsolete as she bears children through unflattering tumors attached to her body. These tumors develop into physical extensions of the woman’s body and act accordingly (killing those that have enraged her). These “children” lack sexual organs and only exist to merely serve their mentally deranged mother.


Like many of David Croneberg’s films, The Brood starts out fairly tame (with any early scene of excitement of course) and builds up to a demented climax. A climax that goes past any contemporary scientifically logical explanation given by man that somehow works on the subconscious of the viewer. In The Brood, a mother’s attachment to her children becomes the ultimate “child cult” of femininity. The mother merely has to “feel” to send off her virtual army of deformed children to carry out her impulsive and recklessly killer desires. David Cronenberg could be commenting on the dangers of emotionally uncontrollable women.

The male protagonist of The Brood is only looking out for the best interests of his daughter. David Cronenberg separates the parents into two categories. The mother being a monster of emotion that only gets worse as time goes on. The father, on the other hand, looks at everything in a logical way. He does everything he can to protect his daughter and investigate the mysterious deaths of his in-laws. It is the job of the father to stop the mother before she ends up killing everyone (including her own daughter).


If The Brood had been released in modern terms, mainstream cultural Marxist film critics would pan it as misogynistic. I hope the film isn’t remade where the father controls his monster children with his penis. You can expect that sort of scenario in contemporary times. When you have Antichrists like the Weinstein's releasing propaganda trash at excessively rapid rates, you have only two options. You can either make films of your own or take a trip back in the history of film. I recommend both.

-Ty E

Director of the Apocalypse: Gaspar Noé

There is no doubt that French filmmaker Gaspar Noé is one of the most controversial contemporary directors of French and international cinema. Film critics have done everything from praising him as an innovative filmmaker to condemning him as a fascist offender. One thing is true about Gaspar Noé, he is a filmmaker with his own set of themes and characteristics that define him as a cinematic auteur. He is a filmmaker that has set out to make films with his own individual vision. Very few contemporary film directors can say that they have the same type of freedom and artistic integrity as Gaspar Noé. In a world where dollars signs are more appealing to a director than ones desire to express their most potent of obsessions, Noé has shown no reluctance in continuing his individualistic approach.

The auteur signatures found in Gaspar Noé’s films are both viciously graphic and tragically human. Noé likes to look at both ends of the emotional spectrum that humans are capable of. Whether it be the violent racist hatred displayed by an incestuous father in a jealous rage or the beautiful intimacy of two lovers in each others arms, Gaspar Noé’s films are no doubt of the human nature. He grew up in an artistic family as his father Luis Felipe Noé is a renowned neo-figurative painter (Gabbey 37). Gaspar Noé has also stated that his father, Luis, wanted him to be what is typically referred to as an “artist.” Of course, he ended up being one of the most subversive and controversial filmmakers of recent time.

Gaspar Noé, unlike a lot of underground filmmakers, had formal training in film production and cinematography. He trained at one of the most famous schools in France for cinematography (Gabbey 37). He entered school at the ripe young age of seventeen and by the time he was nineteen had a graduated with a highly beneficial understanding of the technical aspects of filmmaking. Not only is Noé subversive with the content and story format of his films, but also the construction and techniques of the films. Gaspar Noé’s formal film production helps to explain his unconventional and revolutionary techniques. It is good to know the rules so that you know how to break them.


Various film critics have called Gaspar Noé’s films both existential and anti-French (Gabbey 38). Quite ironic considering many of the greatest existentialist philosophers such as Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir were French. Gaspar Noé has denied claims that his films are anti-French, stating of his first feature length film I Stand Alone(1998), “Actually, the film isn’t anti-French at all…There’s a subculture in France that is rarely portrayed on the screen…At the time, fifteen percent of the people voted for the National Front (French fascist party), and many of the other people were as racist as the National Front.” Gaspar Noé is speaking of the racist remarks of the lead character simply named “The Butcher.”

I would have to agree with Gaspar Noé’s remark as “The Butcher” is far from a positively portrayed character. This character is also featured in Noé’s films Carne(1991) and Irreversible(2002). Carne is a medium length film Noé made about “the Butcher” before I Stand Alone. In Carne, the butcher stabs an Arab construction worker in the mouth with a knife, mistaking the man for someone that harassed his daughter. In I Stand Alone, the butcher continues his attacks on Arabs and other minorities. The irony is that the butcher’s father was a French resistance fighter who was killed by the Nazis during the second world war.

Although Gaspar Noé’s films aren’t necessarily anti-French, they feature subcultures of France that might not be considered the most flattering representation of the once powerful empire. In fact, I would argue that Noé is one of the most French (although originally from Argentina) of filmmakers as he presents the country in a more realistic way. A country in racial and political turmoil. A place where crime, prostitution, unemployment, and hate run rampant. Gaspar Noé is a director that displays controversial issues facing a nation in an objective way which bothers many people. Offering no type of real moral messages, audiences are both intimidated and offended by his films. It is up to the audience to make up their opinion about Gaspar Noé’s films content.

Gaspar Noé stated in an interview, “The French movies that are promoted abroad are the ones that give like a trendy, cultural, petit-bourgeois, upper class image of France, but it’s true that people who are poor in France are the same as in New York or in India. People who are poor, they are poor and they suffer a lot (Thrower 44).” Gaspar Noé’s honest statement about the suffering of the poor in France reflects the brutal and often offensive truth surrounding contemporary France.


Bizarre and graphic sexuality are themes found in the works of Gaspar Noé. Two of his shorts, Sodomites(1998) and We F**K Alone(2006) are just subversive porn films. Carne and I Stand Alone feature scenes of father and daughter incest. Irreversible features scenes that range from sensual lovemaking between two lovers and a brutal sodomy rape committed by a homosexual pimp on a woman. Gaspar Noé once again doesn’t relent in his subversive content when looking at human sexual relationships.

Gaspar Noé’s short Sodomites was commissioned by the French Administration Health strangely enough (Gabbey 37). The short is part of five shorts that were concocted by the French government to promote the use of condoms amongst heterosexuals. The French government was uninterested in having porn directors producing the shorts and asked exclusively artistic directors (including Jean-Luc Godard who declined) to be involved in the project. Sodomites features the actual act of sodomy between a female and a wolf masked male. During the sex acts, a group of bikers cheer them on. I couldn’t imagine an artistic American director like Wes Anderson directing a porn short for and funded by the American government.

Gaspar Noé’s short We F**ck Alone was featured on a compilation of porn shorts by artistic directors around the world. The short features two very different individuals (a cutesy girl and a dirty punk) masturbating to the same pornographic film. The short is quite an interesting concept in the way of form. Furthermore, the cinematic technique used is quite unique. A camera that seems to be floating weaves in and out of scenes of the individuals in the middle of sexual acts (having a similar feeling to Noe‘s Irreversible). Despite their content, both of Gaspar Noé’s porn short films feature odd techniques and auteur signatures so often associated with the young director.


Irreversible (Noé’s most recent feature length film) features many of the subversive ingredients so prevalent in Gaspar Noé’s earlier films. The film unfolds in backwards order revealing how time can change everything. As the film progresses, you find that a woman who has been brutally raped is also pregnant. Unfortunately you can assume that the woman experiences a miscarriage. During the May 2002 Cannes screening of Irreversible, apparently around 250 out of 2,400 audience members either fainted or walked out on the film (Brottman 160).

Like Gaspar Noé’s earlier films, Irreversible takes a look at France on the verge of apocalyptic chaos. The film features a variety of scenes involving racial conflicts, brutality and killing of homosexuals, beating of a transgendered prostitute, and the killing rape of a beautiful woman by a drug fueled pimp. Gaspar Noé opens the viewer up to a world of subversive and widely unknown subcultures. French director Mathieu Kassovitz also examines different subcultures of France in the Cannes winning (drama) La Haine(1995) (focusing on immigrant ghettos). The difference between Kassovitz’s La Haine and Gaspar Noé Irreversible is that the later film takes a more nihilist approach. Irreversible is a film that makes it look like its only a matter of time before France explodes into a world of chaos whereas La Haine merely displays the problem.


Irreversible has a seamless flow from scene to scene that owes a little to Alfred Hitchcock’s experimental cinematic masterpiece Rope(1948). The camera floats from scene to scene in a way that parallels the detached nature of the overall film. Fatalism, nihilism, and powerlessness are the trinity of secular apocalyptic thought according to scholar Daniel Wojcik (Brottman 167). These characteristics are also quite prevalent in both the content of Irreversible and the emotional output of the technique in the film. All of these things add up to the auteur characteristics on an individual looking at the world (especially France) with a view of unfortunate apocalyptic inevitability and realism.

Gaspar Noé is an individual that is unafraid of looking at the world through lenses that see human darkness. He displays images and truths that others have tried so hard to ignore and cover-up. Many film critics have written him off as someone that merely offends to offend. I find Gaspar Noé to be a realist of the nihilist sort. Someone that will offend and disturb the typical filmgoer (whether intentional or not). Of course, the greatest filmmakers have always caused major controversy and public outcry.

-Ty E