Deathcember (2019)

Deathcember (I saw the version split into two films)
Part of: /slash Filmfestival Christmas screening
Seen on: 19.12.2019

Deathcember is an advent calendar in movie form, giving us 24 (plus some extra) Christmas-themed films to count down until Christmas. The films vary in style and tone, but they are all filled with (a) holiday spirit.

As with most anthologies, Deathcember has some clear winners and a few that were not for me (with the former being more present in the first volume and the latter more in the second volume), but I assume that the favorites and unfavorites will vary from person to person. It was definitely nice that they included more than the usual token female director (although there could have been more people of color involved). I was a little worried that so many short films in less than three hours would get a little too much, but it was surprisingly not-exhausting (I was glad that they showed the version split into two volumes). In short, it was a very fun evening. There are definitely worse ways to pass time during the holiday season.

After the jump, I talk about each of the segments individually. If you prefer to be surprised what’s behind those doors, you probably shouldn’t continue. But I won’t give away spoilers.

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México Bárbaro [Barbarous Mexico] (2014)

México Bárbaro
Part of: /slash Filmfestival
Seen on: 19.9.2015
[Review by Maynard.]

México Bárbaro is an anthology horror film with segments from Mexican directors that tries to showcase the current cinematic situation in Mexico regarding genre films.

The program of the /slash Filmfestival is not always uncontroversial and I’ve already seen many films that I didn’t like during the festival. Which is, of course, perfectly alright. Not every film can or should appeal to everyone. Tastes differ and I do think it’s part of a film festival’s job to challenge the viewers and their notions of what is allowed in a film or how stories can be told.

That being said, I caught myself wondering why México Bárbaro was included in the program. Although there were segments that were engaging and could have been okay in another collection, overall I don’t think I have ever seen such a vile, rape-y, misogynistic and ableist film. I was this close to walking out of it, but I felt almost paralyzed with disgust.

[After the jump I’ll talk about each of the segments separately. Writers are, unfortunately, not always clear: I couldn’t place Alfredo Mendoza and Paulo Riqué, but most segments seem to have been written by the directors themselves.]

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