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Dir. Ashley Fester
Fester's documentary about Cinemuerte (her feature directorial debut!) has been several years in the making and captures some crucial behind-the-scenes hysteria, including Udo Kier's live translation of Black Belly of the Tarantula, the failure of prints to arrive, and the Jean Rollin 'Superbugs' dilemma. (Kier-La is the one with hair. Editor)
Loyal patrons of the fest will likely spot themselves being geeky, while I run around like a maniac in the background wondering why the sound is so fucked up.
Greycat Films' David Whitten and the Incredible Film Fest's Anthony Timpson take on the 'cinema purists' debate, arguing from opposite sides as to whether the cinema experience is based on social grouping or pristine 35m film prints.
Somebody faints during Cannibal Holocaust. My giant face is in the movie so much (no doubt with an Emerson, Lake and Palmer soundtrack) that I'll be across the street getting drunk while y'all have a good laugh at my expense. But that's what I have to say...
From the Cinemuerte 2003 Program:
"The CineMuerte International Film Festival is the result of ine woman's passion for film coupled with an irrepressible personality. With no prior experience and little money, and in a short three years, Kier-La has pushed, prodded and nurtured CineMuerte from a 16mm and video projection fringe event into a fantastic and shocking cinematic experience that has earned the respect and admiration of filmmakers, distributors and festival organizers around the world - and without a cent of public funding. Celluloid Horror explores Kier-La Janisse's unique appreciation of shocking and horrific films and her compulsion to entice others into at least considering her views as it documents her most odds-defying achievements. You are invited to spend 90 minutes in her company as she struggles to propel CineMuerte toward greater acceptance without sacrificing its or her integrity."