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Interview with Domiziano Cristopharo

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Domiziano Cristopharo has been wowing audiences in his native Italy for years. So it’s a true pleasure that he is now taking the US by storm. Thanks to the 2018 release of the Director’s Cut Blu-ray of his 2012 film Red Krokodil, Domiziano reached a whole new audience. Buy Herbal Valium chronicles the downward spiral of drug addiction and proves that Domiziano is no stranger to body horror.

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His penchant for the grotesque is showcased in his work, and he doesn’t hold back, which is a real treat for those of us that prefer the more extreme end of the horror genre. As a fan who prefers foreign horror, I was honored to speak with Domiziano recently, and to find out what it is that fuels the man behind the lens, and to get a sneak peek at what he has in store for us.

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House of Tortured Souls: I read that you’re often compared to Dario Argento and that you’re the first Italian director to revive the erotic/horror genre. How does it feel to be described that way?
Domiziano Cristopharo: Actually, I was recently even described – by a very kind critic – also like a “mix between the Fulci’s trilogy of hell and contemporary American horror” (and this is a comparison that really makes me feel proud to exist)… but I don’t know, I don’t see resemblances in my works, and I would love to be closer/similar just for a 10% to a master like Fulci or Bava.
HoTS: You made your first film, House of Flesh Mannequins, in 2009. What did you do before you got into film, and what inspired you to do it?
DC: I work in tv, stage and film industry by age of 14. My principal job till 20 was acting then I started professionally to realize fx make up, and write screenplays. My intention was to sell the script but was rejected for years in Italy ’cause the contents. So I tried to send it in USA and I was lucky: empire films produced it and gave me the direction of the movie too.
HoTS: Do you feel there is a difference between Italian horror filmmaking and American horror filmmaking?
DC: More than a difference, I see an abyss. I started in 2008 and I did more than 25 films ’till now (including collective projects and productions). In 2011 after my third film I quit work with Italy and Italians. This helped me to become more productive and find a really active market and a field where I get the chance to grow up as a person and as an artist. In Italy I had just two small distributions in those years, DVD of my films are still available only by import. No support at all and useless to mention the hate and rage that fill this field… Favorite sport of other directors and horror fan here is to create a shitstorm round people who have even a small success. Bad, bad, bad.

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HoTS: A lot of your work can be described as extreme horror. What is it that attracts you to that part of the genre?
DC: I always loved to explore excesses, I think is useless to offer to an audience – especially as indie – something that already exists. But my concept of extreme is not related in blood, I don’t even use much of it in my films. Extreme is a feeling, is to dare, to show something forbidden, something not socially accepted, not only murders but evil thoughts, nasty actions, uncomfortable secrets. This is also what makes my lead roles so intense and in same time scares actors so much that I hardly find people to hire.
HoTS: You recently helped produced Sacrifice, one of the latest installments to the American Guinea Pig series. What are your thoughts on the rumors that viewers walked out of early screenings of the film due to content?
DC: Aren’t rumors at all. In France, during the “Sadique-master” (a festival dedicated to extreme movies) three people fainted and one puked. In Italy during the “optical theater festival”, a girl fainted and we needed more than 1 hour for reanimate her… Was scary. I’m very proud of SACRIFICE, is the first part of an extreme trilogy (second part is TORMENT by Adam Ford and XPIATION, just concluded, by me) may be the first extreme Italian series by decades. Biro caught the potential of those films and he wanted it so badly in the AGP saga.
HoTS: Poison Rouge was an actress in your first film, and she also directed Sacrifice. What made you want to collaborate with her again?
DC: She acted with me on stage first, we had a sideshow called BLOODY CABARET; then she played in many films: from the debut in FLESH MANNEQUINS to HYDE’S SECRET NIGHTMARE and PHANTASMAGORIA. She also always helped me on set as assistant director.
SACRIFICE was in my thoughts written for a female role, but I had troubles with the actress…
So I asked Poison to replace her, and then finally I gave to her the direction of the movie.
HoTS: What’s your favorite scary movie?
DC: Dunno, I have many… I love classics… and for sure Carpenter, Fulci, Bava, Cronenberg… But also Polanski, Jodorowski, Lynch



Posted by Tiffany Blem in EXCLUSIVE, INTERVIEWS, 0 comments
Movie Review: Red Krokodil

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In Domiziano Cristopharo’s film Red Krokodil, the viewer observes a man (played by Brock Madson) wrestle with an addiction to the incredibly detrimental drug krokodil. Now, krokodil is a desomorphine and is made through a process similar to the process to make meth and is made up of codeine, hydrochloric acid, and red phosphorus to name a few. It received the name krokodil for the effects that it has upon the user, particularly at the injection sites where one’s skin turns green and takes on a scaly hue. Add to that an effect similar to necrotizing of the flesh and severe internal damage, and krokodil is one of the more lethal drugs in the world.

With these facts in mind, I shall dive into the beautiful and haunting world of Red Krokodil. Set in a post-nuclear city in Russia, the viewer is introduced to Madson’s character from the outset and the first impression of him is rather tragic because you find him with his hands, elbows, and knees wrapped in bandages and he is dressed in some rather ratty underwear. Long unkempt hair and what is certainly rather questionable hygiene and we are introduced to someone in the brutal throes of drug addiction. As the film progresses, we get to experience this man’s hallucinations and at points his personal self-loathing. The entire film undergoes a constant narration with Madson’s voice talking about why he does what he does, even though he even comments at one point that he wishes that he would stop with the injections of krokodil.

Buy Roche Diazepam UkOne thing to take note of in this film is Domiziano Cristopharo’s phenomenal direction and cinematography in showing both the visual damage that krokodil has done to this man and in how through the cinematography, Cristopharo shows the internal damage that this drug exacts upon the mind. From hallucinations to even a lucid scene where Madson has a very intimate interaction with himself whilst in bed, we see his mind deteriorate at a pace that is both equal and even worse than his physical deterioration. The physical damage that krokodil did to the body is shown in an unflinchingly fearless manner. As the film progresses and this deterioration becomes more and more obvious, the man unwraps the bandages from his body and picks away at the flesh as it just falls off. Even skin peels away as if it was just an extra layer of clothing.

Can I Order Valium OnlineJust like those layers of skin and flesh, this is a very full-bodied film with a multiplicity of layers that demand one give the film multiple viewings. I am still processing everything I saw in the film and I am doing my best to avoid spoilers so that readers might go and see the film without knowing how the story unfolds. I can happily say that I will rewatch this film again and again. Gratefully, I’ve had the pleasure to converse with Domiziano Cristopharo directly concerning Red Krokodil and how it came to be! Discussing the film directly with Cristopharo he informed me that at the time, he was not happy in life and decided to quit filmmaking. Instead, he harnessed those feelings and began a trilogy signifying a journey from light to sadness and solitude. Red Krokodil is the purgatory aspect of his trilogy with Dark Waves being the paradise and Doll Syndrome being the hell. In addition, he informed me of how instead of quitting filming, he just needed a change in how he made films. For 8 months, Cristopharo couldn’t find an actor until Brock Madson came along, who after one sees the film can recognize is the perfect choice for the role.

In addition, it turned out that Madson had wrestled with drug addiction in the form of meth. So for them both, along with this being a journey, as Cristopharo put it, it was a way for them to exorcise their demons. Overall, I highly recommend this film, and give it 5 out of 5 stars!

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FIRST LOOK – Upcoming Release for Domiziano Christopharo’s Red Krokodil (2012)

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Set for January 23, 2018, Unearthed Films’ CEO Stephen Biro contacted House of Tortured Souls with a digital press kit for the DVD/Blu-ray release of Red Krokodil.

According to the press release, here’s what we can expect:

Red Krokodil is the story of one man (played by Brock Madson), addicted to the mind-numbing drug Krokodil. He finds himself alone in a post-nuclear city similar to Chernobyl. His physical decay, caused by the massive intake of drugs, is mirrored by his inner world, as reality mixes with hallucinations.
The decomposition of the flesh caused by Krokodil is severe in its graphic, yet slow destruction, madness, and desperation are rampant as one man’s addiction to the drug runs out of control.
Director, Domiziano Christopharo depicts a psychological condition that brings a total detachment from oneself and from the surrounding world, Red Krokodil is a dark trip, with no way out.

Domiziano Christopharo is an Italian independent film director known for having worked with various notable filmmakers in the past, including Ruggero Deodato (Cannibal Holocaust), Frank Laloggia (Lady In White), and Carlo De Mejo (City of Living Dead).

Christopharo is also known for his ongoing work to try and revive the erotic horror genre, familiar to many fans of the Giallo movement as well as fans of filmmakers such as Fellini and Argento – often having reviewers drawing comparisons with the two filmmakers and his own work.

Christopharo’s body of work includes House of Flesh Mannequins (2008), The Museum of Wonders (2009), Hyde’s Secret Nightmare (2010), Shock – My Abstraction of Death (2011), HP Lovecraft: Two Left Arms (2012), Doll Syndrome (2014), and much more.

Many have characterized Christopharo’s work as being pornographic in nature, but he prefers to respond with a quote from Picasso:

Art is never chaste and we should keep her away from pure ignorants. If it were chaste, it wouldn’t be art at all.

So far reviews have been favorable for the film’s release with Steven Paul from Beneath The Undergound calling it a film in which “you will know that you have truly experienced something special”, Barbara Tourette from Dark Veins saying “Brock Madson’s performance is a mirror of the psychic and physical consequences caused by Krokodil”, and Seth Poulin from Celluloid Terror defining it as having a “powerful message…that is open to personal interpretation and what you take the film for is exactly what it is”.

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