Adrian Baez

Adults only Horror film “Hardgore” by A BAROQUE HOUSE

Adults only Horror film “Hardgore” by A BAROQUE HOUSE

Horror has always been my poison. A long-range of other films are also on my radar.  Art films, to quirky romantic films to even 80’s movies are my favorite. This doesn’t diminish my character in any way. I enjoy movies. However, horror is always my go-to.

Being online, I’ll research upcoming films; I’ll talk to friends or even get exclusive scoops that now, and then if I’m allowed to post about it legally, yes, I will. However, in some cases, there are just some things I can’t share. The horror community is fantastic and also very supportive. “Check out this film.” “Here’s where you need to start.” That’s some of the dialogue I’ll hear among friends and fans. One studio came to mind — a Baroque House. For the longest time, I’ll listen to friends or Adrian Baez himself promote the films. My interest became peaked. I must know more.

The films are very, very limited edition once they’re out of print, that’s it. Good luck finding them on eBay. It almost became a scavenger hunt for a movie. People had them, but no sellers. Your best bet is going to the website and buy them yourself. Luckily I was able to see a copy of HARDCORE by Akiko Janos.

My heart began to race. What exactly was I going to watch? What was the big deal of said films? Of course, my friends all said they’re amazing and so worth it. I understood I was in good hands. As the film begins, it gave a final warning to be prepared for blood, nudity, sexual acts, and that the movie is xxx. So yes, porn and horror. Although there is no penis insertion, no bodily fluids (blood), that’s it. It’s stated that the blood is real, along with the piercings.

That’s the movie honestly. No story line, no dialogue, Just a music score, some distorted voice recordings, and two women are piercing and masturbating. Watching the film, I felt intrigued, I felt captivated but nowhere near being disgusted or even bored. The girls look like  girls you would see at underground music festivals or in book stores minding their own business this adds to the film giving it that even more than real feel to it. As the viewer, you feel almost as if they made the movie for you.

A feeling of power, lust as if it’s illegal to own, but it genuinely legal and no laws are being broken. Yet watching this, you feel almost as if you were witnessing something in a peepshow.

The two actresses Kitty Dorian and Rain leave an impression which brought back memories of the times I went to real live sex shows or sex dungeons, seedy punk rock clubs where this is what it is. Art in an untouched atmosphere no apologizes, no safe space, no feeling of regret or remorse. It felt like a euphoria where in that brief moment, we can’t explain, but the world stops. We see our vision, and we accept it, we know what we want. Perhaps this is the reason you may not see the information on IMDB, big chain stores, or hear the fans spoil the movie it’s not your typical horror or porn film. To understand it, you have to view it and embrace the art work.

Posted by Jai Alexis in ART AND VENDORS, BRUTAL REALITY, FRIENDS OF THE HOUSE, GORE OR EXTREME HORROR, HORROR HISTORY, HORROR NEWS, Horror Punk, MOVIE REVIEWS, NEW RELEASES, REVIEWS, WOMEN IN HORROR, 0 comments
An Introduction to Sam Hel and the World Of Cat 4 Collective

An Introduction to Sam Hel and the World Of Cat 4 Collective

Sam Hel is a filmmaker whose current release An Ultraviolent Colour is available through Cat 4 Collective. His collaborations with Adrian Baez on films such as Summerland and The Devil In Me to create the “Suicide Trilogy” have been gaining notoriety within the Indie short film scene, and Sam agreed to speak with the House of Tortured Souls on the evolution of his films.

House of Tortured Souls: The recent release of An Ultraviolent Colour is quite phenomenal. How did you pick such an amazingly well-rounded lead actress to showcase your script and directing style so brilliantly?
Sam Hel: Thank you. In Los Angeles, it is very difficult to find models and actors to be a part of a movie that contains graphic material. It was actually supposed to be more graphic as Emily has a history of sexual abuse in the story. I was told to tone it down or we would never find someone here. Which was almost the reality.
A. Baez and I looked high and low for actors models and even friends to be Emily. A. Baez was the one who had priorly talked with Mercedes, and she was 100 percent on board with the idea and came to Hollywood to shoot it.
I just gave her the background information and where Emily is at in her life. Mercedes took the character and went with what she felt would be the closest. She even went on with rants and dialogue while shooting that I still don’t know if they are made up or she really experienced in her life.
HoTS: An Ultraviolent Colour is part of the “Suicide Trilogy”, can you describe to viewers how the film’s flow together?
SH: The common ground we both agree on is that each story very much takes place in a warped version of the mind. Every character has a problem mentally that led them down that road, and there was no one to help them in their time of need. In Entrails and Amour, the love of her life left and she was alone. In The Devil In Me, she was alone lived a secluded life and idolized someone who praised death. An Ultraviolent Colour tackles abuse with no outside help and an enabler supporting her wishes.
HoTS: Summerland and The Devil In Me are very involved films about character exploration. Where do you find your influences with such subjects?
SH: I try to find a lot of documentaries or videos about unique people. I also like to read about strange situations and stories. Once I have an idea, I usually do weird things to continue writing mainly sleep deprivation. I keep a notebook next to me. That is when the what-the-fuck ideas come in. Either visually or within the dialogue. It’s also good that I’m close with my partner and he does not sleep either.
HoTS: Recently you announced work beginning on I Cut Your Flesh. What can you tell us about this production?
SH: I am into documentaries. I am also into visually fucked up things. I enjoy interesting people. I struck up a friendship with a lovely girl who has a fascination with being cut pierced and playing with blood. If people continue purchasing our movies we will begin working on a series of these real pain documentaries.
The movie is truly in the same vein as shockumentaries and documentaries on oddities. I wanted to make controversial documentaries and shockumentaries like Traces of Death junk films, Japanese extreme fetishes, or death documentaries. That seems somewhat impossible at the moment. This is the closest in extremity I can get at the moment. Plus it is funny to make my cameraman shoot it as he cannot stand the sight of real death or blood.
HoTS: Is there anything you’d like film fans to know about yourself, your work, or Cat 4 Collective?
SH: As long as there are people wanting to view our movies and supports us by purchasing our products we will continue moving forward. I will always continue photographing or shooting but I like to share my work. Sadly it costs to create and it costs a lot in Los Angeles. We have a lot of extreme and unusual ideas that I feel have not been explored in a while.
Our websites are www.cat4collective.com and www.samhel.com.

Sam Hel’s latest film An Ultraviolent Colour focuses on one person Emily. Emily has been abused all her life and that is the only way she knows love. She decides to make a movie as a love letter to the world.

Emily’s spiral into self-abuse is evident on screen, as she slowly begins a detrimental slide into self-harm. She begins by letting us watch her line the bathroom with plastic sheeting in anticipation of what is to come.

We see the anguish in her face and understand though she is numb to so much, pain is merely a pleasure for her. This is conveyed so wonderfully raw and vulnerable by Mercedes, the young actress playing the damaged, fragile and tormented character of Emily.

She is tormented and sadly seeing no way free. The film climaxes in a sea of musical screaming and thrashing music.

The score, having been a secondary character throughout the film, reflects Emily’s torment with moments of quite manic and others more ethereal melodies. Featuring music by STALAGGH and SADWRIST, An Ultraviolent Colour features a score that is impacting on the viewer.

Sam Hel creates angular shots of his beautifully tragic lead actress, that encourages us to not only continue to watch on horrified but also feel emotional towards her plight. Sam Hel’s prowess as a filmmaker is cemented with this gutsy effort, and I will watch on developments on future films such as I CUT YOUR FLESH.

Interview: Sam Hel

Mercedes as Emily

Posted by Michelle MIDI Peifer in HORROR NEWS, INTERVIEWS, 0 comments