Le roi des morts

Jörg Buttgereit goes a bit too far with his movies and themes at times, even for my taste but his movies are always something special and hard to classify. They are artistically made, with also often deeper meaning to its themes. This movie is a perfect example of his work.

It's also really hard to label this movie. It's not really a movie with a story to it, in a sense of having a beginning, middle and end in it. It also doesn't have a main character but instead focuses on 7 different suicides and killings, on 7 different days.

All different stories are being told with lots of class, though some of them are of course more 'interesting' and realistic than the others. They are not necessarily connected but yet together they still tell a story. The movie doesn't feel disjointed at all. All different stories have a different feel to it and Buttgereit tells the story without hardly using any words (also typical for his style) but instead lets the images and obvious sensible emotions of the characters tell the entire story. It helps to make this movie an effective one to watch.

Again, the production values all aren't too high and this might be something that might scare off some people. It however helps for this particular movie to set the right tone and atmosphere for the entire movie and its dark, disturbing and depressing themes.

A Buttgereit movie that I 'enjoyed' watching.

7/10

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I wouldn't care if Spielberg, Scorsese and Coppola never made another film (actually, I'd be rather grateful), but the possibility that Joerg Buttgereit might never direct another movie is truly upsetting. It's been 13 years since his last film, Schramm, but I live in hope.

Der Todesking is one of Buttgereit's most accessible films. That could be the very reason why I was so disappointed with it when I first saw it. After the filth and carnage of Nekromantik, Der Todesking seemed almost timid. The film is a collection of vignettes relating to suicide and death, linked by footage of a rotting corpse. The gore is very mild in comparison to Joerg's other movies and the violence is largely implicit. Strangely enough, the film has grown on me immensely over time and despite my initial misgivings, I now consider it to be my favourite Buttgereit opus.

This is a cerebral and beautifully constructed film. Buttgereit has always exceeded in making the most repulsive act (having a threesome with a rotting corpse, for example) visually appealing. This film is no exception, containing some truly brilliant imagery. The scene where a man shoots his wife and then puts an empty picture frame on the blood splattered wall is one example, the man who screams and beats his head against a wall for literally five minutes is another. The film also benefits from a higher standard of acting than some of Buttgereit's other films. The director himself even has a nice cameo in the Ilsa inspired video.

Hopefully Germany's most fabulous pervert will get off his butt and make another film in the near future. In the meantime, Der Todesking is a great reminder of Joerg Buttgereit's skill and genius.

Jorg "Nekromantik" Buttgereit continued his serious obsession with death on this harrowing suicide-fest. One suicide per week day. Der Todesking, however, is far from being any sort of video nasty. Rather, it is a brooding, raw, brutally frank art-house hysteria punctuated by avantgarde delivery, particularly the recurring interludes of a decomposing corpse. There is also a spoof on "Ilsa, She Wolf of the SS," which is weird and totally unexpected if you consider Buttgereit's nationality. In any case, utterly depressing, plodding atmosphere and unnerving lack of dialogue bring this work even further into the category of obscure cult classics, not for the weak of heart or mind. But would you expect anything less from the man who gave us "Nekromantik," "Schramm," "Hot Love?" Indeed. "This is the Death King. He makes it so that people don't want to live anymore." Can YOU look him in the eyes?

Buttgereit does a beautiful film about suicide? Who would have thought that the same director of the filthy, Nekromantik, would be capable of bringing us such a moving portrait about suicide. Well, it is also a film about violent death, not just suicide. This is subject matter that most writers and directors would shy away from because it is too dark. It took someone like Buttgereit with enough audacity to give this disturbing topic its humanity. The film itself is actually seven short films each one dealing with violent death/suicide from different aspects. There are indeed some parts that will move you to tears such as a bridge (somewhere in Germany, we don't know where but that's not important) and on film captions of the occupations (no real names given) and ages of the people who have used the bridge to meet their end. At the very end of the film you are shown photos of smiling children obviously during more happier times. This scene got me emotionally more than any other. I have to spoil one thing but as a cautionary statement, there is one scene unfortunately that has become almost a trademark for Buttgereit: the obligatory castration scene. But get past that and this film is a wonderful, emotional experience. This one certainly has earned it's place on my all time top ten movie favorites. I feel very fortunate to have been given the opportunity to see such a marvelous film. Now if only it would be made available on DVD?

"Der Todesking" is not exactly the type of film that makes you merry… Jörg Buttgereit's second cult monument in a row, which is actually a lot better than the infamous "Nekromantik", exists of seven short episodes – one for each day of the week – revolving on unrelated people's suicides. In between these already very disturbing episodes, Buttgereit inserts truly horrifying images of a severely decomposing male corpse. The episodes aren't all equally powerful but, as a wholesome, "Der Todesking" is ranked quite high on the list of all-time most depressing art-house films. Particularly the episodes on Wednesday, involving a man explaining his sexual frustrations to a total stranger in the park, and the one of Sunday, focusing on a younger man molesting himself to dead, are extremely intense and devastating to observe. The added value of this film, or any other shockumenary like it, is debatable and I'm not even sure whether or not Buttgereit had any type of message to communicate here. There's the vague mentioning of an eerie chain letter that encourages its readers to commit suicide but mostly we remain uninformed about these people's motivations to end their lives so dramatically. Entirely unlike I expected, "Der Todesking" isn't exploitative or repulsively graphic! On the contrary actually, I never could have hoped Buttgereit would be so subtle and thoughtful regarding the portrayal of pure human misery. The Thursday episode is a perfect example of this, as it stylishly shows different viewpoints of a famous German bridge while the names, ages and occupations of persons who jumped off appear on the screen. The production values are inescapably poor and the editing often lacks professionalism, but this isn't what really counts in this type of cinema. The subject matter is strong and forcing us to contemplate about the less cheerful – but also indispensable – aspects of life. GREAT use of tragic music, too!