Melancholie der Engel

Always mentioned in forums and lists on the internet as one of the most disturbing horror films ever made, "Melancholie der Engel" (2009) justifies its reputation as a cursed film due to its scenes of scatology and extreme cruelty.

The film takes the viewer on an odyssey of disturbing and reflective moments, addressing themes such as life, death and moral decay from a nihilistic perspective. The oppressive aesthetic is in keeping with the genre's proposal, making it a truly frightening work of horror. Despite bringing interesting philosophical debates, a well-crafted soundtrack and careful framing in the photography, much of the experience is overshadowed by scenes that go beyond the limits of what is acceptable, such as explicit animal cruelty and sequences involving excrement, made without simulation or practical effects. The subtext does not support the project, making it clear that the enigmatic director Marian Dora intended to shock the public through an underground production aimed at art house cinema. For viewers unfamiliar with this type of transgressive content, the film may seem like nothing more than a jumble of bizarre images and disjointed philosophical dialogues.

"Melancholie der Engel" was not conceived for all audiences, but rather for a select group that enjoys the paraphilias portrayed in the film. Without its more problematic scenes, the film would certainly have achieved more consistent results, even if it would inevitably lose its infamous crown as a disturbing production.

With its focus on audiovisual composition, THE ANGELS' MELANCHOLIA essentially is an emotional experience. Not enough, the complexly developed story also stretches out to themes of friendship, passion, revenge and death wish. This assumes intense preoccupation with all the multiple layers of the movie. In aesthetic, tender images the stunned audience witnesses events that blurred the frontiers between reality and fiction probably already during the shooting. Just apparently in contradiction the events are accompanied by citations of German contemporary history, which gives Marian Dora's work a powerful intellectual historical basis. The movie's structure is similar to the baroque cathedral which gets a central role in the movie: The story and (only on the first sight) marginal details get mirrored like a symmetry axis and seem to be the counterpart of the leading characters destiny.

A personal work of director Marian Dora, the movie defies all formal conventions of storytelling. In nearly all scenes the movie breaks up to the audience's expectations. Established viewing and thinking habits as well as generally accepted and provided moral patterns are getting destroyed and stay unusable. If comparisons are appropriate at all, THE ANGELS' MELANCHOLIA has its place between the work of Jodorowsky or Pasolini. However, the movie can't deny its German roots and openly admits its highly controversial underground cinema status: Poetic, radical, original, unwieldy and impossible to forget.

I've owned a copy of Melancholie der Engel for a few years now, but never watched it as it was in German without subtitles. Recently, I found the movie on YouTube with English subs, so I finally gave it a whirl.

Even with subtitles, it didn't make sense.

Directed by Marian Dora, who gave us the disturbing Cannibal (2006), this film is an extreme arthouse horror that pushes the boundaries in terms of shocking content, the filth and debasement depicted including vomiting, stoma and anus fingering, and the five '-tions' - mutilation, urination, defecation, masturbation, and ejaculation (all shown in graphic detail). While this might be exactly what extreme cinema fans are looking for, the whole thing proves extremely boring thanks to its pretentious approach, unfathomable storytelling and excruciating two and a half hour plus runtime.

Fool that I am, I carried on to the bitter end regardless of the fact that the execution was very tedious and I soon became inured to the abhorrent acts inflicted on the cast. What I did find upsetting was the unnecessary cruelty towards a variety of innocent critters: a tiny newt is slowly crushed, a snail has its eyes cut off with scissors, a worm is sliced into pieces with a scalpel, and a cute cat is killed. People can do what the hell they like to each other in the name of their art (and they do), but leave the animals out of it (unlike the turtle in Cannibal Holocaust, I can't imagine that the cat became food for the cast and crew).

1/10. A repetitive, incomprehensible exercise in repugnant behaviour that couldn't be more wearisome if it tried. If you think you're hardcore enough, watch it back to back with Philosophy Of A Knife.

In 2009's "Melancholie der Engel" we are introduced to a group of people that have gathered in an old house and from there on the movie turns to a pretentious art house movie with disgusting imagery. There are quite a few scenes in this that are stomach-turning because they are so disgusting and disturbing that not everyone will even be able to watch this. The plot is weird and full of artsy stuff that was not entertaining at all. Every now and then something sick and disturbing happens to shock the audience just for the sake of it. In between there are quite a few nice shots and the overall cinematography was pretty good considering the low budget. However the overall result is way too long and unconvoluted. In the end some of the pictures will stay in the viewers head for a while but that's about the only achievement this movie gets. [3,0/10]

What the heck was this movie about? I can never ever get back the 2.5 hours that I used of my life to watch this movie. There is very little sequential movement through this story and the randomness and extensive focus on the irrelevant produced a waking coma that I may never recover from. The symbolism is impossible to follow and even the nudity, to include random ball and sack shots, was out of place and added little to the comprehensibility of this film. This would be a perfect film for someone on death row who had nothing else to live for and was anxious to end their life in confusion.