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One heck of a moist movie.The story concerns a young couple with a predilection for all things dead. This works out well for them, as the boyfriend works for a crime scene clean-up crew. As luck would have it, one day he comes across a rather well preserved corpse ('rather well' as in it's a rotted, blue hunk of tissue) while on duty. He manages to sneak the body home, much to the delight of his lady-friend, and they go about having their dirty little way with it. It soon becomes clear that the girl is enjoying the company of the corpse more than her still breathing boyfriend and runs off with it. Needless to say, this does nothing healthy for his already deranged mental state (being dumped for another guy is bad, being dumped for a dead one is even worse).
Believe it or not, watching them have sex with the gooey body is NOT the nastiest thing you'll see here. All manners of assorted atrocities are committed for your viewing un-pleasure, most all of them rank in the 'so sick you can hardly watch' category. I will not spoil the best of them, just rest assured that gore-hounds will most certainly be pleased (if not disgusted).
For better or worse, the film is not very competently made. The corpse and gore effects are very good, but the film stock and technique are both pretty sub-standard. And with the script being so barren and the acting merely passable, the shock moments are all that will keep hardened viewers watching 'till the gruesome conclusion.
If you are looking for good story telling, look else where. If you're looking for a good sex flick, look else where. If you are looking for the ultimate stomach churner, you've found it.
6/10
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Nekromantik is actually not a very complicated story. Robert and Betty are in love. Robert and Betty have some sick fetish's. Robert works for a company that cleans up dead bodies, and one day Robert brings home a rather rotten cadaver pulled out from a swamp. When I say rotten, I mean disgustingly rotten. Well, after Robert and Betty have a rather disgusting threesome with there new found friend, Robert gets fired from his job. It is at this point that Betty leaves him and takes the rotten corpse with her. The rest of the movie is Robert trying to cope with his loss.
This movie has to be seen to believe. I wouldn't recommend this to just the average horror fan. You have to be wanting to look for something new. In my case, I had seen everything. My collection of horror films is in the hundreds. But I hadn't seen this. The second film is rather good also, and I am having a hard time deciding which movie had the sickest ending. I hope this comment helps. 8/10
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Nekromantik is very hardcore and graphic. There are only a few movies that can be in the same league in its genre. The Texas Chainsaw Massacre (the first one and original) had demented characters that finally are not punished like they always are in moral guided horror films. Cannibal Holocaust has a graphic approach similar to this film. Some moments of the first Hellraiser (it included a romantic scene of a woman and a resurrected corpse) could be compared.
But Nekromantik dares to go further than those movies (with less money), there's no moral view over the necrophilia... it is treated lightly, like ordinary everyday stuff. I don't want to spoil anything but I suggest you to pay attention to the last scene... if that's not completely disgusting I don't know where is the disgusting stuff in cinema.
Buttgereit like many filmmakers used horrifying and gory elements in his first steps. In most cases when an amateur director does 'zombie movie', intentionally or unintentionally, the final result is a comedy. Even if they want to be taken seriously, in most cases people just laugh at what they see. This author made a comedy that most people feel it's not funny at all. Maybe it's because of the particular German sense of humor or something else. Buttgereit's cinema is shocking and bizarre. Those are two compliments that Buttgereit achieved with Blood (many blood and guts also), sweat and tears. But I don't want to be misunderstood; I challenge people to see this movie, because it's ground breaking (even today) not like the typical 'Scream-clones' out there.
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The film obviously wants to examine love; but it just continually fails. No points are made, even the fact that the girlfriend ends up choosing the corpse over her man isn't explored at all. It would seem that the sick pervert who wrote it had a great idea about making a film that handles two of life's most important elements; namely, love and death, but had no idea of exactly how he would go about doing it. The result is this film. Necrophilia is, undoubtedly, a perverse subject; but it's also one that automatically generates intrigue, yet this film also fails even in that respect. The whole plot line is just too silly to take seriously; and even if you look at the movie as a black comedy, it still fails because it's not funny. The necrophilia element isn't even the most shocking thing about this movie; the most shocking things are the animal violence (pointless), and the fact that some people actually like this film! If I really had to come up with positive things about Nekromantik, I would say that I liked the score; and the fact that it's not on for long is a very good thing. On the whole, this movie is a piece of garbage - don't waste your time! Wayward cinema has produced far more satisfying gore-porn flicks than this.
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The grainy, low-budget feel adds extra oomph to the shock value, not to mention some gritty atmosphere, and there is certainly enough depraved sickness to go around, including one of the most twisted and memorable endings in horror history. In addition to all the simulated gore, a real rabbit is killed and skinned, there are some hilariously misplaced 'artistic' touches and loads of full (often unappealing) nudity. Film Threat offers a subtitled and unrated (would be X) version, and its 1989 sequel, NEKROMANTIK 2: RETURN OF THE LOVING DEAD.
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It focuses on love, heartache, and despair... Oh yeah, and there's the whole corpse thing, too. That's always fun.
The plot involves a young man who cleans up dead bodies. He occasionally sneaks a small body part home and saves them in labeled jars, much to the odd sexual excitement of his girlfriend. Then, one day, he hits the mother lode. He finds a full body and, with no one around, he manages to get it back to his place without arousing suspicion.
The girlfriend, of course, is thrilled - and much graphic sexplay occurs between the three of them. It isn't until the young man begins to realize that his girlfriend would rather spend her time with the corpse that he starts questioning the sanity of the situation.
The idea behind the film is repellent to most, but that doesn't mean the movie is not still a fine piece of experimental art. It takes feelings we all have, and places them in a very unreal environment. We question the sanity of the film's characters, but find strange similarities between ourselves and them.
Those with an open mind should see this notorious piece of German underground film-making. Its well-worth the search.
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It begins with a couple killed in a car accident,the husband and wife dead,four men in white plastic suits appear and clean the site.They're from Joe's Street-Cleaning Agency,one man,Robert'Rob' Schmadtke takes the husband's dangling eye,takes it home for his strange and morbid collection that would make Ed Gein nod in delight.One of his co-workers complains to the boss that Rob,a short and timid man that he is useless and always late but the boss gives him a chance.Then one day they find a body in a ravine and the crew leave home,Rob takes it home for him and his girlfriend.
Nekromantik has been advertised as an erotic necrophilia film,'finally!A film for necrophiles!'said John Waters,it has been labeled as disturbing,sick,weird and disgusting but although this film's subject matter is handled with care. The sex scenes are done in a tender and sweet way,which evokes that time and place.We are later shown disturbing images of Rob's memories that maybe how his love with death came to be,the film is 75 minutes and not a minute too short and the film is not heavy on plot because we are not watching them but closely observing these two lives.
The difference,maybe,is between great art and great craftsmanship, mankind has many perversions and we cannot think of them as wrong or right.Jörg Buttgereit has made a well-made low budget film out of a super 8,trangsgressive and filled with beautiful but cruel imagery. Buttgereit titles his him'Nekromantik' which I think because of Rob,Betty,and the corpse which doesn't last long at all.When the memoriable but graphic end arrives we see how we got there, our hero that has gone mad but it is meant that he loved death itself and death will be the most extreme pleasure he could ever have,it is a very anesthetical scene,that left me in an extreme strange daze that I could not shake off in mere minutes.
Nekromantik isn't and shouldn't be labled a horror film but a close spiritual study in a forbidden taboo,nor a film about necrophilia,it is about a couple who love death just as much we love watching horror movies in the dark.
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Somewhere deep in this flick lies what I believe is a message. Recall the scene where Bob is watching television, and the psychiatrist is being interviewed and is taking about aversion to death being a conditioned response? NEKROMANTIK, while on the one hand, an exercise in grotesquery, is also thus an anti-aesthetic reaction against the conditioning of culture and culture's stifling effects. Not that many of us would ever want to f*** a corpse, of course, even in the name of subverting propriety or a philosophy of romanticism.
Beyond this, NEKROMATIK strikes me as a play on nightmare imagery, effectively rendered.
The Germans, with their expressionism, certainly must be credited with having invented the horror film genre, going back to the silent film era and films like NOSFERATU and FAUST. Jorg Buttgereit, a contemporary German maverick filmmaker, here moves the genre forward.
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Sadly the movie is very exhausting to watch. And sometimes you get the idea, that the movie is all about living out a perversion. But then again, the movie asks interesting questions about humanity and life itself. One of many reasons why I consider this movie art and believe it's worth to watch – despite all the perversion and gore.
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I give the movie credit for not been squeamish about its subject matter. But in the end the lack of real interest becomes obvious and it takes over the initial shock, leaving us with a soulless, amateur-looking movie with scenes that you probably wont forget on a visceral level, but that wont resonate in your brain.
So, is it recommended? Yes, if you are into mindless gore. But if you look for a strong story with compelling characters, look somewhere else.
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This film shows exactly how talented film maker can show things in personal way and show disgusting things beautifully and with a taste. This film is not ugly or disgusting, but to say that, I think one has to be pretty tolerating and 'difficult art loving' viewer since this is not easy to view if one cannot interpret movies. The scenes of necrophilia are shot gorgeously with different techniques and the most important element in Nekromantik is again the music, the unimaginable and hypnotic music. The music is among the most beautiful and gentle (and very dark and ominous at times) I've ever seen, and it is as touching as Riz Ortolani's music in Ruggero Deodato's Cannibal Holocaust (Italy, 1979), one of the most important films ever. Nekromantik would not be Nekromantik without the music. Totally unforgettable element.
The infamous rabbit killing scene is often judged and not accepted, but the fact is that the film makers did NOT kill the creature, they only shoot the farmer doing his job, and the rabbit would've died without the film, too, because we eat meat everyday with or without Nekromantik in existence. And this is the meaning of the scene and we definitely should realize that eating meat means always that an animal has given its life that we can eat its juicy meat. I love animals very much but still I eat meat because I know that they are the only source to get it and in my opinion the rule of nature is that way that human beings are meant to use the resources of nature, but as we know the nature of human beings, do we really deserve all this from the nature as we exploit and destroy it every minute?
The movie's end is unforgettable and also the most shocking scene in the film, but so releasing and gives the final relief and salvation to the protagonist, and it is very beautiful scene with the music again as a strong element. This is something that is never before seen on screen and it is way too much for many. There are also other over the top gore and splatter scenes in the film and they are the ones that alienate the casual viewer. The disturbing 'snuff' scene where a woman is sliced, is a part of the interpretation about 'exploiting' (Nature or other human beings), which I explained in the rabbit paragraph above. Do we have any right to live or be in existence (not to mention eating and consuming the sources of Nature) since all this trash and sick entertainment exists and has its consumers? And this film itself is NOT that kind of a sick trash/exploitation as many consider: Nekromantik is a very challenging and symbolic piece of underground cinema, which has many things bubbling under its surface and the movie's core has to be found in order to understand it.
Nekromantik is one of the most noteworthy marginal and independent films I know and definitely one of the most unforgettable experiences in the field of cinema. I have seen this two times now, first on a videocassette and then in one festival in 'big' screen! That latter was without a doubt very unforgettable experience and this is rarely seen in the big screen. So I recommend Nekromantik (and other Buttgereit's films) to the fans of intelligent and wonderful looking non-mainstream cinema and the cinema that has thousands of things to say and give to the interpreting viewer.
10/10
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It's been over 25 years since I first saw Nekromantik—a dodgy nth generation bootleg VHS with no subs given to me by a friend with the same dubious taste in film—but even though I've seen a lot of extreme cinema since, Jörg Buttgereit's transgressive classick of German underground horror has lost none of its power to shock.
Dealing with the extremely iffy subject of necrophilia, with all the yucky, oozing, slime and bodily fluids that go with it, Buttgereit's film is still difficult to stomach despite a streak of dark humour running through proceedings. As if the nauseating sight of someone getting busy with a putrefying corpse isn't bad enough, the film also throws in a spot of animal death (both fake and real), full frontal male nudity, some random urination, the murder and rape of a prostitute (in that order!), a wonderfully bloody decapitation by shovel, and a final scene that has to rank as one of the most unforgettably repulsive acts ever committed to film.
Technically speaking, Buttgereit's film is a little rough around the edges, but he tells his tale with confidence, even experimenting with some artsy-fartsy visual effects during a love scene between Betty and the body, and throwing in a hilarious dream sequence that is reminiscent of avant-garde French cinema, albeit with a severed head and gut slinging. Nekromantik also benefits immensely from a surprisingly good score by Daktari Lorenz, Hermann Kopp and John Boy Walton which lends certain scenes a strange sense of beauty despite the repugnant visuals.
Needless to say, this isn't a film to share with the whole family (unless your family happens to have furniture made from human bones and an extra large freezer out back, in which case, share away); on the other hand, fans of low budget German splatter, extreme horror, or transgressive cinema in general should consider the film essential viewing.
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In writing a review for this movie, it's difficult to know exactly where to begin. There is obviously an audience for it, though it's certainly a specific one. John Waters apparently described the film as the first movie for necrophiles, and he's probably right, although I think its viewership also includes fans of gross-out and extreme horror. 'Nekromantik,' while typically classified as a horror film, doesn't strike me so much as that—it seems more a meditation on relationships and sex, except it is drawn to the most grotesque margins possible.
Make no bones about it (pun intended), this is a well-made film. It has an artistic edge and the writer/director has a very distinct vision here that is articulated on the screen—the real nitty gritty is that its subject matter is extremely disturbing to many sensibilities, and it's hard to watch the film and not have your skin crawl at some point. It is also, by most accounts, utterly insane. And for that reason, it plays out more like a fantasy metaphor for the disintegration of a romance. However you want to read it, the filmmaking is effective.
One of its most infamous scenes is the real-life footage of a rabbit being butchered and skinned at a factory, which has offended many. While I do find it hard to watch (and this is coming from a vegetarian), I also think it's important to consider that the animal in question was going to be slaughtered regardless, and that the filmmakers used the filming of it as an artistic opportunity. It bookends the film, playing early on, and then returns, run in reverse once the protagonist has reached the 'fulfillment' he seeks. It's symbolic, and it's disturbing, and the 'fulfillment' that comprises the conclusion is just as twisted as everything that precedes it, but my point is that the film is making deliberate moves that elevate it above the level of exploitative trash that many have classified it under.
I can't say I have a desire to watch 'Nekromantik' again, but, in spite of the ludicrous plot and the lengths at which it carries its viewers from grotesque spectacle to grotesque spectacle, there is a distinct artistic vision that ties it all together, and for that, I can appreciate the film. I'm not sure I can say I 'like' it, and I can't imagine having any desire to give it a second viewing, but I concede that it is a visionary, albeit extremely provocative, piece of celluloid. 8/10.
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One-dimensional necrophiliacs, no matter the amount of gore, does not an interesting cinematic experience make. Their love story deserved better.
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| Nekromantik | |
|---|---|
| Directed by | Jörg Buttgereit |
| Produced by | Manfred Jelinski |
| Written by |
|
| Starring | |
| Music by |
|
| Cinematography | Uwe Bohrer |
| Edited by | |
| Distributed by | Leisure Time Features (US) |
Release date | [1][2][3] |
Running time | 75 minutes |
| Country | West Germany |
| Language | |
Nekromantik (stylized as NEKRomantik) is a 1987 West Germanhorrorexploitation film co-written and directed by Jörg Buttgereit. It is known to be frequently controversial, banned in a number of countries, and has become a cult film over the years due to its transgressive subject matter (including necrophilia) and audacious imagery.
- 2Production
- 6Reception
Plot[edit]
The film opens at night, as a woman urinates on the grass by the side of the road. She pulls up her underwear, gets into a car driven by her husband, and they drive away. The couple lose their way in the dark and subsequently run off the road. The next day their corpses are discovered, the man inside the vehicle, the woman thrown from it and her body cut in two.[4]
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The film centers on Rob Schmadtke, the tragic hero, who works for 'Joe's Cleaning Agency', a company that removes bodies from public areas and cleans up after traffic accidents. Their emblem is the Totenkopf symbol (skull and crossbones variant) within a pentagram.[4][5] This job leaves him the opportunity to pursue his full-time hobby: necrophilia. He returns home from his job to his apartment and girlfriend Betty. He plays with his assortment of preserved human remains and watches television while Betty takes a bath in blood-laden water. Their apartment is decorated with centerfolds featuring models, pictures of famed killers, and jars containing human parts, which are preserved in formaldehyde.[4]
Rob watches a televised interview of a psychiatrist who speaks on the topic of arachnophobia and ways to overcome phobias. Rob then enters a daydream of a young rabbit being caught on a farm and graphically slaughtered. It is implied that these are memories of his father killing 'a beloved childhood pet'. A scene of an autopsy on a human cadaver follows.[4] Next, a man drinking beer and shooting at birds with his rifle accidentally kills a nearby gardener, then discards the corpse.[4][5]
Rob returns to work and discovers his new obsession, the corpse of the unnamed gardener, which has been found rotting in a pond.[4] During the removal process, Rob absconds with it. He excitedly returns home with this gift for his waiting wife. They immediately cut a steel pipe and put a condom over it so Betty will have a phallus to straddle during their ménage à trois. This is immediately followed by a scene of meat being fried.
Betty and Rob dine and converse while watching their new 'toy' hang on the wall. Plates collect the fluids that drip out of the body. When Rob goes to work the next day, he is confronted by his co-workers, who are tired of his habitual tardiness and the stinking suit festering in his locker. His foreman Bruno (Harald Lundt), who never liked him, bullies him as they climb the stairs to see the boss. Rob is fired on the spot.[4]
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At the apartment, Betty reads a love story to the corpse. She asks the corpse if it could feel the love in the story and begins to straddle the face of the corpse. When Rob returns, he informs Betty of his termination and she berates him for his failure as well as the fact that he did not stand up for himself. Betty soon leaves and takes the corpse with her. In a violent outburst, he kills their cat and bathes with its blood and entrails in the tub while the animal's body hangs over the tub. He then leaves to go to see a horror film. After being bullied by a fellow movie-goer, Rob leaves to go back to his apartment, visibly despondent.[4]
Rob attempts suicide with pills and whiskey. He begins to drift into a dream in which he emerges from a garbage bag in a partially decayed state. He is soon greeted by a woman in white who gives him a corpse's head and they begin to dance, tossing the head and entrails back and forth. Once he wakes up, he leaves his apartment and hires a prostitute. They go to a cemetery, where he hopes the environment will help satisfy his libido, but he fails to perform sexually. When the prostitute mocks him, he strangles her and then has sex with her corpse.[4] He is startled as he awakes beside her with an old gardener standing over them. Rob grabs the man's shovel, chops his head off, and runs away.[4]
The film closes with Rob's grisly suicide, in which he stabs himself while ejaculating. This scene is filled with flashbacks to the rabbit slaughter seen earlier in the film, but in reverse. In the final scene, a woman starts digging up Rob's grave. Only her foot is seen, in stockings and high heels.[4]
Production[edit]
Development[edit]
Buttgereit had previously directed featurettes in Super 8 format, but this was his first feature-length film. Buttgereit and co-writer Franz Rodenkirchen conceived the basic concept of the film while discussing the relationship between love, sex, and death. The idea to connect an orgasm to the moment of death, somebody actually enjoying his own death, was part of their initial ideas.[4]
Filming[edit]
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The film was a no budget film, with inexpensive special effects. The film makes use of actual animal intestines and the eyeballs of pigs.[4] The rabbit-related scene used documentary-style footage of a professional rabbit breeder at work.[4]
Music[edit]
The original musical score for the film was composed by Hermann Kopp, Bernd Daktari Lorenz and John Boy Walton.[6]
Analysis[edit]
According to Bartlomiej Paszylk, the film revealed its roots in amateur film techniques through use of poor acting and inferior cinematography. What actually made it a 'must-see' for horror fans were its taboo-breaking scenes and dwelling in filthy, disgusting subjects.[7] According to Kris Vander Lugt, in terms of genre Nekromantik is a mix of elements from several genres: splatter film, 'schlock' film, black comedy, exploitation film, and softcore pornography.[8] The title itself implies a mix of death (necro-) and romance. The film then serves as both an ode to necrophilia and an attack on the perceptions of morality of the bourgeoisie.[8]
Other than his hobby of collecting specimens from corpses, Rob is depicted as a typical member of the German working class. On the other hand, the company which employs him has fascist allusions in its naming and emblem.[8] When Rob loses his job, his romance with Betty also ends. She berates him for his lack of both money and manliness. Then she abandons him, introducing the themes of emotional and financial impotence.[8]
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Several times in the film, the exterior of the apartment of Rob and Betty is depicted from a streetview. This unexceptional exterior is contrasted with the grotesque scenes taking place behind its walls. Linnie Blake argues this is an evocation of the uncanny in Freudian terms.[9] Rob owns a miniature version of The Glass Man. Created in 1930 by Franz Tschackert, it was a life-sized model of a male figure with transparent skin, making visible the skeleton and several internal organs.[9] The placement of this artifact, along with specimen jars in the apartment, makes it seem like a mad scientist's laboratory.[9]
Linnie Blake finds it telling that the murderer of the young gardener is previously seen shooting at birds, and is so similar to characters from the Heimatfilms. This was an essentially conservative West German genre which depicted 'morally unimpeachable family and community lives'. She argues that Buttgereit both evokes and derides this genre, and by implication the culture which produced it. The supposedly upstanding member of society kills, hides a corpse, and then disappears from view, getting away with murder.[5]
The film includes several occasions of a dream sequence, such as Rob's visions of a woman in white in a rural landscape. She transports a severed head in a box and later plays with it.[9]
The film within a film is a slasher film. While a knife-wielding killer traces his knife across a female victim, the desensitized audience of the movie theater seems bored. They kiss or fondle each other, they eat or talk during a misogynist torture scene, a testament to their lack of empathy.[10]
The suicide scene is a depiction of extreme masochism, but it also concludes the story of the character's sexual dysfunction, existential crisis, and social isolation. Rob is not only a person with a fetish of the dead, but one who constantly fails in his relationships with the living.[11]
Release[edit]
NEKRomantik defied the censorship standards of West Germany. Since 1984, all horror films released in West Germany have been edited to remove violent scenes, both in cinema release and video release (such as with the 1985 film Day of the Dead), while a total of 32 films were banned from release in any format, including The Texas Chain Saw Massacre (1974), Mother's Day (1980), and The Evil Dead (1981).[4][5] The creators of Nekromantik did not submit the film for review by the Freiwillige Selbstkontrolle der Filmwirtschaft and made the film available exclusively to an adult audience.[4][5]
Home media[edit]
The film was released on Blu-ray by Cult Films on a limited run of 10,000 copies on 7 October 2014.
Reception[edit]
The film has had a mixed reception since the time of its release. It currently holds a 50% on Rotten Tomatoes.
The film critics of Berlin were typically favourable to the film, commenting on its taboo-breaking, its artistic merit, and the quality of its special effects. A magazine article on Sex and Death in the Modern Gay Cinema perceived a film as an allegory for AIDS and the necessity of safe sex.[4]
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The film initially faced no significant reprisals. The radical left of West Germany, which systematically boycotted screenings of sexist or pornographic films, seems to have ignored it. It was only the scandal over the sequel Nekromantik 2 (1991) which caused the German authorities to temporarily ban sales by mail order of the original film.[5]
John Waters proclaimed Nekromantik 'the first ever erotic film for necrophiliacs'.[7]
Controversy[edit]
The film is currently[when?] banned outright in Iceland, Norway, Malaysia, Singapore, and the provinces of Nova Scotia and Ontario in Canada. In 1992, the Australian Classification Board banned the film outright in Australia due to 'graphic necrophilia content'. In 1993, the film was banned in Finland. The film was banned outright by the New Zealand Office of Film and Literature Classification in 1999 due to 'revolting, objectionable content (necrophilia, high impact violence, animal cruelty and abhorrent behavior)'. The film is banned in a number of other countries as well. In 2014, the British Board of Film Classification passed the film uncut with an 18 certificate.
Legacy[edit]
The film spawned a sequel four years later, Nekromantik 2, by the same director. Beatrice Manowski reprised her role as Betty in a short cameo.
Norwegianblack metal band Carpathian Forest covered the film's opening theme in their album Strange Old Brew.
Danish psychobilly band Nekromantix is named after the film.
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References[edit]
- ^'Nekromantik'. Rotten Tomatoes. Retrieved 20 January 2015.
- ^Mullin, Frankie (4 September 2014). 'Cult film shocker Nekromantik to get UK release after BBFC grants 18 certificate'. The Guardian. Retrieved 20 January 2015.
- ^'Nekromantik (1987)'. British Board of Film Classification. Retrieved 20 January 2015.
- ^ abcdefghijklmnopqKerekes (1998), p. 35-50
- ^ abcdefBlake (2004), p. 195
- ^'Nekromantik (Original 1987 Motion Picture Soundtrack) All Formats'. One Way Static Records. Retrieved 13 September 2015.
- ^ abPaszylk (2009), p. 199
- ^ abcdVander Lugt (2013), p. 166-168
- ^ abcdBlake (2004), p. 196-197
- ^Blake (2004), p. 198
- ^Blake (2004), p. 200
Bibliography[edit]
- Blake, Linnie (2004), 'Jörg Buttgereit's Nekromantiks: Things to do in Germany with the dead', in Mathijs, Ernest (ed.), Alternative Europe: Eurotrash and Exploitation Cinema Since 1945, Wallflower Press, ISBN978-1903364932
- Kerekes, David (1998), 'Nekromantik: what's the message with the rabbit?', Sex, Murder, Art: The Films of Jörg Buttgereit, Headpress, ISBN978-0952328841
- Paszylk, Bartlomiej (2009), 'Schramm (1993)', The Pleasure and Pain of Cult Horror Films: An Historical Survey, McFarland & Company, ISBN978-0786453276
- Vander Lugt, Kris (2013), 'From Siodmak to Schlingensief: The Return of History as Horror', in Fisher, Jaimey (ed.), Generic Histories of German Cinema: Genre and Its Deviations, Boydell & Brewer, ISBN978-1571135704
External links[edit]
- Nekromantik on IMDb
- Nekromantik at Rotten Tomatoes