taxidermia
simon says (how original ...): taxidermia - soundtrack by amon tobin
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taxidermia at cinematic intelligence agency – some humorous comments, links and stills from the australian “cinematic intelligence agency. ”
taxidermia was directred by györgy pálfi. the script is based on some stories of the popular contemporary hungarian writer, parti nagy lajos .
i can' t wait to see taxidermia by györgy pálfi. the soundtrack is by amon tobin. here' s a link to the official site: urltoken
and now a word of advice from your friendly film critic: if you go to see the hungarian black comedy taxidermia, don' t plan to eat afterward .
amon tobin composed the music for the hungarian movie taxidermia. he is credited (
original music by amon tobin
) by imdb. three movie clips are available .
soundtrack from the 2006 hungarian original motion picture film, taxidermia. i do not own the soundtrack, i just own the upload. all credit goes to their rightful owners of the film. thanks !
taxidermia is a brilliant, often grotesquely bizarre allegory on life in hungary from world war ii to the present, a surrealist fantasy exploring the limits of the body and its desires and altogether a darkly funny comedy .
taxidermia is a breathtakingly artistic feast of visual insanity. this one may not be strictly horror, but some of the sequences in it are harder to watch, gorier, and more deranged than most actual horror .
the first and third parts of the film, particularly marc bischoff’s performance, are the best parts of taxidermia. bischoff’s lajoska is easily the most identifiable of the characters in taxidermia, making you truly feel for his lot in life and hate his father, hoping he will grow beyond them into something greater. meanwhile, the first segment is filmed so beautifully that, while you’re seeing things that cannot possibly be real, they still have meaning and make sense in the story. taxidermia’s weak point is its second segment. many of the characters in it look very similar so it was quite hard to distinguish between the two rivals for a fair amount of the sequence .
taxidermia – the original hungarian site (in english). do yourself a favor and poke around the flash section, where there’s an immense wealth of multimedia information about taxidermy, vintage pornography, hungarian history and other topics hidden about like easter eggs
rotund romps aside, even those who have special capacities for non - redeeming grossness, such as film critics, will be likely sickened by some of taxidermia' s excremental excesses. narratively, screenwriter zsófia ruttkay seems to have shot his thematic wad just past midsection, as the barn - yarn oozes downward into a bloated and juvenile heap. for a film so pessimistic about mankind, taxidermia erupts with some lighthearted technical inspiration: cinematographer gergely pohárnok' s compositions are wickedly hilarious, while production designer adrien asztalos' concoctions are peculiarly gross .
urltoken taxidermia: csaba czene, gergely trcsnyi, marc bischoff, istvn gyuricza, piroska molnr, gbor mt, gza hegeds d. , zoltn koppny, erwin leder, adl stanczel, va kuli, lajos parti nagy, gyrgy plfi, zsfia ruttkay: movies & tv
yet, in its crudity there are brainy bursts. with a brazil - like midsection that lampoons the brutish culture of the former communist bloc, taxidermia churns with some delicious dollops of social and psychological satire. there' s some shrewd monty pythonish satire, with scads of mordantly nutty images .
gyorgy palfi' s new picture, taxidermia, started out as a straight family saga. it quickly warped into a grotesque parable of central europe, complete with fiery ejaculations and curly pig' s tails .
the film had a life of its own ,
he tells phil hoad .
cineastes will conjure up recollections of early buñuel and wertmuller: bloodied slabs of meat and huge flabs of female buttocks. such is the visual poetry of the pungently graphic assault on the viewing senses in taxidermia, which is likely to be viewed in its bloody entirety by only thoracic surgeons and maniacs .
while working on taxidermia, pálfi won the 2004 sundance / nhk international filmmakers award, a $ 10, 000 grant intended to be used to help the filmmaker create his next project. the grant includes a promise for japanese distribution for the completed film (estimated value: $ 90, 000) .
taxidermia is a hungarian film that is, at its core, simply the story of three generations of hungarian men and the events that shape their lives (based off short stories by lajos parti nagy). it’s what’s in their lives that’s so bizarre, so taboo, and what makes this film the kind the viewer remembers forever .
taxidermia is an art film for horror fans. it won’t scare you but it will visually shock you and blow your mind. i really wish i’d been at cannes in 2006 so i could have seen the looks on the intelligencia’s, both horror and otherwise’s, faces when this pure, unadulterated slice of artistic insanity unspooled before their eyes .
there is obvious intelligence, imagination and craft in taxidermia. that makes it a bit disappointing when we experience the movie’s the apparent lack of purpose. it does not even seem to be about purposelessness; it plays instead like a collection of scenes that intend to shock us with their repulsiveness, novelty and weirdness, which are redeemed by the director’s skillful ability to weave these threads into a strange kind of beauty. it’s curiously empty, and seems to have even less heart than it’s final exhibit. is the movie recommended? those with strong stomachs, who want to see sights that they have never seen before, have already made up their minds long before they’ve reached this point. those hoping for an encounter with something deep, existentially resonant and mysterious are likely to be disappointed, and view taxidermia as little more than a well - staged geek show. the best thing that can be said for taxidermia, i think, is that the thrill of the strange, forbidden sights pálfi delivers might ignite a lifelong obsession with weird cinema .
taxidermia is a grotesque triptych following three generations of a hungarian family. a sex - starved second world war orderly hallucinates fiery ejaculations. his illegitimate son, sans tail, goes on to become a champion speed eater under the communist regime. finally, his grandson, an ascetic taxidermist looks of a piece with his own specimens in present - day budapest .
if you wanted to sum up this film, you’re best bet would be the the “little match girl” scene. in that scene, our “hero” imagines himself into a stunningly rendered pop - up book set - piece that tim burton probably wishes he could still pull off. the scene then immediately devolves into an uncomfortable pedophilic fantasy. that’s taxidermia in a nutshell .
grotesque. absurd. profane. hilarious. revolting. when searching for words to describe hungarian director gyorgy palfi' s hyper - bizarre follow - up to his award - winning 2002 feature debut, hukkle, these are just a few of the colorful adjectives that spring immediately to mind. as difficult as taxidermia may be to review, however, to give the impression... read more
taxidermia is an art house movie, released in february 2006. it is a story about a family .
the literary definition refers to the kind of story of a family which thomas mann created: three generations - grandfather, father, son - integrate the world. the grandfather bases the family, he starts the world (progenitor). his son, the father takes the family to the top so that the son would waste the values obtained with difficulties while he puts down the past, makes it a whole, raises it to a level of different value. in taxidermia the son' s scale of values, this very strong subjectivity turns the classical story of a family upside down and adds some wonders to it making the stories straight with the not everyday position of the perspective .
[ source urltoken ]
as such, those who reveled in such cinematic synapses as the eyeball being slit in un chien andalou will gravitate toward this outrageous, and frequently hilarious, piece de film. similarly, those whose delectations run toward defecation will be perversely tantalized by its aberrant abstractions. it will be hardly anyone' s cup of tea, but for those with a cinematic stomach for huge bowls of vomit and innards, taxidermia should sate the aesthetic appetite .
of course, palfi - the son of a taxi driver and a secretary - is a part of this history himself. in this respect, he shares something with the last link in taxidermia' s chain .
the third one denies everything that went before. but he transforms everything into a story and a gesture that the whole world can understand. by some sort of artistic creation, the family is put under the spotlight .
the themes of copulation, consumption and preservation are studied in perverse, visceral and controversial detail in one of the most outlandish and exceptional tales of a family’s history ever to grace the screen. this is no fanny and alexander, although, magic realism does intervene from time to time, taxidermia is a much darker and more desperate, yet is infused with an elusive lightness of being, an otherworldly zest for life, even at its grimmest .
gyorgy palfi' s taxidermia tells the stories of three generations of hungarian men (one a sexually frustrated, low - life, peeping - tom soldier, his son who is an obese communist champion speed eater, and the grandson, a twisted taxidermist who is trying to invent a machine so he can embalm himself) while at the same time satirically mocking hungary' s struggles as it passes from imperial servitude, through soviet authority, to independent lethargy .
to spare our gentle and highly desirable reading demographic from the tawdry minutiae of the plot (such that it is), suffice it to say that taxidermia bursts along via a series of bodily functions: rutting, vomiting, slogging, farting, copulating and every other
ing
too impolitic to print. after a while, you tend to get the feeling that filmmaker györgy pálfi views mankind with the same level of regard he holds for barnyard animals .
sports fantastic production design, costume, and special effects, the performances are brave and compelling, and the camera work and mise - en - scene is frequently brilliant; taxidermia has to be seen to be believed. think hans christian anderson, gael garcia marquez, david lynch, dusan makavejev, jan svankmajer and david cronenberg all in the same dark room listening to each other’s strange and sordid secrets and finding ways to make each other chuckle and gross each other out .
györgy pálfi was interested in taking the shock tactics of porn and horror, and incorporating them into a dramatic, blackly comic narrative so they become less about the self - serving machinations audiences are used to perceiving them as, and become integral parts of a real world, albeit one that still appears surreal and fantastical to a cinema audience. taxidermia is hard to categorise, which makes it all the more intriguing; it’s essentially a tenebrous comedy, black as midnight on a moonless might .
after seeing clips of taxidermia on youtube, i thought i had found a really powerful (if somewhat tasteless) movie. unfortunately, it turns out that most of the best parts were those clips. the story of three generations starts out strong enough (think wozzeck), but quickly deteriorates; the ending is a unsuccessful attempt to be shocking for the sake of being shocking. rent, but don' t buy. the soundtrack (by amon tobin) is another matter entirely: excellent !
but with his fabulist' s flair, palfi has more obvious attractions for hollywood than the grime - smeared mittel - european naturalists. he admits that taxidermia, after the quirky bucolic rhythms of his graduation feature hukkle, was an attempt to prove he could handle dialogue and broaden his scope. his next project, a fairy - tale, is building in the same direction. if he is being squeezed along his own predestined passage towards los angeles, here' s hoping that his inner pervert stows along, too .
the score takes an old school approach to music for cinema with recurring themes set in various contexts guided by the narrative. a musical depiction of some truly bizarre imagery, this album includes previously unreleased full - length versions of music from the film alongside short pieces made for specific scenes. as a bonus, we included the epic' here comes the moon man' heard here in its original context. the music for taxidermia was written during the making of foley room and shares elements from the albums lovingly crafted source material .
there are four erect penises in the first thirty minutes of taxidermia (possibly five; i’m not going back to check). that’s probably more erect penises than you’ve seen in the last five movies you’ve watched, unless you have hair on your palms. it’s two and a half times as many erect penises as in the entire 109 minutes of lars von trier’s controversial antichrist (2009). among movie nudity taboos, the erect penis is the gold standard (the sequence goes buttocks, breasts, pubic hair, flaccid penis, erect penis). not only do taxidermia ‘s viewers get to see an erect penis, they see it in live rutting action! even more novel is a magical realist, computer generated ejaculation. due to flagging censorship, it’s only been possible to slip an erect penis into even the most daring of art films in the last decade, and pálfi plays with the image of the erect penis as if he’s found a new cinematic toy. but they’re really slipped into the narrative quite naturally, so you hardly notice them at all .
taxidermia is continually squalid, but also shot through with the salty humour palfi displayed in his acclaimed debut feature, hukkle. plus there is a kind of queasy release in watching the three characters giving way to each other and to time, squeezed out by the peristalsis of history. oreg, the speed eater, embodies the crude gigantism of communist ambitions. his son balatony, forced to care for his blob of a dad, is emaciated by way of reply, but - hyper - restrained - can' t participate in the pleasures of capitalist living .
the heroes of taxidermia are three men. three generations of a family, who happen to live in eastern europe, in hungary. the story of the grandfather, the awkward batman of a ruthless captain in the 2nd world war; the father, who is a professional sports man, a competitive eater during the socialist era; and the story of his son, who is a taxidermist, the sculptor of organic material, is told by the youngest member of the family. surrealism and historical facts get mixed up in his imagination, creating a kind of
fairy realism
.
in this sense, the separate generations of the family in taxidermia perform their belonging to the group and their relations to the historical forces they have no control over by caricaturized incorporate gestures. in the following, i will try to show what “master narrative” is practiced by the characters across the various political systems of twentieth - century hungary. ultimately, by connecting these different performative rites through the classical novelistic grandfather - father - son structure, the film turns the progression of the male bloodline (here represented as history) into a comedy that ironically revisits and criticises the idea of causative historical progress .
overall, structurally, this is a big mac of a film: a bloated glutinous middle dwarves the two ends of an undercooked bun. i could go on, but i don’t want to give too much away. the film is certainly well worth seeing for the good bits. pí¡lfi has lots of flair, but i hope he works out what is really important to him next time. taxidermia has been lavishly praised elsewhere, but art - house directors with an eye to cinematic trickery are especially ill - served by an over - grateful, uncritical response that potentially allows them to slip into mannerism .
movies break & csekk ii (1994, short) a hal (1997, short) valaki kopog – hetedik szoba: ördöglakat (1998, short, cottbus 1998) körbe (1999, short, cottbus 1999) hukkle (2002, audience award, special prize, best debut film, cottbus 2002 / 2005) taltosember vs. ikarus (2002, short, cottbus 2003) taxidermia (2005, cottbus 2006) nem leszek a barátod (2009, doc, short) nem vagyok a barátod (2009, cottbus 2009) magyarország 2011 (2012, segment) final cut – hölgyeim és uraim (2013, cottbus 2012 )
pálfi' s universe is multifaceted, mysterious and disregards logic behind just as willingly as one might abandon an old pair of shoes. his camera, often close up to his protagonists, makes visible the traces of time; whether these are a reflection of a life well lived is left for the viewer to decide. the latest production from the director of taxidermia, whose final cut opened the filmfestival cottbus in 2012, provides renewed evidence of pálfi' s ability to devise absurd reflections of everyday existence. the visual experience is one you won' t forget in a hurry, neither on the way home, nor within the safety of your own four walls .
he genre known as body horror has largely fallen out of favour with film - makers since the century turned - overtaken by such upfront, extrovert threats as terrorism or pending environmental meltdown. yet all that may be about to change with the release of taxidermia by the 33 - year - old hungarian director gyorgy palfi. the film' s first chapter features a sour - faced snipping a curly pig' s tail off his newborn son, and that' s just for starters. by the time the last section wraps up with a mighty act of surgical self - destruction, you know you' re in the grip of a full - blown cronenbergian imagination .
this €2m - budget movie is produced by eurofilm studio (hungary) for 50% , by memento films (france) for 25% , and by amour fou filmproduktion (austria) for 25% . taxidermia also received 200, 000 euros from the european fund eurimages, as well as the support of arte france cinéma, not to mention the prize won at the sundance film festival. the reason why the film got so much support from all these different sources is that györgy palfy proved very talented with his first film hic (from crime to crime) which won several prizes such as european discovery at the 2002 european film awards en 2002, and a special distinction as best young director in san sebastian .
taxidermia
contains three generational stories, about a grandfather, a father, and a son, linked together by recurring motifs. the dim grandfather, an orderly during world war two, lives in his bizarre fantasies; he desires love. the huge father seeks success as a top athlete — a speed eater — in the post - war pro - soviet era. the grandson, a meek, small - boned taxidermist, yearns for something greater: immortality. he wants to create the most perfect work of art of all time by stuffing his own torso. historical facts and surrealism become intertwined as magical realism, like in the works of gabriel garcía marquez or the hungarian writer lajos parti nagy; the script is based on two of the latter' s stories. palfi added the third story, that of the grandson the taxidermist .
disgusting at times but also beautiful in the way it is presented. a great visual style, wonderful lighting and an imaginative series of events leads to a film unlike most others. one scene involves a pop - up book come to life. a whole film should be shot this way as that single moment was fantastic. another great thing about this film is that you will see things you will never see anywhere else, such as a man shooting fire from his penis and a man having sex with a pig' s carcass. this will be hard to stomach for some, and keeps it' s comments on humanity buried beneth the surface. if you want to see some great vomiting sequences i suggest you watch taxidermia. foul, gross and weird, just like life. well maybe a bit fouler, grosser and weirder than life .
in my analysis of the individuals’ strategies to deal with the historical totality surrounding them, i will rely on henri lefebvre’s notions of the quotidian and the festival. the dialectical interplay between connerton’s framework of collective remembering and identity formation, and lefebvre’s descriptions about the function of the festival allows me to approach taxidermia as a meta - historical text. through a symptomatic - thematic reading, i will try to reconstruct another text that lies at the bottom of pálfi’s film, which appears to be criticizing the idea that we can explain the present by pointing out its historical causes in the past. the question about the linearity or causality between the past and the present has significant political implications, and the pro - and contra arguments are part of the rhetoric of different political platforms that surround many important ideological questions in contemporary hungary about race, sexuality or class issues .
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three generations of men, including a pervert that constantly seeks for new kinds of satisfaction, an obese speed eater and a passionate embalmer .
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top 100 most anticipated foreign films of 2016: # 52. györgy pálfi’s mindörökké (for ever )
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a simple yet timeless love story between a man and a woman, told using scenes edited together from hundreds of other films .
three handicapped losers who form a band ask famous writer dries to be their drummer. he joins the band and starts manipulating them .
three stories. three generations. three men. one bizarre and shocking universe .
( 2006) was in pre - production. the other two projects that won in 2004 :
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is, at times, graphic and difficult to watch, but creatively touches on disturbing subjects with imagination and wit .
taxideremia
contains three generational stories, about a grandfather, a father, and a son, linked together by recurring motifs. the dim grandfather, an orderly during world war two, lives in his bizarre fantasies; he desires love. the huge father seeks success as a top athlete - - a speed eater - - in the post - war pro - soviet era. the grandson, a meek, small - boned taxidermist, yearns for something greater: immortality. he wants to create the most perfect work of art of all time by stuffing his own torso. historical facts and surrealism become intertwined as magical realism, like in the works of gabriel garcía marquez or the hungarian writer lajos parti nagy; the script is based on two of the latter' s stories. palfi added the third story, that of the grandson the taxidermist .
all this helps to shape pálfi' s crudely bombastic but impressive philosophical view of the body as landscape and art, a source of personal discovery, wonder, and annihilation .
mr. pálfi' s grandiose vision and technical bravado are nothing short of mesmerizing, yet there are also plenty of tender moments amid the go - for - broke follies .
surreal, grotesque and bitterly funny hungarian art horror film... aspires not to cult status as a torture porn totem but to the highest cinematic art. (it' s not that, but give it points for trying. )
for those who can handle it, a viewing is an experience not soon forgotten .
an interesting film that may be too repulsive but still we never look away. with a memorable direction and camera work, it tells a cynical (and often hilarious) story about three generations of deviant men who are a reflection of hungary' s history since wwii .
a surrealist take on three generations of bizarre and perverted hungarians: a horny army soldier (whose penis spouts fire), a competitive eater, and a taxidermist. it' s technically well done and ranks high on the
i' ve never seen that before
weird grossout scale, but it lacks a point and, just like its final exhibit, a heart .
bizarre visceral story of three ages of man which has some wonderful visual flourishes backed up with great sound. the middle story is laced with a dark humour but i' m not quite sure of the point of it all .
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one of the best / strangest and mentally scarring films i' ve ever seen. rivaled only by
ichi the killer
.
one of the strangest films i' ve seen in a long while and i' ve seen many! the sequence of life in the bathtub is remarkable and the visuals overall are superb. not for everyone but for people like me who like their films strange and sometimes horrific, this one rocks !
a couple different stories that meld together nicely. very strange and worth watching. if you like really strange movies then this one is for you. i' m happy to add this one to my collection .
the truth is, you can' t love the human body without at some point embracing the yucky stuff. this movie is all about the yucky stuff .
what do you get when you put together an orderly during wwii, a professional eater, and a taxidermist? well, i' ll tell you .
this is a mordant, darkly comic tale of obsession spanning three generations. captivating in its grossness, this is definitely not one for the squeamish .
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a son, father, and grandfather are linked and connected together through their imaginative ideas. the grandfather dreams of love and lives in a world of bizarre fantasies while in world war two. the father reaches for success by being a top athlete “speed eater” in the post - war pro - soviet era. the son, being a meek taxidermist, longs for immortality. he dreams of creating an enduring work of art by stuffing his own torso .
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: three short stories exploring three perverted generations, beginning with an extremely horny soldier in the private service of a lieutenant. his illegitimate child grows up to become a sport eater on the hungarian national squad. the grandchild is a socially inept taxidermist who cares for his grumpy, obese father and his caged cats .
this was pálfi’s second movie, after the just - as - weird but much gentler hukkle .
the first two segments of the film are based on short stories by writer lajos parti nagy. pálfi wrote the third episode himself .
: a man ejaculating a torrent of flame. (don’t worry, you won’t have to watch long to catch this sight) .
concerning the competitive eater with olympic dreams—would have made a decidedly odd movie. flank that tale with stories of a wwii soldier with a hallucinatory libido and a taxidermist with demented aesthetics, stir with surrealism and garnish with grotesquerie, and you have one of the 366 weirdest movies of all time .
in a movie” meter. a man ejaculating fire. a 360 degree pan of athletes vomiting into a trough. an old man as obese and immobile as jabba the hut, who keeps his growling pet kittens caged and fattens them up with lard. and those are just the main highlights. there’s also a beautifully shot scene with an impossibly rotating wooden tub that turns from a bath to a coffin to a cradle, a romantic montage parody featuring two fatties who pause to yak up their guts, and a man who commissions a keychain to be made from a fetus. i should stop now, before i ruin the film (not that there aren’t many more strange and often repulsive surprises in the movie to enjoy or to flinch at). i recite these incidents largely to stress the point that
functions, more than anything, as a collection of individual images, some of which are beautifully weird, but most of which are aggressively thrust in our faces in an attempt to get a rise out of us .
the movie is held together by a plot, of sorts, involving three generations of hungarian men. the first is morosgoványi, a lowly soldier with a harelip in indentured servitude to a lieutenant, his fat wife, and his two lovely daughters in some bleak country locked in an eternal winter. morosgoványi is insanely horny, to the point that lust totally deranges his senses. he is able to make love to a candle, and to enter into a children’s pop - up book. finally, after months of self - imposed suffering, watching the daughters cavort in the hills while trying to pleasure himself in a knothole greased with lard (with disastrous results), he finds and seizes the opportunity to plant his pent - up seed, thus founding a dynasty insuring the perpetuation of his dna through the generations. or does he? his triumphant copulation scene is a mixed - up blend of crude sexual fantasy and uncertain reality, and although his superior takes vengeance on him for the tryst, the ambiguous shots suggest it’s as possible he was punished for ruining a feast as for despoiling one of the lieutenant’s women .
kálmán returns for the third segment, only now he’s grown into an immobile blob who spends his days watching sports eating on television, fattening his cats, and berating his rail - thin son, lajoska. the third generation is a cadaverous taxidermist. lajoska looks like a walking corpse with thinning wisps of blond hair, and he’s especially repulsive in the harsh artificial light of the grocery store, where he understandably grosses out the female cashier as he tries vainly to flirt with her. he and his obscene father have a domestic squabbles, but lajoska has a secret plan to escape this world, embodied in an elaborate contraption in the basement of the taxidermy shop. the clinical portraits of meat and organs in this final segment seem tame compared to the perversion and vomit that has come before .
“…pálfi’s followup to the startlingly original ‘hukkle, ’ this widescreen exercise in the confrontational continues his fascination with the mysteries of nature but substitutes an oddly skewed sense of wonder with a full frontal sensory assault… the total is much less than the sum of its parts. rather, the pic is more like a bigscreen equivalent of children pulling wings off live flies. ”–eddie cockrell, variety (contemporaneous )
“…only for fans of the bizarre and certainly not for those with even a faintly weak stomach. but for those meeting both qualifications: welcome to a devious little nightmare. ”–matthew sorrento, film threat (contemporaneous )
“…a brilliant, often grotesquely bizarre allegory on life in hungary from world war ii to the present, a surrealist fantasy exploring the limits of the body and its desires and altogether a darkly funny comedy on the human condition in extremis. ”–kevin thomas, the los angeles times (contemporaneous )
( this movie was nominated for review by reader “rob. ” suggest a weird movie of your own here. )
a bizarre and aggressively unpleasant film. i think my brother best summed it up when he turned to me halfway through the film and said, “this has been bugging me for a while, but what the hell is this? ”
as horrid as this film is, you never really get away from the fact that there is a genuine artistic sensibility at work here. a demented sensibility (pálfi and william s. burroughs would probably have a lot to talk about), but an artistic vision nonetheless. the bathtub sequence mentioned was beautifully filmed .
pálfi is working at something here, i just have no idea what it is. as it is, he’s made one of the most admirably perverted films ever made .
i think there’s an untapped film reservoir at work in eastern europe. certainly a part of the world to pay more attention to .
( oops. i just reiterated all your review points in my post. i’d fix it up, but… eh. )
i came for the beautiful naked man on the cover……… didn’t get it until the final 1 / 2 hour of the movie… this movie wasn’t even (mainly) about taxidermy, it’s a movie about ‘eating disorders’ .
to describe this movie in 3 sentences: “misleading title, misleading cover art, misleading movie description. ” (the description i read at the time, that is )
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the press - kit at the hong kong film festival: a chunk of meat .
restorative visions of the history: honfoglalás creates a heroic image of the nation .
szabadság, szerelem depicts to the 1956 revolution within the romantic action - genre .
“the meaning of the fable then lies not in making a stab at interpretation, but (…) in locating and hypothesizing that feature of national culture and the national experience to which this peculiar interpretive dilemma can be said to be relevant. ” — frederic jameson on days of eclisse (aleksandr sokurov, 1988) [ 1 ] [ open endnotes in new window ]
on the other hand, reflective nostalgia is interested in memories that shed light on what is fragmentary or changing, unstable and discontinuous in history. films that realise this seconds type of nostalgic memory explore contradictions or fissures, and often focus on the quotidian as opposed to the extraordinary. among many others, significantly different films like a részleg (péter gothár, 1995), csinibaba (péter tímár, 1997), sunshine (napfény ize, istván szabó 1999), helyfoglalás, avagy a mogyorók bejövetele (andrás szõke, 2000) and fateless (sorstalanság, lajos koltai 2005) attempt to depict a less homogenous and straightforward image of the past to shed light on what is underrepresented or problematic, changing or malleable. their aim is not the accurate reconstruction of historical events, but much rather to speak of the multiple ways the past can be understood, used or represented. asides from these explicitly historical themes in various films, there are several motion pictures produced in hungary after 1989 that refer to history less directly but use formative events as a backdrop to the story with a not explicitly historical focus. [ 5 ]
the first generation in the pre - socialist era: morosgoványi, the orderly .
the second generation in the socialist era: kálmán, the speed - eater .
according to connerton, one way of creating group identity is by producing social habit - memories, which are different from personal and cognitive memories. habit memories are “accumulative practices of the same, ” [ 8 ] where ‘same’ refers to the recurring activities “within the mental and material spaces of the group. ” [ 9 ] the continuity of identity, i. e. the belonging of the individual to the group can be understood as a formalized and performative re - enactment of a prototypical event that forms a core experience, or a “master narrative” for the given community. connerton argues that this performative memory is located in gestural or bodily activities .
“bodily practices of a culturally specific kind entail a combination of cognitive and habit - memory” [ and ] “it is precisely because what is performed is something to which the performers are habituated that the cognitive content of what the group remembers in common exercises such persuasive and persistent force. ” [ 10 ]
“diagnostic revelation of terms or nodal points implicit in the ideological system which have, however, remained unrealized in the surface of the text. ” [ 11 ]
this work is licensed under a creative commons attribution - noncommercial - noderivs 2. 5 license .
ghost stories (2018) review demon house (2018) review still / born (2018) review like. share. follow. (2017) review cannibals and carpet fitters (2017) review
first, we meet morosgoványi (czene), a hungarian soldier in world war ii with a harelip. morosgoványi is many things. first and foremost though, he is a man with an active imagination. most of his mental journeys revolve around sexual pleasure. he fantasizes about the pretty women in the barracks and the rather large older woman who also lives there. much of his life is predicated around sex, whether it be peeping at women bathing, imagining himself transported into the fairy tale “the little match girl” and using it to masturbate, and, the first thing one sees in the movie, imagining that his penis can shoot fire .
through one of the more bizarre sequences in the movie (that simultaneously touches on a form of bestiality in addition to general sex), morosgoványi manages to impregnate the older woman, seemingly immaculately. the woman then gives birth to a happy boy…with a pig’s tail. after the tail is removed, the boy grows up and we enter the film’s second act, following kálmán (trócsányi), who has grown up to become a rather large man and a competitive speed eater. in this movie’s reality, competitive speed eating has become a worldwide pastime and sport, watched by large crowds of cheering fans who revere the competitors like gods. the “sport” includes both the eating of vast quantities of food…and the profuse vomiting of said food back up (usually during scenes that also feature regular dialogue in between the puking). kálmán falls in love with an equally large woman, also a speed eater, and elopes with her in the middle of what was to be a rival eater’s wedding to her. they have a child as well .
in the third act, this child of two very large people has grown up into lajoska (bischoff), a scrawny, thin, near - albino man who has quite the talent for taxidermy. in addition to his daily renowned life in that field, lajoska also takes care of his father’s cats (who are being “trained” to be speed eaters) and his father…who has reached a level of obesity that makes jabba the hutt look like richard simmons. kálmán is perpetually disappointed with and disgusted by his thin son and was left by his wife who went to coach the hungarian national team in olympic speed eating. lajoska is growing rapidly disenchanted being continually insulted by the man who he has devoted his whole life to caring for and has an angry falling out with his father. while he relents later, it may be too late to rebuild the bridge .
doesn’t sound like horror, does it? that would be because, rather than being a “strict” horror film, this is actually more of a…deeply insane artistic vision. we are talking about a film that in some way or form covers: sex addiction, masturbation, pedophilia, bestiality, suicide, obesity, overeating, vomiting, celebrity culture, taxidermy, and…art. somehow, undeniably, this film is a work of art. whether it be the sequence where morosgoványi thinks about all the people who have used a bathtub (and the film shows each person in it, flipping the screen up down and around) or the final sequence of the film, which i won’t spoil, but which takes an idea that could be done in any gory horror movie and turns it into a true work of art in more ways than one, this film shows how to take some of the most disturbing, taboo, and even disgusting visuals and make them beautiful.
taxidermia is a 2006 hungarian/austrian surrealist comedy-drama horror film directed by györgy pálfi . the film is a metaphorical socio-political retelling of hungary 's history from the second world war to the present day . the story is told by means of three generations of men from hungary , beginning with a military orderly during the second world war , moving on to an aspiring speed-eater during the cold war , and concluding with a taxidermist during modern times . the film has elements of dark comedy and body horror . 
taxidermia is a 2006 hungarian/austrian surrealist comedy-drama horror film directed by györgy pálfi. the film is a metaphorical socio-political retelling of hungary's history from the second world war to the present day. the story is told by means of three generations of men from hungary, beginning with a military orderly during the second world war, moving on to an aspiring speed-eater during the cold war, and concluding with a taxidermist during modern times. the film has elements of dark comedy and body horror.
taxidermia is a 2006 hungarian/austrian surrealist comedy-drama horror film directed by györgy pálfi. the film is a metaphorical socio-political retelling of hungary's history from the second world war to the present day. the story is told by means of three generations of men from hungary, beginning with a military orderly during the second world war, moving on to an aspiring speed-eater during the cold war, and concluding with a taxidermist during modern times. the film has elements of dark comedy and body horror.