Human Centipede director Tom Six reveals multiple sclerosis diagnosis in ‘final film’

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The Dutch creator of the controversial trilogy set to detail struggles with neurological disease in homemade documentary, after spending six years ‘as a recluse’ Tom Six, the film-maker behind schlock horror phenomenon The Human Centipede, has revealed that he has been living as “a full-blown recluse” in a darkened Amsterdam apartment for six years after being diagnosed with multiple sclerosis. In The End of Tom Six, a homemade documentary that the Dutch director said would be his final film, he says that the stress over his failure to find a distributor for the follow-up to the Centipede trilogy significantly exacerbated his condition. Continue reading... from Film | The Guardian https://ift.tt/slVcIm4 via IFTTT
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The Investigator review – harrowing documentary details search for justice after Balkan wars

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Viktor Portel’s film follows Czech investigator Vladimír Dzuro as he returns to sites of torture and death, and meets survivors as well as supporters of perpetrators

Revisiting the blood-soaked conflicts that followed the breakup of Yugoslavia in 1991, Viktor Portel’s harrowing documentary follows Vladimír Dzuro, a Czech investigator committed to bringing war criminals to justice. Drawing from Dzuro’s bestselling book The Investigator: Demons of the Balkan War, the film primarily focuses on the atrocities committed by Serbian forces; as Dzuro returns to sites of torture and death, his encounters with the survivors as well as supporters of the perpetrators are at once riveting and heartbreaking.

The Vukovar massacre, one of the most infamous incidents of the war, is recounted in eye-opening detail. In 1991, in the final days of a battle between the Croatian National Guard and the Serb-controlled Yugoslav People’s Army (JNA) during the Croatian war of independence, the latter vetoed an agreement to evacuate the Vukovar hospital and turned it over to Serbian paramilitaries. In the end, nearly 300 people were executed in cold blood and dumped in mass graves. In 1996, Dzuro was a part of a mission to exhume the victims. Flickering archival footage of the campaign shows piles of bodies laid beneath the ground, a chilling visual manifestation of how history can be buried and erased. In contrast with the lo-fi quality of these newsreels, contemporary footage of Dzuro has the stylisation of a crime thriller. The look creates a gripping atmosphere, even if it also occasionally verges on overdramatisation, which the film’s already shocking true stories don’t necessarily need.

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