Paris interdit follows the pattern of the Italian mondo style documentaries which began in 1962 with MONDO CANE. The film jumps from one strange scenario to the next, including a woman who goes publicly nude on a bet, a family man wearing an anti-radiation suit in fear of the end of the world, a orgy-indulging cult with a kissing fetish, a role-reversal wedding of performing transvestites, a middle-aged man who gives striptease lessons to housewives, a self-absorbed loner who believes he’s a vampire, a ritualistic funeral procession involving the burning of a mannequin, a mass swimming pool baptism, etc. Probably the most fascinatingly grotesque bit, which at the same time is strangely touching, is when a woman has her beloved deceased medium sized dog stuffed by a pipe-smoking taxidermist (shown in graphic detail) and installed with an electronic barking device!
Himself
Himself
La modèle du photographe (uncredited)
Paris interdit follows the pattern of the Italian mondo style documentaries which began in 1962 with MONDO CANE. The film jumps from one strange scenario to the next, including a woman who goes publicly nude on a bet, a family man wearing an anti-radiation suit in fear of the end of the world, a orgy-indulging cult with a kissing fetish, a role-reversal wedding of performing transvestites, a middle-aged man who gives striptease lessons to housewives, a self-absorbed loner who believes he’s a vampire, a ritualistic funeral procession involving the burning of a mannequin, a mass swimming pool baptism, etc. Probably the most fascinatingly grotesque bit, which at the same time is strangely touching, is when a woman has her beloved deceased medium sized dog stuffed by a pipe-smoking taxidermist (shown in graphic detail) and installed with an electronic barking device!
1970-06-05
2
An inside look into the world of taxidermy and the passionate artists from all over the world who work on the animals.
The film documents the night life scenes of both Hong Kong and Macau, from nightclubs, sauna baths to young ladies making category III VCDs.
Mondo Topless is a 1966 pseudo documentary directed by Russ Meyer, featuring Babette Bardot and Lorna Maitland among others.
A collection of death scenes, ranging from TV-material to home-made super-8 movies. The common factor is death by some means.
Cult director Sergio Martino, during the most glorious mondo years, delivered Naked and Violent, a documentary which unveils the brutality of the USA. Hidden behind a mask of perfection and justice, Naked and Violent traces the problems of American society in the 70s: from racial persecutions to the depraved sexual habits of the middle class, from the drug market to illegal gambling.
Where does voguing come from, and what, exactly, is throwing shade? This landmark documentary provides a vibrant snapshot of the 1980s through the eyes of New York City's African American and Latinx Harlem drag-ball scene. Made over seven years, PARIS IS BURNING offers an intimate portrait of rival fashion "houses," from fierce contests for trophies to house mothers offering sustenance in a world rampant with homophobia, transphobia, racism, AIDS, and poverty. Featuring legendary voguers, drag queens, and trans women — including Willi Ninja, Pepper LaBeija, Dorian Corey, and Venus Xtravaganza.
Mondo Sacramento 2 features 6 true tales from Sacramento's seedy underground. Mondo Sacramento 2 is a film that is part true crime reenactment/Mondo film/Docudrama, all filmed in Sacramento at many of the actual locations. Lynn Lowry stars as Dorothea Puente- The boarding house killer. The other 5 stories feature the Gallego couple killings, the Karen G. story, The attempted assassination of President Ford, along with 2 more strange tales. Mondo Sacramento 2 is the sequel to Mondo Sacramento. All Crazy and all based on true stories.
With reference to little scientific theses, sexual rituals and preferences around the world are shown.
Somewhere between Sri Lanka and the island of New Guinea, in the upper reaches of the Amazonia jungle, there is rumoured to be a lost tribe of cannibals. Assembled out of Italo cannibal mondo movies, Hollow Jungle documents their rituals, sourcing their power in narrative repetitions and analogies, before structurally locating them in the prurient pathologies of certain pseudo-ethnographies.
A sexy mondo movie narrated by Nico Rienzi. Starring transsexual superstar Bambi.
A new age Mondo film that explores the realm of urban decay and various oddities of the modern world, ranging from underground club scenes to sex change operations.
The feature-length documentary Fakir portrays the success of fakirism in Brazil, Latin America and France. This circus art origin show is presented and analyzed through archives that reveals the success of these presentations with their pain resistance championships and the great public presence, including politicians and government officials. Fakir spans current footage from contemporary artists who keep this art alive in performances and shows.
A documentary about the end of the colonial era in Africa, portraying acts of animal poaching, violence, executions, and tribal slaughter.
Early Mondo film featuring primitive rituals, animals being butchered, unusual birth defects, and a legit trepanation scene.
Don’t be misled by the title and put your lube away: True Gore II (aka Empire of Madness) (1989)–M Dixon Causey’s follow-up to the eponymous first entry–has virtually no true gore in it at all. Instead, the first half is a compilation of faux-snuff vignettes akin to something you’d find in a SOV horror collection like Snuff Perversions 1 & 2, Snuff Files, The Dead Files, Violations I & II, or even more recent titles like Murder Collection Volume 1. The second half is in turn a send-up of satanic panic style videos like Law Enforcement Guide to Satanic Cults, Devil Worship: The Rise Of Satanism, and countless others shat out during the 80s/90s. The vignettes are hilariously inept to the point where it seems clear that Causey was parodying the shockumentary form. Even the credits are a joke, mocking the seriousness with which shocku producers take themselves, crediting a ‘researcher’ for a film that clearly had none, and a ‘visual archivist’ being listed in place of a cameraman.