I could list every ensuing detail, every spoiler, and you still wouldn’t be ready for the graphic detail and realistic look of the climax of this movie. This is one of, if not THE, most disturbing movies I have ever seen.
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The first forty minutes is a calm, creepy build-up to what we know is coming, but once we get there we still wish we had a few more minutes of our lost innocence. When the characters do speak, their words are matter of fact yet ominous. It is at once gritty yet graphically clear, often a Barbara Walters blur framing the close-up, ambiguous, hairy body parts that rub against one another. Once the meet-up has happened and the two men make their way back to The Man’s place for the inevitable, an eerie green hue envelops the frame.
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There is very little dialogue throughout the entire movie, and the soundtrack is very subtle, both details lending themselves to a disturbing tone throughout. But once we hear the phrase “Bite it!” we know that we, the viewer, will never again be the same. Shadow puppets on the wall are giggled at, wine and cigarettes are shared. They romp playfully and naked in the yard, rolling around together as if they had always known this day would come. They share snacks, reading books to each other and stealing kisses on the side. We follow the couple on a delightful afternoon, two kindred spirits finally becoming one. He shaves, irons his pants, dusts and sweeps his place, then leaves to meet his mate. When he finally meets “the one,” the excitement in the air could be cut with a butcher knife. The Man checks him out, eventually walking away with a disappointed look on his face. At one point, he walks up on a junkie with fresh track marks on his arm wearing a Minor Threat t-shirt (irony not lost on this aged punk rocker). We go back and forth between his posting of what look like personal ads to his various failed meetings.
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Can you tell where this is going yet?Īt first, it appears The Man is trying to meet men online. As the opening credits roll, the camera pans over various books, starting with children’s story books and slowly fading into books about the Nazis, Jeffrey Dahmer, and anatomy. The first sequence opens with a mother’s voice reading Hansel & Gretel (what else?) to a wide eyed young child. It’s telling that director Dora’s next project is The Profane Existence, a horror anthology featuring segments by Uwe Boll (Postal), Ruggero Deodato (Cannibal Holocaust), Andrey Iskanov (Philosophy of a Knife), and Ryan Nicholson (Gutterballs), and featuring Clint Howard (Ice Cream Man) and Tina Krause (Blood and Sex Nightmare).
ACTUAL ARMIN MEIWES VIDEO MOVIE
In terms of how disturbing and realistic this movie is, it falls somewhere between the August Underground films and Luka Magnotta’s home movies. It is an intensely disturbing film depicting in graphic detail the meeting of Meiwes (The Man) and Brandes (The Flesh) and the events that follow. Marian Dora’s The Cannibal is a movie that, if found on an unmarked VHS tape, Charlie Sheen would most likely report to the FBI. I mean seriously, to think that…wait, what? That is a true story? And The Cannibal is based on the factual details of the story? I think I’m going to be sick. Like anyone is going to believe any of this could happen. In my opinion, this is such a ridiculous premise for a movie.
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Meiwes, also known as The Rotenburg Cannibal and Der Metzgermeister (the Master Butcher), was eventually arrested over a year later after police learned of the details of the killing on the internet. Their date ended when Meiwes murdered his victim (in accordance with Brandes’ wishes), cutting him up and eating various parts of his body. Video camera recording, the two men first fried and ate Brandes’ severed penis together, then drank some wine and kissed. After multiple failed matches, Bernd Jurgen Brandes replied to his ad. In 2001, German citizen Armin Meiwes posted an ad on a website called The Cannibal Café looking for a young man who wanted to be murdered and eaten. Cannibal is a 2006 German direct-to-video horror film written, directed and produced by Marian Dora.