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A misanthropic catalog of shocking images from around the world, the bizarre, unpleasant, baldly racist, and extremely influential MONDO CANE (1962) was a pioneering "shockumentary." We revisit this strange and ugly artefact to discuss why it was taken so seriously in its day.

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Mark K

Yowza, yowza, yowza! Like with Tolstoy’s diaries, I feel Will has revealed more than he meant to about himself with his particular obsessions. I for one would like to say that we the listers are better off for it, and are therefore divided over whether he should get the help he needs before he ends up selling timeshares in the Caymans after multiple credible accusations of cannibalism.

Tom

Your conversation reminds me of Angela Nagle's book 'Kill All Normies' and how transgression shifted from being a defining feature of New Left aesthetics in the 60s, disrupting and offending bourgeois social mores, and became a calling-card of the Right in the culture wars during the 2010s, consolidating around Trump and the online alt-right. This film sounds like a good example of how a film can have 'radical' pretensions in its embrace of transgression but also end up deeply reactionary when the transgression isn't in service of any more profound project than shocking 'good taste'.