As the UK premiere of Deathcember at Grimmfest Xmas Horror Nights draws nearer, Bloody Flicks is continuing our bumper coverage by chatting to director Andreas Marschall about his segment ‘Pig’.
What can you tell us about your segment Pig?
My segment PIG is about a group of women who take bloody revenge on a rapist in a disco.
Where did the idea come from?
I first had the idea of combining a murder with the elements of dance and disco after reading in a newspaper about three German women who picked up a guy in a disco. They slaughtered him afterwards in a bestial way. It must have taken very long until he was dead. I connected this disturbing real incident with the agitation that stormed through the net on the occasion of Weinstein and others at the peak of the Metoo campaign.
I wanted this violence with women as perpetrators, but not as shallow as it is common sometimes in the rape and revenge genre: cool female empowerment against stupid, evil men. I wanted to give the story a more ambivalent twist that would provoke.
It worked. After the premiere in Berlin, three reviews were published: One called Pig “misogynistic”, one called the film “anti-male” and the third (Filmstarts) wrote: “Provocative? In any case – and in an exciting, discussion-starting way”.
What sort of themes of Christmas were you looking to tackle?
Christmas is actually a celebration of family intimacy and cosiness. I already suspected that many DEATHCEMBER episodes would be played in the family circle. Therefore I chose the setting of an ecstatic Christmas club party, somehow opposed to the family theme. Today, in the era of Corona, that party frenzy seems very far away.
Christmas is the feast of charity and forgiveness. In PIG these virtues are under fire.
How does ‘Pig’ compare to your previous films?
Those who know my other films know that I am very strongly influenced by the Italian cinema of the seventies and the German horror film traditions of the twenties and thirties. In Pig there is a direct quote from Fritz Lang’s „M“.
Jo Heim’s camera work, shots with long focal lengths through out-of-focus tinsel curtains, and the music recorded on analog synthesizers by Stevie B-Zet and DJ Dag clearly let you feel the influences. But I am not nostalgic. Like in MASKS and GERMAN ANGST , the Giallo-Reminiscences for me are tools to deal with contemporary topics.
Was it always intended to be part of Deathcember?
Yes, I wrote the screenplay directly for Deathcember. It was timed exactly to five minutes, each shot was prepared as a storyboard.
Have you had the chance to see the finished Deathcember yet?
Yes, I have seen the complete film in the cinema twice. The first time in the middle of summer at a team premiere in Frankfurt. It was over 35 degrees hot in the cinema. Fans had been installed. What a setting for a Christmas movie! I found the experience challenging, because there are really a hell of a lot of episodes. But there are so many great works that I wasn’t bored for a second. The diversity of the styles and narratives keeps the viewer’s attention. And it feels good to be in a film with Ruggero Deodato!
What are you working on next?
I am currently developing a mystery series set in Nazi Germany and have a few more horror projects in the drawer. At the moment a lot is in standby mode because of Corona. I can’t say exactly what will be next.
Don’t forget to enter our Competition to win a Festival Pass for Grimmfest Xmas Horror Nights, which take place on 11th and 12th December 2020.