Within the cinematic genre of horror, we have become accustomed to the splattering of blood and the evisceration of the human creature upon our ocular perceptions. Yet blood and guts have become clich√© in the modern horror film. We have become immune and desensitized to the fright and disgust that the horror film is intended to evoke, by its very natures, within our psyche.
As our collective visual consciousness evolves as a society and greater universe, the grotesque aesthetics of the horror film must also grow. The insatiable deviance of the contemporary horror fan demands more from the arsenal of seemingly finite biological slaughter and fright. We are no longer shocked by the visual presence of torture and death. We have seen such things ad nauseam. Nausea is exactly where Lucifer Valentine, the regurgitating progenitor of ‚Äúvomit gore‚ÄĚ, arrives into the open mouths of the horror genre.
Lucifer Valentine, the Satanic hierophant of Roman Showers and lubricating emetophilia, has invoked utter repulsion within the stomach of horror fans with his fringe classic ‚ÄúSlaughtered Vomit Dolls‚ÄĚ. His films are of course not simply expressions of visual disgust through blood, gore, and bile. They have a much deeper and primal resonance. One may say that the films of Lucifer Valentine are cinematic expressions of the unstable uncertain realities of Quantum mechanics.
Lucifer Valentine has returned unto existential celluloid planes to unleash the second in his series of murderous bile erotica with the film ReGoregitated Sacrifice. The film continues the tragic ethereal demise of Angela Aberdeen, played with seducing psychological unraveling by Ameara Lavey.
ReGoregitated Sacrifice, like its predecessor, is a hallucinogenic nonlinear journey between the life and death of Angela. It is a cinematic example of what the tortured soul may experience within the post mortem Bardo of the Buddhist as well as its experiencing of quantum multidimensional realities.
Our journey within the world of ReGoregitated Sacrifice begins with instant surrealism. We are subjected to a visual interregnum of flashes between the severing lacerations of two scantly clad twins conjoined facially, various trees, and home movies of Angela as a child. Splice in scenes of the suicidal drowning of Angela (from Slaughtered Vomit Dolls) with bubbling blood from the now unconjoined twins head wounds, Valentine‚Äôs intentional chaos is immediately effective. The twin natures as conjoined facially signifies consciousness, and its being severed or separated implies something of great occult relevance. It symbolizes that through death the soul transgressions physical realms via the speaking of the Logos through the vehicle of the mouth/vulva complex, very dark and esoteric Kabalistic lore.
Enter into frame the two characters that make this film perfectly capture the often indeterminate veil between pleasure and pain and the eroticism of death. The world should bid welcome to The Black Angels of Hell. The Black Angels of Hell are two hauntingly beautiful identical twins representing demonic guardian energies. The twins, born at the synchronistic moment of Angela‚Äôs death/rebirth and the suicide of Kurt Cobain, serve as two murderous psychopomp forces that usher Angela through her various dimensional journeys.
The significance of the twins with such metaphysical natures is greater than the average viewer may be aware. In Jungian terms, something not lost to Valentine, the guider of souls represents those lines between conscious and unconscious realms. It is the mental activity between life and death, the wrathful Tibetan Bardo deities upon a withering waking consciousness in Buddhism, and exactly what is occurring within Angela.
The Black Angels of Hell are not simply twins, but incestuous twins, not uncommon phenomena in multiple births. The role of incestuous twins may have personal significance to Valentine who maintained an open and passionate relationship with sibling Cinderella.
Important in regard to the twins within their initial scene, is their erotic interaction with a pregnant Angela. One aspect of the psychopomp is its role as ‚Äúmidwife to the dying‚ÄĚ. The midwife for example serves the role as a caregiver unto potential life forces and incarnation. The midwife to the dying serves purposes of caring for the individual in the process of dying from life. The natures of the Black Angels of Hell embody an interesting mixture of all of these qualities. Another aspect of the Black Angels of Hell, in their tendency to torture and murder, suggests that indulgence brings suffering and punishment. I
t also suggests that flesh and consciousness has limitations and with all of its pleasure, their exists pain and with both, it is impermanent. In Valentine‚Äôs own words, the significance of the pregnant Angela is one of ‚Äúarchetype of the lost, neglected, abused, exploited, runaway girl.‚ÄĚ
The next scene involving the twins is yet another m√©nage a trois with a drunken stripper played by Belle, one that leads to her almost masturbatory self inflicted vomiting. Scenes then flash between regurgitation, oral lesbian erotica, and images of death symbolizing Valentine‚Äôs philosophy of the blurred lines between the conscious and unconscious. More to the point visually is that it is collective symbolism of the relationship between emetophilia, sexuality, and death.
One of the more disturbing scenes involves the obvious kidnapping and subsequent torturing of a woman, J.J, within a S&M dungeon. Within the ‚ÄúWhore Midnight‚ÄĚ segment, she is forced to disrobe and proclaim herself as a ‚Äúperfect child of Satan‚ÄĚ and offer her body as sacrifice. Her tearful confession speaks of performing ‚Äúselfharm‚ÄĚ and to model her body after ‚Äúcelebrities and super models‚ÄĚ and forms one of the powers of Satan with the purging of the bulimic. It is an apt social commentary on the demonic connection between fleshly superficialities and the individuals fall from spiritual ascension. Her off screen tormentor then forces her to purge in one of Valentine‚Äôs brilliant artistic formulas of generating moving visual art through vomiting on the camera lens.
Out next part of the journey returns us to the Black Angels of Hell. Filmed on a bright white background, the twins strip each other down and slice each other with a large knife. The slicing, massaging of blood upon their pale flesh, and beating of one another forms a beautiful contrast against the bright white background. There is a visual commentary within the color contrast that is one dealing with the lost of innocence and virginity, especially through violence and dark natures unleashed.
We are next introduced to Miss Lake Washington 1994, played by Amy Lee. She is tortured by the twins who again depict the erotic veil between sex and death as well as a demonic aspect to the ushering of the soul and consciousness between dimensions. With masturbatory sensuality, they massage the body with the blood and guts and strangle and gag her with her own entrails until she vomits. The strangling of consciousness by her own entrails may represent the secret keys to self illumination through submission unto our own dark Jungian shadow natures. It is also a statement about the imbibing and digestion of death and destruction as a means of ascending into transcendental states.
Next enters Hank Skinny, also seen within Slaughtered Vomit Dolls. Hank‚Äôs character licks and feasts upon her entrails. He also throws up from insertion of both her entrails and foot. The foot and mouth also have various Kabalistic significance regarding a means of leaping through dimensional gateways to return to primeval states.
We flash to Isabelle, in a shower (cleansing symbolism) urinating into a cup, drinking it, followed by her bringing it back up. Urination is another recurring theme in the world of Lucifer Valentine. The symbolism of urination is yet another method of purging of toxic elements, a cleansing in human incarnation. Urination has for centuries been considered a protective amulet against ghostly manifestations, something here serving as a means talismanic dimensional assistance. The imbibing of urine has similar, but inverted significance, as the drinking of blood and other attempts to invoke and possess the strength and nature of another. It is, beneath a specific focus, the imbibing of the darker and more demonic natures of the self or the conquered external element.
Isabelle is then involved in a lesbian scene complete with a very thick and chunky regurgitation with an actress named ‚ÄúHoney‚ÄĚ. The twins return dressed only in red lingerie, a color again synonymous with the Satanic aspects of sex and death, to beat, torture her with an alarm clock (she gets ‚Äúclocked‚Äú), and of course, make her vomit.
Next is a videotaped commentary of independent p*rn star Blisters, played again by Isabelle Styles. She discusses her involvement and perceptions on her place in the industry. Isabelle‚Äôs character actually holds monumental importance within the film. She represents the multiple dimensionality of consciousness, and specifically of Angela‚Äôs consciousness existing simultaneously within parallel dimensions.
Blisters is then tortured by the Black Angels of Hell. Her forced gagging by the twins is visually interesting. She is placed against a mirror in a way creating the illusion that she too has been twinned. The mirror in one common interpretation represents the link between conscious and unconscious planes of existence. It is also something that reflects, hinting at greater metacosmic waters of the universe. In some lore, one loses the soul within the observing of ones own reflection, something typical of the experience of the Angela/ p*rn star complex.
The mirror in this scene is the double or doppelganger of the conscious/unconscious multidimensional Angela transferring universes through the metaphysical properties of purging. Visually, the mirror scene is set up in a positional manner representing a split, or where the connecting reflective point is a physical line between the two mirrors. This is significant as a crack, or dimensional gateway as the dividing line or break between states of being and consciousness.
Our next journey brings us to the Twins and Hank Skinny torturing and gagging her as she is strapped to a chair. This scene has perhaps one of the most disturbing scenes to not involve blood or bile. A tarantula is inserted into her vagina and sewed inside of her. We again are offered visual expressions of darker metaphysical natures of the weaving of universal energies between the spider and female genitalia. It‚Äôs being sewn within the genitalia represents the internal experiences and enlightenments through sex/death/ and feminine forces.
Hank then severs her head and vomits into her blood spewing gaping stump. This is followed by his gouging her eyes out in a scene that may be homage to the eye scene from Slaughtered Vomit Dolls. She is then scalped all to a background dialogue of a tale written by Cinderella and narrated by Ameara as well as a fractal spice of Angela‚Äôs child home movies.
Nonlinear visual chaos returns in the next segment. We flash from the twins in full midwifery mode with the pregnant Ameara giving birth, Blisters reciting a form of posthumous commentary, and the very sexy twins placing octopus skin upon the severed head. Within this scene, Angela in fact is giving birth to herself, something representing the infinite natures in the universe and the human consciousness within it. The Twins presence reinforces the necessary place of various dimensional dark forces.
The appearance of the octopus, although superficially would seem random in terms of subject content, like most aspects of the film, holds a deeper symbolism. The octopus represents foremost, intelligence. Its correspondence to the number eight forms an intimate relationship with arachnoids and weaving of dimensional existences. These are on many levels feminine mysteries. To further this connection is the octopus connection to the Moon and Priestess cards in the Tarot. These esoteric natures alongside those of the severed head are loaded magickal symbolic powers in left handed path occultisms.
Within ReGoregitated Sacrifice, the octopus and the Twin Black Angels of Hell, and thus the severed head of Isabelle Styles form a deeprooted esoteric statement. It is a collective alchemy speaking of a silent Logos about life, death, and the transition of consciousness between parallel universes as ruled by primal maternal generative forces.
Hank too returns to vomit upon the head, wear the octopus as some form of Batrachian wig, and carve off the cranium of Isabelle. The wearing of the octopus on the head speaks volumes about the connections between consciousness and the head/mouth symbolisms of demonic illuminations.
In another scene reminiscent of the beer glass scene of Slaughtered Vomit Dolls, Hank regurgitates into the head, drinks it like a chalice, and then vomits into it again. This drinking and redrinking of bile, through the physical medium of the severed head, has great Kabalistic significance in regard to its ‚ÄúNightside‚ÄĚ aspects.
ReGoregitated Sacrifice begins to wind down with a commentary by a very beautifully made up Ameara Lavey telling of her foreordained dreaming of Kurt Cobain‚Äôs death and external shots of a graffiti filled fence around Cobain‚Äôs house. She is then strangled by the off screen predator, strips down to red lingerie whose contrast against the bright white background is a perfect color representation of the contrast between innocence and wickedness.
Ameara performs repeated fellatio upon the predator who then ejaculates large amounts of blood all over her naked flesh. This commonly may be seen as her devouring of the phallus, imbibing of the manifesting vehicle/seed of the unseen, and thus invisible and unknowable natures of existential objectivity. More to the point, the expulsion of blood from the phallus upon Ameara is her being showered beneath the more violent aspects her consciousness and flesh will experience through cyclic life/rebirth.
ReGoregitated Sacrifice ends with haunting flashes between Ameara aroused by the arterial splatter and Cinderella reenacting Angela‚Äôs drowning within the bathtub. It is an appropriate visual statement on the fractal natures of detaching consciousness within death and rebirth. The ending credits roll over Hank Skinny vomiting all over the camera lens creating more dynamic surreal bile art. Birth, life, death, rebirth are each an interrelated fluidic experience.
ReGoregitated Sacrifice surpasses Slaughtered Vomit Dolls in terms of the degree of bile and blood, as well as erotic visual. The Presence of the Black Angels of Hell introduces, among its many esoteric cinematic connotations, the role of rape and torture of the feminine by the feminine. The prevalence of lesbianism with sex and death represents the all too ignored aspect of the creativedestroying complex of the feminine archetype. Like critics of so many films where a question of woman hating is always pointed, the role of the Black Angels of Hell will perhaps quell such allegations.
The cinematography and camera work, performed by Lucifer with secondary work by The Black Kid, is excellent artistically. The various technicalities and style reflect perfectly the hallucinatory and often demonic experiences the death of consciousness from incarnation may experience. The special effects were created by Arcanum Design Works, who also worked on Slaughtered Vomit Dolls, and Chris the Heathen Valagao. The blood and carnage within ReGoregitated Sacrifice ranks with any professional film and has a realism to parts of it that makes one question whether Valentine in reality made a snuff film.
It is a film that, like its predecessor, will more than likely be misunderstood by the common denominator of horror and film fans. It is more than a mixture of sex and death showered with vomit. It is more than simple shock value cinema. It should be considered as a film testing limitations and forming an evolving symbiotic relationship between the experimental and horror genre. Besides watching with an open mouth, from becoming nauseas yourself, it should be watched with an open mind.
Written, directed, photographed, edited, and scored by Valentine himself, ReGoregitated Sacrifice illustrates that Lucifer is certainly a talented and controversial character within the horror genre. His ability to transform tabooed subjects into shocking and frightening art indicates that he will be remembered, and not forgotten as many independent controversial filmmakers are.
ReGOREgitated Sacrifice – an analytical overview