An aging out of work clown returns to his small hometown, resigned to spend the rest of his days in a drunken stupor. But when his passion for clowning is reawakened by the local amateur circus he finds his smile.
Abandoned and filled with a mysterious past, Holy Angel School for Girls is about to reveal its secrets of betrayal, jealousy, and vengeance. Rumours of haunting, paired with the desire to ... See full summary »
Ian David Diaz
After Matthew Dragna inherits a rundown old casino from his deceased uncle, Matthew, his loyal girlfriend JJ, and several other friends decide to check the place out. Alas, the casino turns... See full summary »
Three sisters and a group of their friends take a trip to the home of the recently deceased grandfather -- who died a particularly grisly death -- to learn more about the promise of an inheritance, only to encounter a family of psychos who have taken up residence in the old man's cabin.
Brotherhood of Blood is a good example of counter-cinematic art.
Counter-cinema in its simplest definition is cinema that through its own cinematic practices, questions and subverts existing cinematic codes and conventions. Counter-cinema usually lies in independent film-making and often attempts to combine genres of film that would, on the surface seem to not go together. In "Brotherhood of Blood" the directors cleverly combines the 'vampire' genre and the 'mystery thrillers' sub-genre in an art-house context. Both genres are embodied by a certain mysticism. The curious thing about "Brotherhood of Blood" is that this film is the most realistic and human vampire film that I have seen. I suspect that this is because the film focuses on both worlds; that of the hunters and that of the vampires. Both worlds seem to offer something that the other wants, though humanity (not being human) seems to be the ultimate goal. What follows in the film are continual contrasts between both worlds, the one whose people live at night, and the other whose people live during the day. But there are strong parallels drawn between both groups. We see that they have more in common than they would admit. We must remember that each one of these vampires was at one point a human being. The film seems to be implying that even in the most extreme of transitions (from human to vampire), one cannot completely leave behind the rites that you previously cherished so deeply.
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