‘Euridice lives imprisoned inside a metaphorical hell-house, in a country ruled by a dictatorship regime.
Having already served her time, she is waiting to be transferred “somewhere else”. However, the State Processor in charge of the prisoners transfers has been mocking her for days… maybe even years.
A long lost lover (Orpheus), contacts her asking to see her again. Euridice accepts, hoping that something will change yet she is also afraid of any changes.’
Singapore Sling, seen here in its world premiere, could very well become this year’s runaway cult hit. A wonderfully outrageous expose of the innermost recess of human sexuality treated with a brashness and candour worthy of de Sade, this film does not hesitate to peel away layer after layer of human sensuality and physical stimulation that almost undefinable point where the distance between pain and pleasure begins to disappear. Singapore Sling is friendless, homeless and always broke; he is always chasing after lost causes, in particular a woman named Laura, a romantic memory from his past. She may in fact have died years ago, and he could very well be obsessed with a corpse. One lonely night in his meandering search, he finds himself in a mysterious villa, watching two women bury a body. He falls into their trap as naturally as a fly is caught in a spider’s web, their unwitting last victim in a sinister play of cruel fun. In a pervasive atmosphere of decadence and isolation, the two women act out insane pleasure games, unappetizing rituals of blood and murder. Theirs is a world turned in on itself where private sexual fantasies are transformed into explosive lust. This cocktail’s unusual recipe is no common mix of violence and sexual pleasure. Incest, lesbianism, sadism, bondage and much more are depicted with assured kinky precision and a perfectly immodest sense of the outrageous. However, Nikolaidis does not pass up a single opportunity to extract the wildly camp humour, albeit of a decidedly dark hue, of this scenario. Neither gory nor offensive in intent, the director’s determined treatment of his material makes for a gloriously entertaining black comedy. Filmed in sumptuous black and white to underscore the mock eeriness of the imagery, Singapore Sling is a cinematic rarity, a skillful, engrossing and elegant balancing act between shock, sensuality and black parody. – Dimitris Eipides, presenting Singapore Sling in the Toronto Film Festival (1991) Continue reading
Review for The Zero Years from
B>Hell is a grungy S&M brothel in a dystopian future, rather than simply other people, in “The Zero Years,” an intriguing oddity by vet writer-director Nikos Nikolaidis. Fans of the late Jean-Paul Sartre’s classic one-act “No Exit” shouldn’t rush to buy the DVD, but inbetween its soft-core titillation pic boasts striking perfs by its four lead actresses that lift the movie into more than just the sum of its excesses. Late-night fest programmers should take a look.
Entirely set in a dilapidated apartment some time in a fascistic future, pic starts with an unnamed woman (Vicky Harris, a dead ringer for Gina Gershon) arriving to join three other sterilized women in what turns out to be a state-run brothel. Opening exchange between her and Christina (Eftyhia Yakoumi), with each mirroring the other’s dialogue, concisely sets up the pic’s off-center, ironic flavor. Continue reading