As I complete this mini-retrospective in anticipation of one of my favorite current filmmaker’s new anthology films, I find myself more and more pumped about POE 4. At this point, I have watched two of the Poe based anthologies that were produced and partially directed by Domiziano Christopharo.
All of these anthology films had an experimental concept behind their structure. In order to follow all of the concepts, trailers, and release information, you can click the link below. In an attempt to sound less repetitive and force you to click around the site, I’m going to leave some of that research work to you.
As far as comparisons go between POE 2 and 3, there are far more dissimilarities than one would expect. In the day and age of the redundant horror anthology, these differences will probably blow your mind. This could be because most of us are stuck watching American studio produced anthologies. The POE films, thankfully, would lean more towards the American underground. This, of course, is why we are all about the projects coming from Christopharo.
As I watched through this third installment, I was getting the feeling that the differences were similar to those of the first two American Guinea Pig Films. While POE 2 seemed to focus more on disturbing kills and insanely brutal gore effects, the third film had more of an artsy quality. Black and white segments, experimental sound techniques, and interesting structural decisions made the segments feel like they were going in a completely different direction from that of the previous film. Interestingly enough, in this case, I didn’t go in the direction I did with the AGP films. With Bloodshock, for some reason, I was much more appreciative of the arthouse quality. When it comes to POE, however, I think I liked the second film just a little bit more. Don’t worry though. There is still plenty of fucked up insanity in this film. I’m sure most readers of this site would love it, and be completely pumped about the next installment, like myself.