Oddly enough, this is something that French filmmakers have been doing for decades outside of the genre’s boundaries, and which they have returned to their own ever more explicit horror films in the past decade. Body horror is, as its name implies, tied intrinsically to the horror of our own bodies, of the goop and innards which make up our physical being.Īmerican horror has relied on increasingly innocuous set-ups, with very profitable franchises being founded on little more than the titillation of bound protagonists and cutting, poking and prodding the scares into its audience. The very idea of body horror as a sub-genre is a direct confrontation with the mortality of its viewers, feeding off the human fear of death, and most importantly, it is directly interested exposing – within the safe boundaries of film – the blood and guts that cannot be dealt with in our own lives without the result of our own demise. Horror films are a way for an audience to interact with mortality at a safe distance, to encounter fears and break taboos.
Part II: The New French Extremity – Gore for the Art House Set This essay discusses the following films: Anatomy of Hell, Irreversible, Trouble Every Day, Inside, Ils (Them), Frontiere(s), and High Tension.
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