(Posted: 10 February 2010)

I was contacted by a guy named Eros Orson D'aquila, an Italian guy I had on my Facebook. I had never spoken to this guy before, but I knew very well who this guy was. Why? Because for a long time he has been uploading a whole bunch of strange pictures to his Facebook. Often pictures that look like they were manipulated through Paint (in some cases Photoshop). It was often sexual images, and while I'm not sure if he was the photographer of the original photos, I did find the work he uploaded very interesting. It was art in the most simple form, but somehow it was so appealing.

He contacted me because he wanted me to review a trailer called "Mother of Horror: Totentanz". I found it weird that he wanted me to review a trailer, not a movie, so I had to double check if he really wanted me to review it and not just post in on the site. What did I notice? That he didn't know English very well. This isn't the first time I've been struggling trying to get my point across to someone who doesn't know the language. But I tried my darnest, and eventually I came to the conclusion that I should write an article about the trailer (actually, found out it was two trailers) instead of reviewing it.

The trailers are extremely impressive on a surreal level. They're energetic and filthy, with a loud soundtrack. The editing is done very well and if Eros Orson D'aquila decides to make actual movies of these trailers, I will be the first in line to watch them. When I ask him, it sounds like he might make a movie out of it, but then again, language difficulties might be an enemy yet again. I honestly know very little about these trailers, and I had to ask Eros to make sure that he did in fact film and make these, because that's how impressed I was. I was confused as to why he had only made trailers when he obviously has real talent and could make films. The reason for this article is so that I can show you these great trailers, and help me pray that these will eventually become a movie.


Trailer 1:



Trailer 2:



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