The ABCs of Death
"Soars to artistic heights, and such tasteless depths.” – Austin Chronicle
"Sesame Street for psychopaths." – Dennis Dermody, Paper Magazine
Directors: Nacho Vigalondo, Adrián García Bogliano, Ernesto Díaz Espinoza, Marcel Sarmiento, Angela Bettis, Iguchi Noburo, Andrew Traucki, Thomas Cappelen Malling, Jorge Michel Grau, Yamaguchi Yûdai, Anders Morgenthaler, Timo Tjahjanto, Ti West, Banjong Pisanthankun, Bruno Forzani, Hélène Cattet, Simon Rumley, Adam Wingard, Simon Barrett, Srdjan Spasojevic, Jake West, Lee Hardcastle, Ben Wheatley, Kaare Andrews, Jon Schnepp, Xavier Gens, Jason Eisener, Nishimura Yoshihiro
Producers: Ant Timpson, Tim League
Festivals: Toronto, Fantastic Fest 2012
The Family Movie Guide screamed it was the "Most Perverted Movie Ever Made" but genre fans around the world are embracing The ABCs of Death as the most ambitious anthology film ever conceived with productions spanning 15 countries and featuring segments directed by over two dozen of the world's leading talents in contemporary genre film. Inspired by children’s educational books, the film is comprised of 26 individual chapters, each helmed by a different director assigned a letter of the alphabet. The directors were then given free rein in choosing a word to create a story involving death.
Created by NZ's own Incredibly Strange Ant Timpson, the film began as labour of love in Pt Chevalier but ended up being financed and released by Magnolia Pictures and has since gone on to polarising audiences and global festival acclaim.
"To anyone who still doubts the ambition, imagination and filmmaking chops at work in the worldwide new wave of horror movies, I offer you The ABCs of Death, an enormously impressive and massively indulgent cornucopia of 26 short films from all over the world. Then again, if you suspect that new-school horror is often cheap, vulgar, sexist, unnecessarily gruesome, self-reflexive and juvenile, then all I can say is: Um, yeah. That’s here too! The ABCs of Death is one-stop shopping for deviant cinema, a Pu Pu platter of perversity. It made me laugh hysterically, shout with outrage, wince with discomfort and yearn to hide under the sofa, all by the halfway mark. It contains some of the subtlest and most ambiguous filmmaking of the year and some of the dumbest. There’s no way to praise it, or bury it, without doing the other thing at the same time." – Andrew O'Hehir, Salon Magazine