In the 1970s, British film maker, director and snuff filmmaker David Hinchcliffe created an intriguing and disturbing film, Snuff Film, which was about a teenage girl (Catherine Hardwicke) who goes to her parents’ home to watch a film and gets possessed by a serial killer (Paul Dano).
The film ends with a scene where Catherine is held by the killer’s parents, and they are shown to be holding her in a bathtub, while she is forced to watch the film.
Catherine is traumatised, and her parents have to leave.
But the film itself has some surprising themes, including the impact of pornography on women, and its connection to the Holocaust, which prompted a backlash from anti-Nazi activists.
The film has been re-released in several countries around the world, including Australia, but it was banned in Britain by the then Conservative government.
“The Nazis came after snuff, and snuffs were in fact anti-Semitic,” said David Hunchcliffe in a recent interview with the BBC.
“I didn’t like snuff.
They were just nasty things, which were not good.
I said ‘I’m going to make snuff’.
And I’m doing it, I think.”
It is not just British filmmakers who have embraced snuff; the film is still seen in several places around the globe, including France, Belgium, Denmark, Italy, Spain, the US, and the Netherlands.
The most popular snuff movie of all time is Psycho, starring Heath Ledger, which has sold more than 12 million copies in its first five years on the market.
There are also dozens of other snuff movies that have been released around the World, including those by the Austrian film maker André Berlioz, who is best known for the French-language film La Cucaracha (Little White Bird), and the Brazilian filmmaker Ricardo Amorim, who has made a number of other Brazilian films.
But snuff is not the only film to have received its fair share of criticism.
There is a great deal of controversy surrounding the film, which depicts a family’s relationship with a serial murderer.
Critics say that the film depicts a woman who has a relationship with the killer, and it makes the viewer question her sexuality, and why she is attracted to the man who killed her family.
“In some ways it’s the most graphic depiction of sexual violence I’ve ever seen,” said John O’Neill, the director of the National Institute of Historical Research in Scotland, who studies the history of film.
“It’s just completely disturbing.”
In a 2005 documentary, the American film director George Miller discussed his feelings about the film and what he believed was the impact it had on his audience.
“People said that it was a film about an affair, and I said, ‘It’s not, because the father was the father, and he killed his family.
So it’s not an affair,'” he said.
“When people saw it, they said ‘Oh, I know, I’m sorry about that’.
But the thing about films like that is, if you’re looking for the answer to a question, you don’t ask the right question.
And the question was: ‘Why did you do that?'”
A similar criticism was levelled against The Exorcist.
“They are the last film I ever watched that didn’t give you a sense of terror,” said James Joyce, author of The Unexplained.
“But it’s one of the few that I can see a little bit of, for example, that the mother’s child was going to be raped.
There was a sense that something wasn’t right.”
In some cases, the critics were not quite so forgiving.
The Exocet was a popular Japanese movie starring the titular exorcist, and while many people were angered by the film’s portrayal of rape, there was also an element of humour in it.
The movie was released in 1997 and won a number the awards for best Japanese film at the Japan International Film Festival.
“You can watch it, and you’ll see that it’s made by the same people who made The Exotica,” said Professor John Bower, the curator of Japanese cinema at the British Library in London.
“And I can think of a few things that they’ve done, but the Exotique has one of those that is not very funny.”
Bower said that the Exorcism film was actually a very popular film, despite some critics’ criticisms.
“For a lot of people, they didn’t get it,” he said, pointing out that some critics found it too dark.
“So they didn’s, and so they went on to other films.
So you can imagine, there’s a kind of backlash.
It’s one that we don’t have any idea how it would have gone.”
A similar controversy has also been levelled at another film, The Last Unicorn, by Japanese director Yosh