600 giorni di Salò
No sequel to Salò (that I know of). Thankfully no remakes from desperate, would-be extremist filmmakers, but an interesting project inspired by Salò is out there, if tough to come by. In 1997, career controversialist German film and theater director Christoph Schlingensief made 120 Days of Bottrop (a city in western Germany), or 120 Days of Bottrop: The Last New German Film. Bottrop follows a German director engaging in a disastrous attempt to remake Salò, or the 120 Days of Sodom. Information is somewhat sparse, but very little I could tell you, beyond that premise, would be more convincing than this translated info from Schlingensief's site. Note (with amusement to taste) that "barrel binder" is translated from Fassbinder.
The last survivors of the old barrel binder guild do together, in order to turn on the Potsdamerplatz the really all-last New German film, a remake of Pasolini's “120 Days of Sodom.” Schlingensief is to lead direction, however of a certain “Sönke Buckmann” is replaced, to which promptly Katja Riemann presents the Federal film award. An homage at Rainer Werner barrel binder, to the Exzentrik and the insanity of one lengthens past time.
“Sound, shrill, obscene - faraway of custom, sense and order… Mr. Schlingensief, you need a psychiatrist” (Bild)
“Deconstructing scoring steel [ed: Riefenstahl] & barrel binder: The German illness film, the Triumph of the Will to the Kömödie, all that must be dead-made. One had to settle this dirty job. He did it for us.” (taz)
“If one Schlingensief sees, white one which the German cinema, so obligingly/pleasingly it come along may, mostly goes off: Characteristic.” (Michael Althen, SZ)
“Naturally earns Christoph Schlingensief alone the Federal film award - for publicly lived, in art continuous puberty and the successful fusion transformed of self-pity and serious unserious.” (BZ)
“… Experimentalorgie the their-same searches. Schlingensief's best film for years.” (The Standard, Vienna)
The last survivors of the old barrel binder guild do together, in order to turn on the Potsdamerplatz the really all-last New German film, a remake of Pasolini's “120 Days of Sodom.” Schlingensief is to lead direction, however of a certain “Sönke Buckmann” is replaced, to which promptly Katja Riemann presents the Federal film award. An homage at Rainer Werner barrel binder, to the Exzentrik and the insanity of one lengthens past time.
“Sound, shrill, obscene - faraway of custom, sense and order… Mr. Schlingensief, you need a psychiatrist” (Bild)
“Deconstructing scoring steel [ed: Riefenstahl] & barrel binder: The German illness film, the Triumph of the Will to the Kömödie, all that must be dead-made. One had to settle this dirty job. He did it for us.” (taz)
“If one Schlingensief sees, white one which the German cinema, so obligingly/pleasingly it come along may, mostly goes off: Characteristic.” (Michael Althen, SZ)
“Naturally earns Christoph Schlingensief alone the Federal film award - for publicly lived, in art continuous puberty and the successful fusion transformed of self-pity and serious unserious.” (BZ)
“… Experimentalorgie the their-same searches. Schlingensief's best film for years.” (The Standard, Vienna)
Labels: 120 days of bottrop, christoph schlingensief, salò
