Most offensive movie you've ever seen

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The synopsis of Grotesque is as follows (from Wikipedia);

young couple Aki and Kazuo (Tsugumi Nagasawa and Hiroaki Kawatsure) are snatched off the street while having their first date as a romantic couple after a few years working in the same office, and wake up shackled in a scary basement, which has all its walls covered with plastic. With no further explanation, a sadistic madman (Shigeo Ōsako) degrades, tortures and mutilates them. Initially, he punctures Kazuo's belly with a screwdriver and slices his tongue, then rapes both, one at a time, forcing the other to watch. Sometimes he stops the torture to provide medical assistance and cure the couple's wounds, so they can continue alive for a long period of time. This way he cuts off all their fingers, makes collars with them, pops out Kazuo's right eye, removes the girl's nipples and cuts off her right arm.

As the torture progresses, it is revealed he is simply doing it for sexual stimulation, and tells the couple he wants the two to survive. After the most sadistic and gruesome tortures, he finally castrates Kazuo, claiming he has found all the sexual relief he needs, so no longer needs the couple's "services". Then the couple is moved to a room which resembles a modern and clean hospital room, where the psycho takes care of the couple's wounds.

While it is never explicitly mentioned on the movie, it becomes gradually apparent that the man has professional medical training, refined manners, taste for classical music and good wines and dressed with expensive clothes when he is not in surgeon dress torturing the couple. At some point he even mentions he's a very wealthy man, which suggests he may be a reputable surgeon, not just a common psycho on the loose, looking for an extreme and different way to obtain satisfaction on his lonely life. However, the couple also notes the doctor has a particular rotting smell always present behind his clean and elegant appearance. After several days healing, the "doctor" simply tells the couple they will be free to go, he will turn himself to authorities and, as apology for all the suffering he inflicted to the couple, he will give them all his fortune which seems to be very large, as compensation. After all the horror, in a moment alone in the hospital room, Aki and Kazuo promises to support each other once they leave the place and become a formal couple.

It is unclear if the madman changed his mind, or if playing with the couple's hopes to survive and being released soon was part of his mischievous plan from the beginning, but immediately after communicating to them they will be released, the next scene takes back the couple to the scary basement. After being drugged, they are shackled again, exactly as they were the first time. The "doctor" announces they must participate in one final test of love strength. He pulls out an extreme of Kazuo's intestines and attaches them to a hook. If Kazuo is able to cross the room to the other side (pulling off his entire intestines out of his body in the process), take a scissors and cut Aki's ropes to release her, both will be finally free. However, Kazuo fails due to blood loss and falls to the ground, agonizing. Aki begins to insult the doctor, telling him he is just the son of a whore that nobody cares about, and insists despite his refined manners and expensive clothes, he has an unusual and unbearable skunk odor, no matter how hard the tries to cover the stench. Angered, the doctor cuts off Aki's head in response and as her head falls down, it lands on the man's neck and bites him with her final breath. Kazuo on the floor, not dead yet, stabs him in the foot with the scissors as a supreme last action. The couple then dies facing each other.

In the epilogue of the film, the madman is revealed to have survived what happened to him in the basement, although he cannot walk properly. He's in a quiet forest where he respectfully buries the couple next to each other in a traditional Japanese way, leaving the scissors on their tombs as a symbol. The next scene shows him back in the same car he used to kidnap the couple, covering himself with lots of perfume to hide his skunk stench while a girl is walking by, and the screen cuts to black as he goes after his next victim.

The Human Centipede.


I win.


Seriously.




Been meaning to watch 120 Days of Sodom.

Lucie, who has been missing for over a year, is found hysterical by the side of the road. She leads police to the derelict slaughterhouse where evidence suggests she was held captive. Although there is no evidence of sexual abuse, Lucie bears the signs of repeated injury and neglect. Traumatized and uncommunicative, Lucie is unable to tell the authorities anything further about her time in captivity or the people who kept her there.

Over time, Lucie makes friends with Anna, another girl in the youth home where she lives. Anna looks after Lucie and eventually gains her trust. Lucie appears to be haunted by something or someone - a shadowy, rasping female figure who apparently mutilates Lucie. After one such episode, Lucie makes Anna promise not to tell anyone about the creature haunting Lucie.

At this point, the film moves ahead 15 years, and shifts its attention to the Belfond family. Mom is fixing a sewer line in the yard, Dad is making breakfast, and son Antoine and daughter Marie are wrestling over a love note Antoine received. As everyone sits down to breakfast, the doorbell rings - it's Lucie, who shoots the father to death with a shotgun. The mother follows in short order, and then Lucie hesitates, asking Antoine how old he is and if he knew what his parents have done. When she doesn't get an answer, she kills Antoine. Marie hides upstairs, but Lucie finds her and kills her as well. After killing the family, Lucie's creature reappears and tries to attack Lucie. Lucie explains that she's "killed them", and so the creature can leave her alone now. The creature continues to attack her.

Panicked, Lucie calls Anna to come and help her. Anna, horrified, sees what Lucie's done and asks if she's sure these are the people who kidnapped her. Lucie is sure. Anna starts working on burying the bodies when Lucie has to deal with the creature again. In the process of moving bodies, Anna discovers that the mother is still alive and attempts to smuggle her out of the house. Lucie discovers this and beats the mother to death with a hammer. This is followed by one more attempt to placate the creature, as Lucie shows the creature that the mother is dead.

The creature embraces her gently, and begins to cut into her arms. Anna sees Lucie cutting herself - the creature is something Lucie is hallucinating. Flashbacks reveal that the creature is a woman who was being tortured in the same building as Lucie. When Lucie was able to escape, she had an opportunity to take the woman with her, but did not and has been haunted by it ever since. In a fit of rage and sadness, Lucie cuts her own throat.

Anna brings Lucie's body into the house, cleans it and wraps it in cloth. In cleaning up the house, she notices a hole in the wall behind a cabinet. Anna opens the cabinet and discovers a hidden staircase leading down. Anna discovers an underground complex decorated with pictures of people in extreme suffering. Exploring further, Anna discovers another woman, naked and chained to a wall with a metal blindfold riveted to her head. She frees the woman and takes her upstairs. Anna attempts to bathe the woman and she resists, and after Anna removes the blindfold, the woman runs off, finds a knife and begins to mutilate herself, attempting to cut off her arm.

As Anna tries to stop the woman, the woman is killed by a shotgun blast. A group of people have entered the house, and they take Anna down into the hidden complex. An older woman (referred to only as "Mademoiselle") explains to Anna that they are not interested in victims, but martyrs - the act of martyrdom brings about transcendence and the possibility of seeing into the afterlife. They are, in essence, creating martyrs through systematic abuse in the hopes of learning what lies after death from their accounts as they achieve transcendence. They kidnap young women because young women seem to be especially likely to achieve a transcendent state. Anna is then rendered unconscious.

Anna wakes up chained to a chair similar to the one discovered in the building where Lucie was kept. She is fed some sort of unpleasant gruel and methodically beaten. This goes on for several days until a badly battered Anna loses the will to resist. She hears Lucie's voice in her head, telling her that it is going to be okay, that she won't suffer much longer. Anna is then brought to an operating theater, where she is strapped into a rotating rack and flayed.

A now-skinless Anna is hung by a rack under hot lights. The people attending her remark on her considerable resilience, noting that she is still alive. The woman feeding Anna notices something about her has changed, and she calls Mademoiselle to tell her that Anna is close to transcendence. Mademoiselle hurries over and arrives in time for Anna to give her an account of what she had witnessed.

The next day, a large number of wealthy older people arrive at the house, and Mademoiselle's assistant (Etienne) announces that Anna - only one of four young women to successfully achieve martyrdom - was the first to provide an account of the world beyond life, and Mademoiselle was present to hear her account and would be sharing it with the assembled people shortly.

Mademoiselle appears to be getting ready as Etienne speaks to her through the door, asking if the announcement means that Anna saw something, and Mademoiselle says that she did, and it was clear and precise. Mademoiselle asks Etienne if he could imagine life after death. Etienne says he could not. Inside, Mademoiselle is sitting on the edge of a bathtub, where she takes a gun out of her purse. She calls to Etienne and tells him to continue doubting before shooting herself in the head.

The movie ends with Anna, lying in some sort of medicated bath in the underground complex, looking at something very far away, fading to black, and a definition of "martyr" which indicates the derivation from the Greek word for "witness."

Blazing Saddles is probably it for me, but only because I don't watch many offensive movies. I still love it though.

Cannibal Holocaust is the one that comes immediately to mind. There's animal mutilation, violence, gore, and, as the name would suggest, cannibalism. Leave it to Troma. I'm not crazy about the movie Blood Sucking Freaks, either.

Was that called Wizard Of Gore? If so, it was a remake of a scumbag movie of the same name, directed by the biggest scumbag movie director of all time, Lewis Herschel Gordon.
I only know of the movie, and the original, by reputation.

-Bill, otherwise known as Kraichgauer

and almost everything Jennifer Aniston has done, qualify as offensive for insulting my intelligence.
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one film in particular sticks in my mind. She did a film called Derailed a few years ago.