Page 82 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945
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FIGURE 8  The 'guerilla style' look of .5.

                                    position by the  filmmakers  on the themes.  In several interviews Henderickx explicitly addresses this
                                    connection. When critics ask him if it was really necessary to use such explicit imagery, Henderickx
                                    makes a reference to  the Affaire by stating that,  'Yes,  because that's what happens in  real life.' 4 He
                                    additionally expresses  his  attitude  towards  it  by saying that  'unless  you're  a  moron,  you  can't walk
                                    through life pretending nothing's wrong'. Apart from describing the film as 'a search of young people
                                    for  happiness',  Henderickx  further  identifies  S.  as  'a  comment  on  our  voyeuristic  society',  thus
                                    including the self-referentiality of the  film  in  the critique it forms of the Dutroux context.5
                                       However,  it  is  strange  to  find  no  reference  to  the  Affaire  in  the  press  kit  or  any  other  release
                                    materials surrounding the  film.  Instead of politicising it,  the degree of sex and violence in the  film  is
                                    put in an exploitative framework, with Belgian director Marc Didden identifying the film in the press
                                    notes as an  'erotic road-movie'.6 The national reception of the  film,  too,  tried to  avoid making the
                                    connection with the Affaire as much as possible. The opening of the film (including a gala screening
                                    at the Gaumont cinema in Antwerp) generated a lot of media attention, and S. was widely publicised
                                    on  national  television,  even  in  political  talk shows.  However,  the  interest quickly disappeared after
                                    the release.  Eventually, S.  played in national cinemas for only two to three weeks, drawing no more
                                    than 20,000 viewers.
                                       The video release by Polygram a year later drew even  less attention,  although  more than  1,000
                                    copies of the  film  were circulated.  Similarly,  the prevalent position  among national  film  critics was
                                    one  of disregard.  In  most  cases,  reviews  referred  to  the  film  as  having  laudable  intentions,  being
                                    radical and  raw in  its  look  (with  some  implying  that this was  the  result of its lack of budget).  Some


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