I have a feeling that Christoph Schlingensief was less than enthusiastic about splatter films, but he certainly proved his profound understanding of the horror subgenre through the satiric tongue-and-cheek nature of The German Chainsaw-Massacre. Although the film features enough gore to stun the most desensitized of gorehounds, it will be apparent to those individuals that the director lacks respect for such exploitive exploits. In fact, I wouldn’t be surprised if Schlingensief was mocking Jörg Buttgereit’s Nekromantik (1987) – which was released a couple years before The German Chain Saw Massacre – as both films feature mangled human torsos (both being the result of an automobile) that look quite similar. GCM is like a perfect marriage between the Viennese Actionist films and the surrealist works of Luis Buñuel confined to production values that mirror John Waters' early Art-House-Trash flicks (Pink Flamingos, Desperate Living, etc.). Also, despite the sexually surreal nature of The German Chainsaw-Massacre – which includes incest and female-on-female missionary style rape – it is quite apparent that Schlingensief is mocking the post-WW2 libertine nature of European cinema. To put it simply, The German Chainsaw-Massacre is one of the ugliest and most revolting films that I have ever seen in my cinema-obsessed life. What saves GCM from being a loathsome pile of Germanic excrement is how hilarious and audaciously ridiculous the film is. Thankfully, Christoph Schlingensief was a politically astute individual who knew how to make his atypical symbolic social commentary digestible. After all, most politically-charged filmmakers are quite obnoxious (Spike Lee, Michael Moore, etc) in their execution of socio-political commentary. It is very doubtful that there exists another film in the world such as GCM; where a cannibal family keeps their dead Wehrmacht soldier grandfather (symbolic of Germany's inability to move forward) as a mobile shrine (another nod to TCM). To call the films of Christoph Schlingensief difficult would be an obscene understatement, but for those that have the gall to visually devour works that blur the imaginary line between pure trash and pure art, his films offer cinematic experiences like no other. Although A Hundred Years of Adolf Hitler (1989) is the first film in the director’s “German Trilogy”, I recommend that Schlingensief-virgins watch The German Chainsaw-Massacre first as it is a much more accessible work. Due to Hollywood and the mainstream (and the not so mainstream) media’s skillful knack for inducing Teuton-phobia in the minds of American citizens, I think that is safe to say that it if the average yank were to watch one of Schlingensief’s films, it would (mistakenly) confirm their suspicions regarding the purported dubious nature of the fallen master race. Luckily, Schlingensief’s films are only known and beloved by a small cinephile elite that cherishes the unfortunately deceased auteur filmmaker’s incomparable works of post-post-modern Germanic anti-kultur. Maybe someday a brave American horror auteur will do for Amero-cinema what Christoph Schlingensief did for German national films, but such an unlikely scenario is merely wishful obsessive-cinephile thinking. Instead, next time I watch The German Chainsaw-Massacre, I plan to accompany it with The Texas Chain Saw Massacre, as such an eclectically perverse double-feature could only make for an oh-so rare majestically macabre experience. German prophet philosopher Oswald Spengler once stated something along the lines that out of all the artists (he was most specifically referring to the German expressionist painters) who created art during the interbellum period (between the first and second World War), not one of them was an artistic genius that had the ability to construct aesthetically pleasing works. That being said, Spengler was lucky that he didn't live to see the subversive works of post-WW2 German filmmakers. Spengler – whose canny physiognomic tact enabled him to foresee many of the horrors that would occur in the western world nearly a century after his death – couldn't even have foretold the spiritually sick chaos contained within a hyper-cynical film like German Chainsaw-Massacre. Since we (the living) are all confined to culturally degenerate times – where art is more often unprepossessing than not – one might as well buckle-up and enjoy the deluging ride. Whether you were born in Germany or not, one (most imperatively those of occidental heritage) should accept that a film like The German Chainsaw-Massacre is mostly importantly a reflexive sign of our wretched times.