A stream on a corpse The judge of the not the most honest rules of a nameless Brazilian town of three yards, a corrupt, a thief and a rapist instructs a local drug dealer to kidnap some girl of not the easiest behavior for his own pleasures and for the pleasures of his environment, consisting of a pedophile priest and a doctor. When the case was done, the victim was thrown out of all places, written off, and not even too alive, revenge seemed too fantastic in this situation. But Lady Death already had her own plans for a trio of rapists in power.
His cinematic career independent Brazilian director, actor and screenwriter Petter Beiershtof began in the second half of the 90s, releasing in 1995 at the age of twenty his first full-length film “Vegetable monster from space”, which became in fact, albeit deliberately amateur, but still quite funny homage to classic American film fiction 50-60-ies and tapes of Roger Corman. A year later, the continuation of the adventures of the Vegetable Monster, the necrorealistic short Zombio, as well as a couple of frankly radical and tasteless tapes, such as the nudist spatter Bloody Sex Whores, the cannibal pseudosnuff They Will Eat Your Meat and the satirical version of the well-known rape and revenge films under the uncomplicated title I Will Pee on Your Grave. All these paintings, which instantly gained fame in the underground circles, brought Beiershtof a cult status, largely contrived, because his full-length and short exercises did not possess special advantages. With the exception of a clear lack of genre, for Beiershtof very successfully learned to mix styles and genres, peculiarly staining them, however, blooding the whole screen.
I'll Pee on Your Grave differs from many subgenre films of violence and revenge, primarily due to the fact that the film is completely devoid of any seriousness as such. Even the savage rape of an unfortunate victim by a judge, a priest and a doctor does not look creepy, vile or simply disgusting, but extremely grotesque, ridiculous, and the excessive naturalism of the whole action produces the opposite effect. For the director, it is not blood and perverted sex, necrophilia and cannibalism, but the most common sins of a universal nature, like corruption or drug trafficking, that is why Beiershtof highlights not violence and revenge, but satirical illumination of the characters of the dirty trinity from a certain conditional Brazilian city. The antagonists are so caricatured that the film involuntarily perceives in the key of ardent mockery of all those in power who, having reached the free and popular, want more and more, and to have more fun. Therefore, perversion and violence are already the last degrading factor of absolute depravity from absolute power. But, as you know, everything has to pay for it, and Beiershtof’s film, stuck between the style of slapsticks and a seven-costal grindhouse, offers nothing new for rapists from the power system. But it is in the moments of justice that the antagonists realize that they have stolen, raped, and killed so much in vain. Repentance comes, and the victim is no longer inclined to be bought, because initially it was taken for free. Her life was not worth a peso, but so was the price of her rapists. However, the finale of Beiershtof's tape rhymes with its beginning; it is as deeply unserious as it is bloody. The director deliberately quotes John Waters and Lloyd Kaufman, turning his short revenge movie “I’ll pee on your grave” into a handicrafted attraction of sophisticated political satire, understandable not only to the residents of the Selvas and favelas, but to everyone and everyone. While otherwise, this tape is a typical underground creation, not much different from it from Germany, Japan or Italy, because it is not for nothing that Petter Beiershtof was nicknamed “Brazilian Andreas Schnaas”. Only Bayerstof does not have any problems with his sense of humor, and his films are perceived much easier, despite the rivers of blood and piles of meat.