I heard about The Profane Exhibit, an anthology film that was supposed to set the horror world on fire for over a decade. Bits and pieces, segment screenings, and chatter would pop up every few years, but I gave up on seeing it. Then, Unearthed Films announced in 2019 that it would release the film a year later. The hope returned, but then again, nothing for a couple of years. Unearthed and Stephen Biro must have had more work than expected, but it’s here; The Profane Exhibit is out on disc September 24, 2024.
The film features segments by filmmakers Sergio Stivaletti, Uwe Boll, Ruggero Deodato, Marian Dora, Ryan Nicholson, Yoshihiro Nishimura, Nacho Vigalondo, Todd Schneider, Jeremy Kasten, and Anthony DiBlasi. Producer Amanda L. Manuel spearheaded it. The finished film is a razor-sharp visceral experience that leaves you feeling ill (and I mean that as a compliment).
“Mother May I” is directed by Anthony DiBlasi and tells the story of Sister Sylvia (Ellen Greene) and how she runs a girl’s halfway house. Her discipline techniques are rough, and when two roommates, Sadie (Christine Ahanotu) and Mable (Jennifer Bliman), come face to face with her, the punishment is severe.
It’s a solid tale with fantastic performances where it starts slow before hitting hard. It’s one of the stories I’d like to see expanded.
Yoshihiro Nishimura’s “The Hell-Chef” was one of the segments I’d really been looking forward to, and I wasn’t disappointed. As a fan of his previous work, I hoped it would follow suit and be just as bizarre and wacky. It’s certainly the oddball in this anthology, but it’s so good.
A schoolgirl (Maki Mizui) brings home a man (Hiroki Murakami) to kill, only to botch it. A mysterious woman (Eihi Shiina) appears to finish the job and teach the girl how to make human ramen. This description may not do it justice; it has to be seen. I love watching Shiina, who is just as captivating here as in Takashi Miike’s Audition.
Say what you will about Uwe Boll, but I’ve always found him fascinating, especially after a phone conversation we had many years ago. His segment, “Basement,“ is intensely dark and foul, even stomach-churning. It’s not that it’s gory; the subject matter is just horrifying to think about.
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Bob (Clint Howard) and his wife Lucy (Caroline Williams) are discussing their plans for a date night when Bob gets up and heads to the basement. Locked down there is his 25-year-old daughter and the nauseating secret they keep. It’s an exceptional cast, especially Howard, but this is just the tip of the iceberg regarding feeling icky.
The most disappointing segment of the film is “Bridge” by Ruggero Deodato. It’s upsetting to admit, but I wouldn’t call it a complete failure. It’s far too short of a story and needed to be longer to pack a punch. A woman is out on a bridge, ready to take her own life, when two children confront her with a murderous intent of their own.
I loved the concept and performances, but maybe another five minutes would have really conveyed the message. I respect Deodato’s decision to show audiences another side of his talent; I just wanted more.
My favorite segment is “Tophet Quorum” from Italian effects maestro Sergio Stivaletti. It tells the tale of a woman who gives birth to twins. When she’s told one of them died during birth, her skepticism gets the best of her, and she decides to find out the truth. It ends up being far more frightening than she could have imagined.
This is a throwback to the classic Italian gore films of the ’80s and ’90s. It is filled with some truly grotesque special effects.
Ryan Nicholson is another polarizing figure in the world of extreme horror films. His segment, “Goodwife,” is vile, and I wouldn’t have expected any less. John (Dan Ellis) appears to be living the American dream with his beautiful wife, Lisa (Monique Parent). She stumbles upon his dark secret, and instead of running, she embraces it, hoping it’s what he secretly wants.
It’s chock full of graphic humiliation and brutality that has been a staple of his work and one of the more memorable stories.
Marian Dora’s “Mors in Tabula” follows a boy who is deathly ill and needs immediate medical attention. A doctor is called to his small village and begins to treat him. The boy can’t breathe, so an emergency tracheotomy is performed to save his life, or will it? It is a bleak entry with an ending that made me drop my jaw.
“Sins of the Father” by Nacho Vigalondo is about a man locked in a simulated version of his son’s bedroom to pay for his past sins. It wasn’t my favorite piece, but it was an interesting tale that didn’t exactly play out how I had thought.
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“Manna” is the collection’s final story and probably the goriest. A man meets a woman in an S&M club, and what should have been the most erotically charged moment in his life quickly turns into a fetish like no other. The sexy and sadistic meet right in the middle of Todd Schneider’s short. It explores the world of Vorarephillia (if you don’t know what it is, look it up, with caution, of course) in graphic detail, which is another film highlight.
The Profane Exhibit isn’t perfect; there are a couple of missteps, but overall, it’s compelling and grotesque, which is all an audience like us can really ask for. The practical effects are amazing and give an old-school vibe, which I love. Sadly, several key members are no longer with us and won’t see how the final product is received. Ryan Nicholson, Ruggero Deodato, Maki Mizui, and Ben Tatar have all passed on. May they rest in peace.
Unearthed has painstakingly assembled a jam-packed disc and a flawless transfer. It includes a commentary track, a world premiere Q&A, cast and filmmaker interviews, a trailer, and more. It really gives a well-rounded look at how the film came together.
I recommend The Profane Exhibit to those who want to plunge themselves into the darkest recesses of extreme horror and hope to emerge unscathed. Check out the trailer here.
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