Film-Philosophy 15 (2):90-105 (2011)

Abstract
Györgi Pálfi’s Taxidermia is a landmark work of postsocialist cinema. The film is a study in violent contrasts. It is viscerallycharged and icily allegorical; intimately physical in its exploration ofmasculine desire and bodily disgust, and sardonically distanced in its satiricalportrayal of the successive social and political regimes that dominatedHungary over the course of the twentieth century. On the one hand,Taxidermia is a highly controlled, severely formalist film. In its nearlyinhuman detachment, and its rigorously schematic organization, it is assevere as anything by Kubrick. Yet at the same time, it is filled withuncomfortable and unpredictable details; and it insistently focuses onexcesses of the flesh in a way that rivals early Cronenberg. In what follows, Iconsider Taxidermia in the light of these contradictory extremes
Keywords Disgust
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DOI 10.3366/film.2011.0027
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Selected Works.Karl Marx - 1939 - Science and Society 3 (1):138-142.

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