{"product_id":"the-2551-trilogy-4-disc-standard-edition-ding","title":"The 2551 Trilogy - 4-Disc Standard Edition (Ding)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb id=\"docs-internal-guid-566d6d3a-7fff-b753-b24f-0bf462967320\"\u003e\u003cspan\u003eTrigger warning\u003c\/span\u003e\u003cspan\u003e: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eAll 3 films contain nightmarish images featuring simulated sexual and violent acts, as well as strobe lights and stroboscopic effects.  For adult viewers only.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cstrong\u003e2551.01: “The Kid” \/ 2551.02: “The Orgy of the Damned” \/ 2551.03: “The End”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eImagine Mad Max run amok in the Mütter Museum:  a nightmarish subterranean world of superstition, magic and deformity, ruled by fear and oppression – and “peopled” with a spine-chilling assortment of mutants and masked monstrosities including faceless stormtroopers, parasites, nude figures, taxidermied monkeys, alchemists and other occult horrors.  Welcome to the unearthly visions of Austrian artist and director Norbert Pfaffenbichler’s “2551 Trilogy,” a staggering combination of avant garde cinema, post-apocalyptic sci-fi \/ horror \/ monster action, dystopian political nightmare, silent cinema techniques (all 3 features are told without dialogue, with different color tinting), endless subterranean labyrinths shot in abandoned WW2 bunkers in Vienna, myriad grotesque masks, industrial and death metal music, the Bros. Quay and Jan Švankmajer and Joel-Peter Witkin and David Lynch all mixed together.  Definitely NOT for the faint of heart, this is experimental filmmaking for fans of SILENT HILL, HELLBOY 2, ERASERHEAD, MAD GOD and BEGOTTEN, The Cure and Bauhaus and Metallica, lucha libre, and (unbelievably) Charlie Chaplin.  In other words, it’s like nothing you’ve ever seen (or dreamt of) before.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003e2551.01 – THE KID\u003c\/strong\u003e (2021, 65 min.)  During a violent uprising, the Apeman (Stefan Erber) grabs The Kid (David Ionescu) in a burlap sack mask with two crude eyeholes clutching a deformed mummy-doll, and runs off with him.  So begins the epic odyssey of the resilient Apeman and the vulnerable Child struggling to stay together in an underground world where the mutant dregs of civilization barely eke out an existence.   \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003e2551.02 – THE ORGY OF THE DAMNED\u003c\/strong\u003e (2023, 83 min.)  Separated from The Kid at the end of Part 01, the Apeman loses his bearings and descends into a dungeon labyrinth of surreal sexual depravity, searching for a female wrestler in a luchadora mask (Veronika Herber).  Meanwhile, The Kid (Juri Föger) is brutally indoctrinated into the ways of oppression by the police state.  \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e2551.03 – THE END\u003c\/strong\u003e (2025, 82 min.)  Years have gone by, but the Apeman continues his search for the now-grown Kid, who has become an Inspector (Ben Schiola) for the police state. Meanwhile, the carnival-masked Dictator (Stephane Marin) lords over goblin markets selling crucified monkeys and alchemists hawking living homunculi in jars.  Part 03 is the most David Lynch-like of the Trilogy:  after entering an anti-matter dimension, the Apeman emerges as the Apewoman (Manuela Deac), to wreak terrible vengeance on the tools of the oppressive state.\u003c\/p\u003e\n\u003cdiv class=\"gmail_default\"\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eSpecial Features:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eSeven experimental short films by Pfaffenbichler from 1998 – 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ci\u003eSantora\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eNotes on Film 1: Else\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eNotes on Film 4: Intermezzo\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eNotes on Film 5: Conference\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eNotes on Film 9: Odessas Crash Test\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eNotes on Film 10: Camera\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eNotes on Noise 01: Hoffman's Hymn\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"gmail_default\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eFour new video interviews with director Pfaffenbichler, lead actor Stefan Erber, cinematographer Martin Putz, and stop-motion VFX artist Paul Lechmann\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eNew interview with Pfaffenbichler discussing his avant garde films, conducted by Danish filmmaker Reinert Kiil  \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003e\u003ci\u003e\"Don’t Let it Fester: (Anti)Sentimentality in 2551.01\"\u003c\/i\u003e - New visual essay by journalist and physical media expert Ryan Verrill and film professor Dr. Will Dodson of Someone’s Favorite Prod.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003e\u003ci\u003e\"Angel of the Abject: The 2551 Trilogy as a Necropolis of Cinema\"\u003c\/i\u003e - New visual essay by experimental filmmaker and film scholar Stephen Broomer\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eNew audio commentaries by writer \u0026amp; film scholar Shelagh Rowan-Legg, film archivist Eva Létourneau, artist, curator \u0026amp; writer Anne Golden, and podcaster Mike White (The Projection Booth)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003e\u003ci\u003e“\u003c\/i\u003e\u003c\/span\u003e\u003cspan\u003e\u003ci\u003eJam of the Damned: Behind the Scenes of 2551.03”\u003c\/i\u003e featurette\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eBehind-the-scenes VFX Reel narrated by VFX artist Paul Lechmann\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eTwo deleted scenes from 2551.03: The End\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eSoundtrack score from all three films\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eThree new trailers\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eBlu-ray authoring by David Mackenzie of Fidelity In Motion\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp role=\"presentation\"\u003e\u003cspan\u003eNew art by Beth Morris\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cspan\u003e\u003cspan style=\"font-family: tahoma, sans-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv style=\"padding: 56.25% 0 0 0; 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