There are those who would have you believe...
- that we are in the midst of a British film renaissance when actually the industry is turning out the same old rubbish
- that it is acceptable to spend hundreds of millions of pounds of lottery money making boring films that can't even get distribution deals
- that the internet is going to replace not only cinema but also conversation and the moss that grows on rocks
- and that guerrilla no-budget filmmaking means a budget of only half a million pounds.
We on the other hand bring you...

The Last Film Ever Made

"Les Chants de Maldoror is an essay and meditation about evil, rendered with sparkling wit and striking, strongly visual imagery."
Gillian McIver

"...has a demented integrity"

The Village Voice, New York

"one of the strangest films to come out of Britain in years."

The Guardian

"The implications of this kind of filmmaking are huge."

Discorder Magazine

"...this is true underground cinema."

Fortean Times

"...a wild and bewildering affront to common civilised cinema."

Time Out

A feature film in twelve Super 8mm episodes made by
and starring the no-torious no-bility of

Kerri Sharp • Filmgruppe Abgedreht • Duncan Reekie • Caroline Kennedy • Colette Rouhier • Filmgruppe Chaos • Steven Eastwood • Jenigerfilm • Andrew Coram • Hant Film • Paul Tarrago • Jennet Thomas •

German voice over Feridun Zaimoglu • English Voice over Duncan Reekie • Based on the novel by Isidore Ducasse a.k.a. the Comte de Lautreamont translated by Alexis Lykiard • Idea and Co-ordination by Duncan Reekie and Karsten Weber • 16mm post-production supported by Kulturelle Filmforderung Schleswig-Holstein e.V.


Maldoror whose lips are sulphur, whose eyes are jasper, is stranded on Earth amongst the humanity he hates. His dark shadow haunts the day. At night he is pursued by phantoms and the memory of his unspeakable crimes. He searches the darkest secret corners of the world for revenge, for rest, for a companion. But he only ever finds horror, death and an endless battle against his arch enemy God and his loathsome Son. After an encounter with a festering angel, an amorous shark, a divine pubic hair and a dog on wheels, Maldoror embarks upon a course that leads inevitably to the final apocalyptic clash with the Creator himself!


In 1998 Duncan Reekie of the London Exploding Cinema Collective and Karsten Weber of the German Filmmgruppe Chaos got together and decided to make a Super 8 feature film of the infamous novel by Lautreamont. They selected around fifteen underground filmmakers/film groups from England and Germany and sent each one a chapter from the book and an invitation to make a film out of their chapter. Each maker could use different techniques, styles, actors and locations but there would be a voice over narration by one narrator over the entire feature.
There was no budget for the production, the filmmakers had to put up their own money, although Karsten managed to raise some post- production finance. The makers dug out their cameras, blackmailed their friends and relatives into assistance and began to shoot. Some of them studied the novel, some of them read their chapter once through and then immediately lost it. Film came back overexposed , underexposed, out of focus, friends split up, equipment broke down, an irreplaceable roll of film disappeared. Three filmmakers dropped out. Two years later the surviving twelve emerged bleary eyed from darkened attics and smoke filled cupboards with edited films which were then enlarged to 16mm and assembled into the feature length film.
Premiered in Germany in April 2000, Maldoror has hypnotised and thrilled both audiences and press... a cult classic for the price of a second hand car.

The action takes place somewhere behind an impossible mesh of sex, violence, emulsion, bacteria, oil, bleach, petals, glue, dirt, abrasion, acid, superstition, glare, fur, insomnia, amphetamines and deep blue cold water. At first this mesh appears to be on the screen but slowly you realise that it is in fact behind your own eyes ! Despite its subject matter Maldoror is perhaps the most realistic feature film ever made, for although the big budget multiplex features strain with every tense and twisted fibre to conjure a world of carefree spontaneity they cannot compete with the reality of filmmakers who really don¹t give a fuck. Whilst the multiplex constructs its reality with narrative, style, action and music, Maldoror uses all these techniques but also adds real human conflict, chance, technical distortion, film surface scrimshaw, creative democracy and diversity. Maldoror does not just conjure the illusion of reality, it is actually real at the same time. Its got something that the multiplex cannot offer...... WILDNESS. We have identified a gap in the market and we have turned that gap into a terrible breach. Make no mistake once you have seen it all other films are meaningless. After Maldoror, filmmaking is no longer possible; in fact, it no longer has any purpose.