For the uninitiated, vorarephilia (more commonly shortened to vore) refers to the fetishistic desire to be consumed or to consume another, typically for sexual gratification. As the opening text of this film clarifies, this has less to do with a cannibalistic desire to eat human flesh and more to do with the fanciful desire to be consumed by a much larger entity (human or otherwise), often swallowed whole. There are different types of vore, but as the title Vore Gore implies, this film focuses specifically on hard vore with a series of nine separate shorts all relating to gruesome, oral consumption of some kind.
In an apparent nod toThe Rocky Horror Picture Show the segments are introduced via disembodied lips, which imbue each title with a subtly salacious inflection. It’s the perfect framing device for a collection like this and the fact that the lipstick thematically ties to each film is an excellent touch. Though all segments do relate to the central concept, there is a wide variety of styles and approaches at play here, each reflecting the unique vision of their creators.
While Mouth, The Egg, and Infernal Gluttony 2 all take an abstract, experimental approach, other segments like Please, Not in My Mouth and Italian Ladies do it Better are more narrative focused horror shorts that bring their story arcs to a clear resolution. Other segments like Sweet as Honey, Finger Licking Good and Stretching take a more meditative (although no less gruesome) approach that falls somewhere in the middle. As I’ve now come to expect with anything relating to the band White Gardenia, their segment Yummy Fur belongs in a category wholly unto itself, but more on that in a moment when I delve into the individual segments in a little more detail.
It can be hard to maintain consistent quality when featuring a collection from various directors, but fortunately the segments in Vore Gore deliver high quality pretty much across the board, with each one bringing something interesting and different to the table, albeit with occasional mixed results. For instance, at first I wasn’t sure how I felt about relatively cheap looking special effects and seemingly simple concept behind Infernal Gluttony 2, but in the end, was won over by the sheer audacity of the engaging, surreal spectacle it created. Conversely, Finger Licking Good stood out as an incredible piece of work with its deliberate pacing and gloriously gruesome effects, but eroded some of the goodwill it achieved by tacking on an ending that feels like a bit of an unnecessary cop-out.
While there were a few minor missteps in some of the films, the only one that overall just didn’t work, was Italian Ladies do it Better. I hate to call out a single film like this, but in addition to having the least to do with the subject of vore itself, the highly telegraphed ending of the rather ludicrous plot simply doesn’t deliver in any kind of satisfactory way. The film also has trouble adhering to the rules of the world it creates and would have benefited from putting the script through another draft (or two). Stretching, on the other hand, was a highly satisfying and meticulously crafted piece of filmmaking that did an excellent job visually articulating the emotional experience of having a fetish. Though strikingly different in tone, another standout was Please, Not in My Mouth, a fun, nasty little film that I actually reviewed on its own back in 2018 but thoroughly enjoyed and was more than happy to revisit.
Speaking of films I’ve reviewed, anyone who has read my review of XXX: Dark Web knows that the film contains a segment in which Daniel Valient, of the band White Gardenia, completes an act of gruesome performance art that is fearless, shocking, and brutally real. In Yummy Fur, it’s Daniel’s turn to step behind the camera as the woman who filmed his segment in XXX: Dark Web (Cher Nevin) takes the spotlight for her own piece of hardcore performance art that threatens to outdo even that incredibly shocking scene. This is an amazing thing to witness, and my only complaint is that a unique, irrevocable act like this deserves really thorough and precise coverage to ensure no part of it is lost. Still, the erratic hand-held camera and occasional loss of focus actually work quite well with ambient music and cosmic-themed voice-over to give an unsettling, surreal quality to the segment.
Vore Gore may have a couple of chinks in the armor, but overall remains an overwhelmingly positive experience that I could continue talking about for pages. This is an excellent example of bold, unfiltered Extreme Cinema by a collection of brave artist who dare to push the boundaries of the medium in creative and provocative ways. Connoisseurs of authentic underground cinema take note, this is one twisted treat you’ll definitely want to devour.