Make Your Own Cannibal Film

Ruggero Deodato’s infamous 1980 horror classic Cannibal Holocaust is the OG of found footage films. Its gritty depiction of an American documentary film crew stomping through the Amazon jungle is so unflinchingly realistic that many viewers believed they were watching a snuff film. This was by Deodato’s design as his actors were contractually obliged not to appear in any media for one year after the film’s initial release. It was all so convincing that he was brought up on obscenity charges in Italy and forced to bring his actors out of hiding to clear his name of any wrongdoing. There is, however, also the controversy surrounding real acts of animal cruelty in the film. Something for which Deodato later expressed regret. Though some of these animals were eaten by crew members if that helps (not that I’m here to tell you how to feel about anything). A cut of the film with these acts removed does exist, and it’s worth watching for a multitude of reasons.

Because my naked ambition wouldn’t allow me to simply write about Cannibal Holocaust, I made a short film titled Son Of Cannibal Holocaust:

The title is a tongue-in-cheek reference to exploitation films being marketed as unofficial sequels to successful films. It’s a 100% solo effort shot and edited on my iPhone 16 Pro with literally zero budget. That said, I’ve seen feature-length films with worse gore effects. However, the purpose of this exercise is conceptual. To demonstrate the near-endless creative possibilities for a no-budget filmmaker with the ingenuity, gumption, and shamelessness to go for it. It was shot entirely in two locations: my backyard and the woods at the end of my street. I see would-be filmmakers whining all the time about how it’s impossible to make an entertaining film in their locale. Get out of here. And with that attitude, no one is going to make entertaining films anywhere with any amount of funds and talent. I have no patience for the excuses people make about anything.

Instead of lamenting on what your area doesn’t offer, focus on what it does offer and scheme how to exploit it for your artistic and commercial success. In my case, I start with the stereotypes for which Arkansas is known around the world. From hillbillies and rural living to drugs, violence, and small-town corruption. There’s also the faux hoity-toity philanthropist class of Central and Northwest Arkansas with its corporate greed and larger-scale corruption. Arkansas presents a tapestry of Southern Gothic tropes across all socioeconomic classes that are ripe for the picking. If one is willing to reach up and take one of those forbidden fruits for themselves. And don’t be afraid to court controversy. Seek it out if anything. Following the “rules” of polite society will never protect you from being thrown under the wheels of its ginormous bus. Living on the fringes is the safest bet. If no one else made you then they sure as fuck can’t break you. And you can bet your boots they’ll try to break you either way.

Arkansas, like probably everywhere in the First World these days, is home to a filmmaking scene. As I’m never one to candy coat things, much of what I see getting made (or attempting to get made) is namby-pamby tripe that no one will ever want to watch. There’s no shortage of them. Coming about over the years as the success of Sling Blade coincided with the rise of digital video cameras. But that film has heart. Its countless would-be imitators are superficial and pretentious ego strokes. Not only are such productions nowhere near as good as The Legend of Boggy Creek, but they’re not amusing enough to fall into the “so bad it’s good” camp alongside Boggy Creek 2: And The Legend Continues. These idiotic melodramas about – oh, I don’t know – growing up pansexual with a paint-huffing abusive stepfather in 1970s Bald Knob or some comparably self-serving drivel are total garbage that no one will ever watch and will never earn a dime.

It’s made it easy for me to point fingers at others for not doing enough because I make it that way through my sheer will to power. I make short films by myself with no money to showcase my daring concepts and keep my filmmaking skills sharp on both sides of the camera. I don’t want to talk about what I’m going to do. Rather, I just do it and show others what I did. Even the short and simple concept videos for my King Magnum feature-length film project do more to pique people’s interest than me just posting on social media about how I’m going to make a slasher film about a male stripper taking revenge on basic bitches. And fuck what anyone has to say about any of this. These are ideas I conceived by not worrying about what anyone else thinks and letting my imagination run wild. Conversely, they’ll spend the rest of their days never making anything while coveting expensive cameras and asking, “Do you know what I’d do if I had that camera?” I know exactly what any of them would do: let that camera gather dust as they start coveting an even more expensive camera. These people are losers and their opinions are invalid.

The best exploitation films connect with audiences at a visceral level. Cannibal Holocaust is but one piece that accomplishes this objective with flying colors. Just as I criticize drecky low-budget melodramas, I also hold contempt for lazy films passed off as ironic after the fact à la Birdemic: Shock and Terror. My commercial vision is to tell compelling stories in an exciting fashion within the limitations of making low-budget films in any locale. And I view those “limitations” as a strength. An opportunity to capitalize on complex local flavor to the delight of international audiences while not spending an exorbitant amount of money to make it happen. In turn, importing financial resources from many different and unconnected sources outside the state. Positioning myself free of the bullshit “rules” and “standards” of filmmaking scenes from Arkansas to Hollywood. They won’t like this. But they won’t be able to do anything except shut up and live with it. They made their bed and they can sleep in it.

I have hoity-toity arthouse filmmaking inclinations of my own. To make a film of that nature in a straightforward manner is all but guaranteed to be a financial loss that no one will see. The best exploitation filmmakers have also had those tendencies. And they integrated them seamlessly into lurid backdrops of sex and violence. A legendary “respectable” filmmaker like Federico Fellini had a profound influence on my storytelling style. And Italian horror masters like Dario Argento, Lucio Fulci, and Ruggero Deodato excelled at incorporating their respective Fellini-inspired ideas into their exploitation classics. This is true of countless exploitation filmmakers and their prestigious idols. Giving their films heart – much more heart than the average Hollywood (or Arkansas) film – and making real human connections with audiences. Legit exploitation filmmakers don’t aim to make bad films. They aim to make the best films they can within the limitations thrust upon them.

Want to do something majestic and exploitative in your backyard? Get out there and do it. And be sure to message me or tag me on social media because I totally want to see it.