The Green Inferno 's depiction of Indigenous peoples only gets worse with time, as it continues to underscore the importance of their autonomy. Ultimately, the movie is overly exploitative of a culture that the director has no known experience with firsthand, and takes advantage of for the sake of exploitation. ![]() It could be argued that Roth showcases the importance of acknowledging that colonization is bad through the deaths of the social activist group members, but it isn't a very sound argument. By demonizing them and painting their tribe as nothing but aggressive, uneducated, savage, and forcefully disconnected from society, the Indigenous peoples in The Green Inferno become an egregious and false depiction of what actually happens within these communities. This removes the autonomy from Indigenous people who choose to live in voluntary isolation. Movies like The Green Inferno perpetuate and support colonialist ideologies where white people or those who align themselves with Western culture believe that they are doing communities that are tribal, third world, or non-Western a favor by saving them from their environments. In the 1980s, Italian horror was a booming business, with directors like Dario Argento, Lucio Fulci, and Lamberto Bava churning out classic film after classic film. Roth has argued against these claims, as he views his movie as an exploitative work of fiction with a fictionalized Indigenous community, but it's still harmful. Eli Roth's The Green Inferno tries to leave viewers with a moral lesson, but when subjected to any kind of scrutiny, that lesson turns out to be absolutely ridiculous. Occasionally, these types of films spark controversy, and The Green Inferno was no exception. Roth and other filmmakers commonly use Indigenous peoples in their movies, which results in an inaccurate and wrongful depiction of these communities. The Green Inferno (2013) photos, including production stills, premiere photos and other event photos, publicity photos, behind-the-scenes, and more. Some of the genre's most notable cannibals are those in the Wrong Turnfranchise, but, even with their notoriety, they aren't considered part of the very small sub-genre of exploitative cannibal movies. A group of student activists travels to the Amazon to save the rain forest and soon discover that they are not alone, and that no good deed goes unpunished. While the undead crave human flesh, cannibals kill and eat people in order to survive rather than out of an inexplicable desire to do so. Roth is a notable fan of exploitation flicks, as he used Death Game as the inspiration behind Knock Knock. While zombie movies are commonly defined as being part of the cannibal sub-genre, they're entirely different. Since the 1970s, cannibalism has been a staple of Italian exploitative movies in particular. The cannibals featured in The Green Inferno are unlike any other in the horror genre. "If only we hadn't come to this cabin!" "If only we hadn't gone backpacking through Europe!" "If only we hadn't decided to help this indigenous tribe of cannibals!" But despite the group's naiveté and first-world vanity, you really do feel for Justine and her merry band of slacktivists, who, at the end of the day, were only just trying to help.Related: Beyond The Green Inferno Updates: Is The Eli Roth Sequel Happening? But if there's one thing Roth is a master at, it's stirring up regret. So there's a lot of "fat to trim," so to speak. Honestly, the trailer does a better job of setting up the story in an effective way. ![]() Granted, there's some good social commentary here, but The Green Inferno spends way too much time explaining its points rather than showing them. This is a chore to watch at times, particularly early on as Justine weighs the pros and cons of joining Alejandro on his trip. Prior to that, we follow Justine through her entire transformation from an apathetic college freshman to a bleeding-heart advocate for change. That said, it's a good 45 minutes or so before the students arrive at the tribal village.
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