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“I see the way the wind is blowing,” he continues, “and if art is going to be a vehicle for positive self-reinforcement and binary, blinkered worldviews, I basically want to be the scumbag in the corner in a soiled trenchcoat going ‘Psst! Hey you! Wanna see some ‘bad objects’?” So what sparked his interest in drawing together, for public consumption, this gaggle of incendiary, unavoidably controversial titles? “Probably on some level a desire to upset the apple cart,” he replies, “and thumb my nose at a film culture that consigns work that doesn’t provide easy-to-follow guidelines on how to receive it, into the dread category of ‘problematic.’

Pinkerton first presented the program, in condensed form, at this year’s edition of the True/False film festival in Columbia, Missouri. The court ultimately found Deodato, the producers, screenwriter and the studio representative guilty of obscenity and animal cruelty, handing each a four-month suspended sentence. It was confiscated 10 days after its premiere and its director charged first with obscenity and later murder, a situation not helped by the fact that its four main actors signed contracts demanding they avoid the media for a year. Ruggero Deodato’s notorious Cannibal Holocaust (1980) – a brutal progenitor of the now-ubiquitous found-footage genre, replete with horrifying sequences of animal cruelty – was thought to be a genuine snuff film. Mondo films would come to be known by the catchier “shockumentary” moniker, which in turn became a signifier of cheapness and toxically poor taste. He was only acquitted after he and Prosperi provided documents proving they’d arrived at the scene just before the execution took place. Jacopetti was arrested on charges of murder and footage was seized by police. Prior to its release, allegations arose that a scene depicting the execution of a Congolese Simba Rebel had been staged for the camera. For example, Jacopetti and Prosperi’s tellingly titled Africa Blood and Guts (1966) took as its subject the violent end of colonialism in a variety of African territories in the 1960s. One of Mondo’s hallmarks was its unsettling blurring of fact and fiction – an approach that makes the films hard to know how to respond to, and often landed its creators in hot water.

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