Echoes of Nihilistic Repetition: ‘Thomas und Marco’ Revisits the Monotony of Animal Violence and the Exploitation of Men with Histrionic Personality Disorder!
“I stand by everything I’ve done.” – Thomas Goersch
Thomas und Marco plunges viewers into a disconcerting world where reality blurs with fiction, and the grotesque unfolds in unsettling detail. The film, directed by the infamous Luka Magnotta, err, Marian Dora (more on this later), features Thomas Goersch (The Profane Exhibit, see review here) and Marco Klammer (Todesmarsch Nach Chiasso, see review here), who, from the onset, embark on a peculiar journey laden with contradictions and raw emotion.
The opening scene sets the stage as Thomas and Marco stroll along railroad tracks, discussing people’s desires for recognition in the film industry. The irony is palpable as these two protagonists, driven by a relentless quest for the spotlight, willingly subject themselves to humiliation and shame, only to later lament the outcome. Obviously, the dastardly duo were cast because Dora knew their desperation. He exploited their Histrionic Personality Disorder (a psychiatric disorder distinguished by a pattern of exaggerated emotionality and attention-seeking behaviours). However, the overarching question looms: What does one expect when signing up for a Marian Dora film?
The film cleverly captures the duo’s apparent homosexual dynamic, with Marco’s overt fondness for Thomas. Their interactions, ranging from caresses to intimate gestures, leave the audience questioning the authenticity of the emotions portrayed. Is this a genuine depiction of their lives, or is it a carefully orchestrated act?
Thomas emerges as a multifaceted character with a varied career in film, television, and culinary arts. However, the film suggests an underlying loneliness and susceptibility to influence. The authenticity of his character becomes a puzzle for viewers to decipher. Meanwhile, the desperate pursuit of attention and validation by Thomas and Marco mirrors Dora’s own desperation for attention but in a different, more provocative manner.
Marco, seemingly despondent and fatalistic, confesses a desire for isolation. Despite claiming self-awareness and a desire for change, he paradoxically revels in self-disdain. The film provocatively explores their motivations and the psychological toll of their choices.
Thomas’s matter-of-fact acknowledgment that shooting a film for Dora leads to a place no one wants to go raises questions about their awareness and consent. Their objection to the film’s release online contrasts sharply with their prior knowledge of Dora’s work. If you bring a serial killer to a family dinner, don’t be amazed when your grandma ends up dead.
Thomas und Marco delves into their conversations about the industry, their roles in Dora’s previous films, and their shared hotel room discussions in the nude.
“I find it tempting when the woman I dominate appears fragile.” – Marco Klammer
References to renowned directors such as Werner Herzog and David Lynch provide an intriguing backdrop, particularly as Thomas expresses a desire to be part of Lynch’s films. The juxtaposition of their admiration for these directors with Dora’s disdain for Lynch adds an extra layer to the narrative.
As Thomas and Marco disclose their ailments, engaging in a peculiar competition of suffering, the film blurs the line between self-indulgence and genuine desperation. Their current online claims of Dora recording personal conversations without their knowledge raise ethical questions, adding a layer of complexity to the documentary. But once again, this is a Marian Dora not Mr. Morality.
There is a walking/conversation scene where they talk about Luka Magnotta and Peter Scully and Marco says it’s worrying if people consider them filmmakers. Insert footage from Melancholie der Engel of the pig slaughter, because, you know, edgelord. Of course, Dora needs to insert that 14-year-old footage here.
During one conversation Marco admits to meeting a young girl who was infatuated with him. But claims he met her once. For a grand reveal of Chris Hanson? The conversation turns to films like Pretty Baby whilst Thomas sucks on Marco’s toes. Then Marco alludes to being molested as a child. What a wild karmically chaotic conversation!
Naturally, the provocative edgelord Dora showcases the prolonged cat-killing sequence from Melancholie der Engel. It’s evident that this person revels in sadistic and malevolent tendencies. Drawing a parallel, Marian Dora and Luka Magnotta can be seen as virtually identical figures. Both exhibit sadistic masochism, relentlessly aiming to provoke and shock their audience. While Dora possesses a cinematic sensibility, the common thread between them is their shared pursuit of being degenerate attention seekers.
Marian Dora unmistakably exhibits traits of a zoosadist, relentlessly emphasizing this aspect to the audience. This obsession is evident in his inclusion of the extended cat and pig scenes from Melancholie der Engel, a rather feeble attempt to belabour a point that has long lost its impact.
The latter part of the film delves into their discussions about Dora’s work, their perspectives on morality in filmmaking, and their visit to churches. Marco’s claim that Blight of Humanity is Dora’s worst movie and the inclusion of scenes from various Dora films are included. Not to mention Dora’s fondness for scat, including weightlifting whilst soiled, and a Thomas Georsch enema cocktail.
Thomas und Marco is a challenging, provocative, and fascinating exploration of the human psyche, morality in filmmaking, and the blurred boundaries between reality and fiction. The film demands introspection from the audience, leaving them to grapple with the unsettling truths and disturbing revelations laid bare in this twisted cinematic journey.
Thomas und Marco is available for pre-order on November 24th, 2023, from New Film Order here.
AKA: Thomas and Marco
Directed by: Marian Dora
Written by: Marian Dora
Produced by: Biofilm
Cinematography by: Marian Dora
Editing by: Marian Dora
Music by: Marian Dora
Cast: Thomas Goersch, Marco Klammer, Carina Palmer
Year: 2022
Country: Germany
Language: German (English Subtitles)
Colour: Colour
Runtime: 2h
Distributor: New Film Order
