White Slave 4K 1985

“White Slave” is Mario Horatio's original spin-off of Deodato's *Hell of the Cannibals*, as well as a loose adaptation of Jesús Franco's “The White Goddess of the Cannibals.”
And this film about savage cannibals has managed to achieve the incredible: it has come close to the unique masterpieces of the cannibal movie genre mentioned above.
Films like ‘Eaten Alive’ 'The Last Cannibal World' ‘The Mountain of the Cannibal God’ and ‘Green Hell’ don’t even come close to matching the splendor of Franco’s ‘White Slave’ screenplay or Deodato’s style and candor in his ‘Holocaust.’

‘White Slave,’ of course, doesn’t quite measure up to stand alongside these two powerful films, but it comes very close to their level.

And the main drawback lies precisely in the absence of the signature element of such films: the consumption of people and human flesh.
Throughout the film, we’re treated to a wealth of erotic scenes, delight in explicit nudity and a multitude of murders, incredible brutality—including the slaughter of Dacars and even white people—and we’re shown mesmerizing and terrifying documentary footage of a leopard hunting a fawn, a monkey, and the gruesome devouring of a lizard by ants. But all of this pales in comparison to the absence of the most anticipated moments—no one eats people in the film, and therefore its classification as a “cannibal movie” is very tenuous.

The film can be divided into three parts. The first is a typical “walk-turned-nightmare” scenario, with this theme explored to the fullest. The second depicts the torture and horrors of life among a tribe of savages, an introduction to their customs and rituals, and the documentary-style horror of the absence of civilization. The third part offers the starkest contrast, which incredibly enhances the film; it explores the cruelty of white people toward savages—and beyond. Here, following the horrors of the savage tribes’ sadism, Horatio reveals that the educated people of the industrial world are no less cruel than the savages themselves. And it is precisely the third part of the film that is its highlight, a magnificent climax of the action, and a powerful moral, ethical, and ideological message to the viewer.

The film portrays the very idea of the contrast between violence and the preservation of humanity. It is no coincidence that in one great film, the human race was characterized as “capable of the greatest compassion. ...and incredible cruelty!” This very slogan would best describe what unfolds on screen. Whites and savages, tribes and urban industry, savagery and barbarism—and the question: who remains human after all this?!
The heroine’s attempts to survive, to integrate into the tribe’s traditions, and to try to effect change without sinking to the same level—to preserve herself and her identity without bowing down to the harsh laws of nature. And the cruelty that permeates the entire story only further intensifies this stark contrast, culminating in the peak of violence in the film’s very finale.

A remarkable work that lacks the central theme of such films—cannibalism. Nevertheless, the film is a resounding success and, within the genre, should clearly be highly valued by fans of this type of cinema. It is not without meaning or significance, and it contains all the beloved elements of a horror film—atmosphere, the struggle for survival, nudity, and a sea of violence. It is practically a perfect film about savages and humanity.