“A thousand scalding showers will not wash away the filth you are about to visually consume. Stop now while you are able! Barely six minutes in and Trauma delivered more shock value than a decade’s worth of cinema could ever hope to. Incest flaunts with rape, cannibalism is a huge part of the foreplay and bodily fluid consumption is commonplace although not delivered in love but rather fueled by spite and disgust. Trauma leaves the viewer with their heart pounding and little room to breathe. The Hills Have Eyes, Haute Tension (aka High Tension, Switchblade Romance), I Spit on Your Grave, Frontieres, Martyrs and The Last House on the Left are only a selection of the films which come to mind while experiencing Trauma as it offers a smorgasbord of stunning visual atrocities and monstrous scenarios to absorb. The tension is highly effective, palpable and unrelenting and the violence displayed without fear of reprisal, brutal and often gag inducing for those not accustomed to the like. Trauma succeeds on many levels, it seethes with sexuality and also horrifies, often in the same instant, yanking the viewer’s emotional response to and fro much like a buoy in a tsunami intent on utter devastation. In short, Trauma is a powerful slab of celluloid that boasts striking performances and doesn’t shy away from tearing the proverbial ‘envelope’ into shreds. Trauma certainly isn’t meant for the faint-hearted, though is recommended for those who like their cinema raw, shocking and slathered in scenarios which aren’t at all too far-fetched. Lucio Rojas has created that which has been lacking as of late, a feature that though given a scant budget parameter delivers all it promises and is well deserved of a spot in the collection next to classics you don’t wish to boast to anyone other than close friends.” – CultMetalFlix
“Snowflake is quite simply a feast for the senses. I must mention a single line which I believe stole the film and deserves inclusion in every TCM (Texas Chainsaw Massacre for those not familiar with such abbreviated lingo) film be it a rehash or the original; “Why are you carrying that chainsaw?” Sporting commendable acting, excellent directing, an intriguing story line which meshes together as the film plays out and intriguing dialogue, be it character interaction or otherwise, that’s often-hilarious Snowflake demands attention, especially, if like me you have a soft spot for movies with a delicious dark edge, varied direction, humor and subtitles. Keep an eye out for this one, it arrived out of the blue to knock me onto my sizable derriere.” – CultMetalFlix
“Spectacular…Overall, this one had so much to really like about it that there’s not much to hold it back as everything here comes off to the point of being a wholly enjoyable effort. Give this a chance if you’re in the slightest bit intrigued by religious-heavy horror” *****/5 – DonsHorrorWorld
“Christmas Blood feels like Se7en, Halloween, and Black Christmas had a love child that was raised in the bleakest region of Norway. The movie feels like a cold snowy night and that is perfect. There is plenty to like about this movie. …would I recommend this movie? You bet your jingle bells I would! – TennesseeHorror
“Christmas Blood delivers the jolly goods. The setting is beautiful…[and] gory enough to suffice the thirst of horror fans. Christmas Blood was an enjoyable, bloody sleigh ride that will make a great addition to your holiday-horror binge-fests.” – HorrorGeekLife
“In the tonal vein of Guy Ritchie or Quentin Tarantino, Germany’s Snowflake brings an ensemble of insanity to the viewer. It channels multiple plotlines in a hyper-stylish what-the-fuck of filmmaking. It does a little reality bending, too, going meta with the first oddball story it introduces. Both crime and horror violence share screen time with the film’s sense of humor, the blood and chuckles frequently overlapping, The eclectic ensemble of plots and people and textures is an embarrassment of riches. Snowflake knows how to navigate around its maze of meta mind-fuckery. It ably keeps the viewer on its toes and in suspense rather than confused and befuddled. – FilmPhreak
“Snowflake takes all the Grimm Fairy Tales familiar elements and turns them on their head. Without a doubt, this film’s strongest asset is its inventive premise. Characters destinies are constantly being altered by an author who is composing a screenplay as the story unfolds. And this gives the film an anything can happen vibe that greatly works to its advantage. From a production standpoint, there is not an area where this film does not deliver and then some. The well-constructed narrative moves along at a brisk moment and there is rarely a moment to your breath. The characters are well-defined and their motivations are never in doubt. Performance wise the cast are all very good in their respective roles. Ultimately, Snowflake is a modern-day return to Fairy Tales with a more sinister tone.” – 10kbullets
“[A] yuletide splattering spectacular. Kiil writes and directs a new horror-holiday classic of the Norwegian variety that turns the jolly, red nose, cookie-eating fat guy into an axe wielding maniac. Christmas Blood is a retro-grade horror film that very merrily feels like a product of the Golden Age of slasher-survival genre from the 1980’s with a powerful and unstoppable aggressive killer, a delectable high body count.” – ItsBlogginEvil
Bloody Disgusting released its “Horror’s 10 Most Disturbing Moments of 2018!” and the “winners” included Lucio A. Rojas’ Trauma. To be honest, not a shock by anyone here in the Artsploitation offices but the real surprise was that the film won for not just a single moment but for the entire film.
Here is what Meagan Navarro wrote:
Trauma – All of it Meet this year’s A Serbian Film. Written and directed by Lucio A. Rojas, Trauma is an indictment on the political horrors of Chile’s recent past, specifically the military dictatorship of Pinochet. In other words, it’s a malicious onslaught of extreme horror not for the weak hearted. It’s graphic, it’s sickening, and effectively repugnant. It opens with a boy being forced to have sex with his mother for being a communist. That’s just the opening. Rape, incest, necrophilia, torture, pain, and lots of gore, Rojas unleashes a deep well of pent-up rage on screen. It’s savage and gut-churning.