By mcneditor editor@moviecitynews.com

THE HUMAN CENTIPEDE 2 (FULL SEQUENCE) PREMIERES UNCUT VIA FACEBOOK SOCIAL CINEMA

Posted Tuesday, January 17th, 2012 - 2 Comments »

FOR IMMEDIATE RELEASE

Special One-Month Showing Leads to Film’s DVD Release on Feb 14

New York, NY (January 17, 2012) – IFC Midnight announced today that the un-cut version of Tom Six’s controversial horror film THE HUMAN CENTIPEDE PART 2 (FULL SEQUENCE), featuring one of the most graphic scenes in cinematic history, is available to audiences for the first time, via streaming, on Facebook’s new Social Cinema, where users will be able to interact with the film in a variety of ways including sharing clips and quotes with friends. THE HUMAN CENTIPEDE PART 2 (FULL SEQUENCE), along with its predecessor THE HUMAN CENTIPEDE (FIRST SEQUENCE), is available on Facebook for one-month before it hits its DVD release on February 14.

THE HUMAN CENTIPEDE PART 2 (FULL SEQUENCE) was originally released by IFC Films on October 7th, 2011 followed by its Video on Demand premiere on October 12th.  The film, a sequel to Six’s original film THE HUMAN CENTIPEDE (FIRST SEQUENCE), focuses on a new villain named Martin (Lawrence R. Harvey) who is a mentally disturbed loner who lives with his mother in a bleak housing project.  Martin works the night shift as a security guard in an equally grim and foreboding underground parking complex.  To escape his drearyexistence, Martin loses himself in the fantasy world of the cult horror film THE HUMAN CENTIPEDE (FIRST SEQUENCE), fetishizing the meticulous surgical skills of the gifted Dr. Heiter, whose knowledge of the human gastrointestinal system inspires Martin to attempt the unthinkable.

THE HUMAN CENTIPEDE (FIRST SEQUENCE) opened in the Spring of 2010 and became a cultural phenomenon.  It was discussed on shows including the primetime Emmys, South Park, Parks and Recreation, and 30 Rock.  The first film featured an obsessed doctor who surgically joins his unsuspecting victims together, and was one of IFC’s biggest on-demand successes of all time, while also continuously selling out midnight screenings nationwide.   The original film premiered at Fantastic Fest in 2009, receiving the awards for Best Horror Film and Best Actor, and also took home Best Picture at the 2009 Scream Fest. The film also won Most Memorable Mutilation at the 2010 Scream Awards.

IFC Midnight is a sister division to IFC Films and Sundance Selects, and is owned and operated by AMC Networks Inc.

THE HUMAN CENTIPEDE PART 2 (FULL SEQUENCE): https://apps.facebook.com/sundancenow/movies/297

THE HUMAN CENTIPEDE (FIRST SEQUENCE): https://apps.facebook.com/sundancenow/movies/320

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About IFC MIDNIGHT

Established in 2010 and based in New York City, IFC Midnight is a leading U.S. distributor of genre entertainment including horror, science-fiction, thrillers, erotic art house, action and more.  Its unique distribution model makes independent genre films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) platform, reaching nearly 50 million homes. Some of the company’s successes have included Tom Six’s controversial horror film The Human Centipede (First Sequence), Johnnie To’s Hong Kong revenge thriller Vengeance, and James Gunn’s Super starring Rainn Wilson, Ellen Page and Kevin Bacon. Upcoming IFC Midnight releases include Alexandre Courtes THE INCIDENT and Adrian and Romero Garcia Bogliano’s PENUMBRA. IFC Midnight is a sister division to Sundance Selects and IFC Films, and is owned and operated by AMC Networks Inc.

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2 Comments »

2 Responses to “THE HUMAN CENTIPEDE 2 (FULL SEQUENCE) PREMIERES UNCUT VIA FACEBOOK SOCIAL CINEMA”

  1. Keil Shults says:
    January 17, 2012 at 4:37 pm

    Why would they choose this as the first title for their Social Cinema experiment?

  2. yvonne says:
    January 25, 2012 at 7:19 pm

    i love this movie and so looking forward to itz sequel

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“I’m in Locarno, my movie is premiering for 1,000 people, which is nuts. A huge-ass screening, second day of the festival, 7:30pm in the sidebar competition. It’s comparable to Un Certain Regard or Director’s Fortnight. Every movie I saw in that section was fun, brilliant movies from around the world. The main competition was like Aza Jacobs and Mia Hansen-Løve, people who have been around. And I was like, “This is crazy. What am I doing inside the bloodstream of this establishment? I’m 27. I don’t belong here.” Every person I talked to there couldn’t believe what the movie cost, and then couldn’t believe when I told them what other American movies cost. We were the cheapest movie there by 65%. The next cheapest movie cost I think three times as much as we did. And they were just like, “You can’t make movies for what you’re telling us your movie cost.” And I told them, “Well, I can, I’m here, I’m in the same section as you are, so you are wrong. People think I’m lying when I tell them my budget. And also everyone likes it. I’m having a great time and people are being very responsive. Maurice Pialat’s widow was like, “I heard your movie’s good, I want a copy of it.” I’m like, “Well this is f**kin’ crazy.” Pedro Costa saw it there and really liked it and I’m like, What am I doing? I had gone in two months from screening at BAM for a lot of friends to Pedro Costa? This is the exact sentence: “Pedro Costa saw your movie. He’s a huge Jerry Lewis fan. He wants to talk to you about your movie and also Jerry Lewis.” And I thought, “I’m out of my element. I cannot have that conversation because that’s ridiculous.” Because his retrospective was happening at Anthology when I worked at Kim’s, and his Criterion box set came out when I was working at Kim’s. He can’t want to talk to me. That’s not possible. That’s not allowed. There is no world where that makes any sense!”  Or like when you wrote me to say that David Gordon Green wrote you to say, “I’m watching The Color Wheel and then I’m going to see Tree of Life.” There is no world where this is allowed! Again, somebody whose DVDs I was putting on the shelf, as, like, a hero. And it’s just like, “Oh, I’ll watch this movie.” There’s just a very fuzzy area in the middle there and it happened very quickly and I don’t understand why.  I still have a voice-mail from Sean [Price Williams, cinematographer]. I wish he was here to talk about it, but the voice-mail is a long pause and he’s just like, “I don’t want to tell you this, because it’s gonna make you so insufferable. I hate having to tell you this, but Leos Carax watched your movie and he really loves it, and he wants to meet you when he comes to New York.” I can’t live in a world where Leos Carax knows who I am, watches my movie, likes it, and thinks, “I wanna meet that guy.”
~ It’s Alex Ross Perry’s World

“I don’t know. It’s been a lot harder than I thought it was going to be to make the films I really dream of making. I was in Italy a few years ago scouting for this very beautiful film I wanted to make with Richard Linklater. We worked really hard on the script for a couple of years and couldn’t get the money together. It was an expensive idea. It’s heartbreaking when that happens over and over again and then the movies that do get made are ones that have lots of women being beaten up or zombies being killed. It’s all fine, it’s all okay, but it’s hard. I remember when River Phoenix died, he was ahead of me on this curve. He kind of realized how hard it was to make serious movies. People like Sidney Lumet figured out how to walk that line, but it’s hard. And it requires patience. It’s a life’s work and I wonder if I’m up to the task.”
~ Weary, Wary Ethan Hawke

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