The title of Zedd’s third feature is sliced into a man’s chest with a razorblade, the letters running red. Kembra Pfahler (frontwoman of art-damaging rock group The Voluptuous Horror of Karen Black) takes an orange-skinned, blue-screen levitation ride over dazzling landscapes. As she sails into undersea footage rubber tentacles creep into frame and invade her orifices. At a bar drag queens hobnob with punks and tattoo extremists until their fun is ruined by an abusive biker. A conservative dignitary is molested into discomfort by Fahler (now blue-skinned) and renowned sex pioneer Annie Sprinkle. A bandaged man is tended to by a topless nun. His gauze is removed to reveal an actual severe burn victim, the camera scanning his body like the surface of the moon, He’s outfitted in casual battlegear and presented with Sprinkle in a harem outfit. She proceeds to tongue his scorched nipples. And so on…colours pulsate, realities blend and babies are impaled on bayonets. Even fans of Zedd’s work will find themselves dizzy after the film’s 77 minutes of blinding imagery, but that’s certainly no reason to avoid taking the transdimensional leap.
Zack Carlson’s summary of Nick Zedd’s WAR IS MENSTRUAL ENVY from DESTROY ALL MOVIES: A COMPLETE GUIDE TO PUNKS ON FILM