‘The most dangerous movie of all time is also one of the first.’
Fury of the Demon – aka La Rage du Démon – is a 2016 French-Croatian-American horror mockumentary film written and directed by Fabien Delage for Hippocampe Productions.
The film features Alexandre Aja (director of High Tension; The Hills Have Eyes; Piranha 3D), Dave Alexander, Jean-Jacques Bernard, Christophe Gans (Brotherhood of the Wolf; Silent Hill), Pauline Méliès, Jean-Pierre Putters, Philippe Rouyer.
A documentary investigation on the rarest and most controversial French movie in the history of early cinema: a lost fascinating short film, potentially directed by Georges Méliès, which causes violent reactions to those who watch it.
Through conversations with journalists, filmmakers, historians, experts and psychologists, this documentary pulls back the veil on the most cursed and disturbing movie ever made…
“Be it detailing a film collection captured by Nazis, a grisly murder in a Paris basement, or stage magicians dabbling in dark arts of occultism, furthering the mystique behind La Rage du Demon is always at the fore, and it is always fascinating to watch the fiction unfold. Highly unique in conception, Fury of the Demon emerges as both an intelligently executed faux documentary and a fun footstep into the imagination and innovation of original cinematic grandmaster Georges Méliès.” Culture Crypt
“Clocking in at just over sixty minutes, La Rage du Démon doesn’t overstay its welcome, which is extremely important since it’s comprised almost exclusively of talking head interviews and footage from other Méliès films. That’s, unfortunately, the biggest issue with La Rage du Démon—there are no clips from the infamous film, nor footage from Méliès’ production. It’s simply an hour of talking.” Blair Hoyle, Cinema Slasher
“The problem comes when it tries too hard to make you believe that a film exists which drives people mad. It’s a movie. We want to be entertained, so we’ll meet you halfway by suspending our disbelief. The archival footage and history of Méliès is nothing short of fascinating, and I would venture to say that it is worth watching for that alone. However, as an overall product, it just misses the mark.” Jacob Hopkins, Modern Horrors