An Interview With Tinam Bordage - Romance Post-Mortem (2025)

Disturbing Cinema: I'd want to start this interview off by asking you how the concept of Romance-Post-Mortem came to life, and how the reception has been since its premiere. Are you happy with its outcome? 

 

Tinam Bordage: My first short film "Romance Post-Mortem” was born from a literary short story (a novel) I wrote 15 years ago. It already presented this concept of two best friends buried alive, and one of them panics and then commits acts of necrophilia on her friend.

I made a first version 10 years ago with my ex-girlfriend, but it was completely rubbish (even though we shot in a very strange location, the basement of a large house located in the middle of a forest where homosexuals and even pedophiles would meet to walk, talk, and... probably more). Years later, I developed my career in film and met many people who worked in the industry. I met the right people and acquired certain skills, so this time I decided to make a "real film" with the right people. I had no idea how people would receive it, but it was very well received (both at festivals and on DVD), so I'm really happy about it, and I also thank my team for that. 

Davar Villegas: Necrophilia is one of the most recurrent and provocative motifs in extreme cinema. Beyond its shock value or taboo nature, what do you think makes it such a persistent subject for filmmakers and audiences alike? Do you believe it reflects something deeper about our relationship to the body, death, or desire? 

Tinam Bordage: Necrophilia is the most intense expression of eros and thanatos, of life entering into death. In cinema, this can be expressed in different ways, and I think that when it's handled well, there's always a certain depth to what's represented in the images. A film like “Blue Holocaust” is very different from a film like “Aftermath”, but they both have their meaning, and with Romance post-mortem, I also wanted to express something. In my film, necrophilia is a final act of love before death, and the expression of a forbidden desire when no one is watching us anymore. And it also fits very well with the body horror and very corporeal aspect that I wanted to give to my film. 

Disturbing Cinema: The film stars Sophie Diaz as La Necrophile, a woman who wakes up in a basement with no recollection of how she got there and discovers a dead corpse, and Vanda Spengler as La Morte, the dead body that the woman discovers. How did you meet both of the actresses, and how was your experience working with them? 

Tinam Bordage: The two leading actresses in the film are women I already knew from my circle of friends/artists. The shoot was quite complicated because we were filming in rather harsh conditions, underground and in the cold. The girls delivered incredible performances, but the collaboration could sometimes be complicated because Sophie Diaz was very emotional and sensitive. She didn't really embrace the film afterward, which was a shame... But, Vanda,  shereally likes this film and is delighted to have been in it. Marian Dora told me about this: "If your actresses don't hate you after the film, it's not normal," and since at least one of them now hates me, I think that goal was partially achieved. 

Davar Villegas: As extreme filmmakers, we’re often forced to seek alternative routes to share our work. In your view, what are the most effective ways to promote and keep extreme cinema alive today? Should we fully embrace bootleg culture, underground screenings, and DIY distribution—or should we fight to infiltrate mainstream platforms, big studios, and cinema chains? What’s the cost, and what’s worth preserving? 

Tinam Bordage: I think the visibility of our work depends, to a certain extent, on what we have or have not transgressed. Some films will never be released on major streaming platforms or in theaters because they push too many limits. So, in a way, it's a natural selection, and their promotion is done on a case-by-case basis. Personally, I'm more in favor of expanding the community of independent, extreme underground cinema rather than infiltrating people who don't like or understand us anyway. 

Davar Villegas: Where do you think extreme cinema is headed next? Are we entering a new phase of transgression, or has the genre reached its limit? In a world where real violence is increasingly visible and desensitization is rampant, what do you think will be the next frontier—or evolution—for extreme filmmakers? 

Tinam Bordage: It's difficult to predict what form extreme cinema will take and where its limits lie. I think it will depend a lot on future social changes, but I have faith in the creative spirit of artists to constantly renew themselves and create new forms of transgression. We know, for example, that a film like "Face of Death" no longer has any interest today, but some shocking films like "Megan Is Missing" still manage to surprise with their larger-than-life realism. I also think that some films from the 70s would be more controversial now than before. I'm thinking, for example, of Maladoscenza or even Salon or The 120 Days of Sodom. 

Disturbing Cinema: I'd like to conclude our interview by asking you one of my signature questions: What is the most disturbing film you have ever seen? 

Tinam Bordage: It's a question I've never really been able to answer. There are too many different ways to be extreme, let alone a single film that stands above all others. You can be extreme, like the two films I mentioned above: "Maladoscenza" (about infantile human nature), or “Megan Is Missing” (the nihilistic ultra-realism of a grim news story), or in nightmarish gore like the cinema of Lucifer Valentine with its vomit-gore saga. Obviously, Marian Dora also pushes many boundaries with films like “Melancholie der Engel” or “Blight of Humanity”.

Depending on your perspective, it could be some of her films...or you could go beyond cinema and go further, toward real videos, but that's something else entirely.

Disturbing Cinema: Congratulations on the film, and thank you once again for taking your time answering our questions, Tinam Bordage. It was an absolute pleasure interviewing you.

Romance Post-Mortem (2025) Plot Summary: A woman wakes up buried alive and panicked in a basement and has absolutely no idea what she is doing there or why she was put there. But her thoughts change when while groping around the place she suddenly comes across the corpse of her best friend.

 

You can buy Romance Post-Mortem (2025) Here: 

Sadique Master: https://www.sadique-master.com/product-page/romance-post-mortem-prevente-blu-ray

Black Lava Entertainment: https://blacklava.store/products/pre-sale-romance-post-mortem-by-tinam-bordage-blu-ray-release-date-30th-may-2025