Slaughtered Vomit Dolls

The film opens with a home video of Angela discussing her first TV appearance. The footage bleeds into present-day shots as she contends with an unnamed cameraman who pushes her to perform. This establishes a destabilizing blend of memories and manipulated reality.

The cameraman pressures her to perform, and Angela consents, drawing the viewer into coercive dynamics. The act seems to hinge on the harm she’s displaying. She recites the Lord's Prayer and declares a devilish pact.

A jagged montage cuts between Angela’s present torment and flashbacks of her younger self. The pace accelerates and the violence becomes the instrument of memory. The sequence deepens the sense of manipulated reality.

The screen introduces Pig, a naked performer whose disturbing work foreshadows the violence to come. Subtitles label the sequence and hint at a larger catalog of exploitation. Her presence marks the film’s intensifying descent into ritualized harm.

Pig screams as her eyes are gouged with a screwdriver and she is repeatedly stabbed in the head. The violence bleeds into Angela’s waking life, distorting the boundary between fiction and reality. The scene leaves a lingering impression of gore on the narrative fabric.

Angela declares she is a pig and that she’s not here, a moment underscored by a close-up of her vomiting. The self-fracturing sequence intensifies the sense of a fractured consciousness. A machete pressed against her breast signals a descent into performative danger.

An unidentified woman is bound to a chair while a man in a cowboy hat begins cutting with a machete. The scene culminates with the bound woman’s face being removed, a stark image of brutal violence. The sequence is interwoven with Angela’s ongoing confessions about her evolving identity.

The cameraman writes the word BLISTERS on Angela’s body as she explains her transition from stripper to prostitute, revealing the new alias Blisters. The film uses point-of-view shots to pull the viewer into Angela’s fractured perspective. She mutters that she doesn’t care if she’s listed as a missing person.

Angela claims she burned down her neighborhood church at age thirteen, a memory that bleeds into the present. The montage juxtaposes innocence with predation, deepening the film’s meditation on memory weaponization. The imagery includes moments of vomiting and early self-portrayals.

The clip shifts to Princess Pam and her life prior to execution. The narrative shows torture and the amputation of her arm, followed by her attempting to play a guitar she can no longer master. A disturbing image of a man vomiting on a mirror precedes more extreme acts.

A man vomits on a mirror and then shoves the severed arm down his throat, a grotesque act meant to induce further vomiting. The montage continues with Angela vomiting and the younger self appearing on the television. The film relentlessly stacks scenes of pain and consumption.

The adult Angela strips on a pole and proclaims she will do whatever the cameraman asks. A second unidentified woman is shown with her throat slit as another man vomits and a head is sawed open. A separate image shows a man eating brains and vomiting into his skull.

A relentless loop returns to the earlier unidentified women being executed, underscoring the film’s cyclical trauma. The editing reinforces how memory repeats itself within the frame.

Angela drowns herself in a bathtub as the child self remains visible on the television, a haunting image of trauma persisting across generations. The closing moment emphasizes the film’s meditation on identity, exploitation, and memory. The audience is left with a chilling sense of unresolved harm.