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However, the juxtaposition of children with such exploitative imagery is itself deeply unsettling.
There is a feeling of nihilistic self-loathing that runs through the film.
One US distributor fainted as he tried to leave a screening of A Serbian Film earlier this year, hit his head on the door and ended up needing stitches.
The film's British sales agent was left hurriedly trying to clear up the pool of blood."He was getting really disturbed and he felt he was going to faint.
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At the time, we were both sitting on the floor because the theatre was completely full.
He tapped me on the shoulder and said I need to go.
Forty years after A Clockwork Orange, audiences are surely too used to these kind of shock tactics to be affected by them – or so we might think. As in Michael Haneke's films, the director seems to be challenging the audience to question their own voyeuristic instincts.
As in Peter Greenaway's The Baby of Macôn, he is using extreme imagery for polemical purposes.