Chapter 76: Film Screening

As darkness descended, Kelly Gray, producer Dave, director Benjamin, actor Martin, and actress Catherine assembled at the theater to welcome their distinguished guests. Smiles adorned their faces.

Thanks to Kelly Gray's connections, several deans and teachers from the Savannah School of the Arts had joined the crew. However, the most significant attendees were undoubtedly the representatives from various film distribution companies.

Martin greeted six screening experts and professional buyers from Focus Features, Warner Bros., and Lionsgate. In addition, there were representatives from international film producers, including individuals from India, Korea, Mexico, and Brazil.

For those involved in public appearances, the real work often took place behind the scenes.

Soon, Martin spotted an acquaintance and, after adjusting his formal attire, confidently approached him. "Good evening, Blanco. Welcome."

Blanco warmly shook hands with Martin and commented, "I've contacted Michelle, and he had nothing but praise for you. I couldn't miss a film starring an actor who has garnered such high praise from Michelle."

Martin guided the group towards the theater's entrance, introducing them to Dave and Benjamin, personally ensuring their smooth entry.

The theater, with a capacity of over 800 seats, was nearly full, primarily filled with regular moviegoers and college students. There were approximately twenty legitimate film buyers in attendance.

Martin seated himself next to Benjamin as the screening moment neared. He couldn't help but notice Benjamin's trembling hands and legs.

Benjamin reassured with a forced smile, "Don't be surprised; it's my first time. It's normal to feel nervous."

Martin nodded in understanding, admitting, "Me too," as he focused on regulating his breathing. He tried not to dwell on the film's success or failure. For him, merely having the film screened in theaters was a victory.

Jeffs from Lionsgate and Breitner from Warner Bros. sat near each other. These two, often representing their respective companies at various film festivals, were familiar faces.

Jeffs inquired, "Is Warner interested in B-level movies?"

Breitner responded in hushed tones, "B-level movies have a dedicated audience."

As the screen illuminated, the lights dimmed, and the thundering music filled the theater.

Onscreen, in a jam packed Hulk Mansion Strip Club, a charismatic and sunny man stepped onto the stage, beginning a dance to the music.

Initially, it was a standard zombie dance, with the addition of some provocative elements, including a hint of striptease.

The DJ enthusiastically announced, "Zombie machine gun dance, where bullets fly across the dance floor!"

As if from machine gun fire, numerous patrons clutched their chests dramatically.

Then, dollars rained down, and undergarments were thrown into the air.

It truly resembled the atmosphere of a nightclub.

The audience in the theater couldn't help but mutter, "This is so exaggerated!"

The spectacle left them dumbfounded. Could this dance propel someone into the sky at such a rate?

Such exaggerated effects were precisely what B-movies aimed to achieve. Furthermore, these scenes were all shot practically.

Many in the audience recognized that the male lead's dancing skills weren't exceptional, but his outstanding "zombie machine gun dance" made him irresistibly charming.

In the close-ups, hormones seemed to spill off the screen.

Jeffs overheard someone behind him asking their companion, "Where is this hulk mansion strip club? Does such a strpper really exist? I'd also like to experience..."

The initial dance emphasized the film's sexual allure. Of course, there was another essential element of B-level movies—splattering blood.

Just as the audience became absorbed in the hero's dance, a shift in the music signaled a dramatic transformation. The hero, Matthew, suddenly turned into a vampire zombie, initiating a brutal massacre alongside other stripers and the club's sinister boss.

Brains splattered, limbs shattered, and blood flowed freely, creating a gruesome scene.

This was a ritual—a ceremony. The Hulk Mansion Strip Club was the stronghold of vampire zombies. They lured customers with male seduction, drinking their blood while simultaneously offering sacrifices to the malevolent deities of the underworld.

Ignoring the absurdity of the plot, the film's storytelling kept the audience riveted. The opening scene was indeed striking.

As the film progressed, it was clear that Benjamin's storytelling was, as expected, unconventional. A girl narrowly escaped the massacre and sought refuge with sisters Maria and Anna, a huntress with unique abilities.

Anna proposed forming a team to hunt vampire demons and rescue their companions, while Maria ventured into the club to investigate.

"Jenna Jameson?" Jeffs furrowed his brow. "Using her is undoubtedly a gimmick, but if someone really wants to watch her, there are plenty of her movies available."

Breitner shared a similar sentiment. When he saw Jenna Jameson appearing alongside the male lead, he predicted an intense confrontation would follow.

However, what unfolded on screen was uniquely special.

The hero and Maria made eye contact.

She sought to employ her distinctive talents to drain vampires directly.

He aimed to use the blood of beautiful women to appease a sinister deity from the depths of hell.

Above the stage, a fierce battle ensued.

However, the location and manner of the battle took both Jeffs and Breitner by surprise.

The actor clung to a chain hanging from the ceiling with one hand and held Maria with the other, performing a trapeze act.

Zombie machine guns in mid-air!

This scene, with its mix of attractive characters, daring stunts, and somewhat exaggerated performances, not only presented a gory battle but also a unique sense of delight.

In front of the audience, two characters fought for their lives, yet the unconventional approach filled the spectators with a bizarre sense of joy.

Jeffs couldn't resist commenting, "It's oddly comedic."

Breitner even chuckled, saying, "There's something about it."

The film's rough production and filming, typical of B-movies, seemed to be perfectly in line with expectations.

The dimmed theater was filled with an atmosphere of light-heartedness.

This battle didn't rely on humorous lines or comical moves, yet it managed to be both fierce and amusing.

This style of comedy was a specialty of the United States and appealed to a wide audience.

As expected, the arrogant Maria met her downfall. Predictably, she was drained dry by the male protagonist and met a gruesome end.

The plot followed a predictable path, with the heroine Anna, after finding some allies, discovering her sister's murder. Determined to eradicate the vampire demons in the Hulk Mansion Strip Club, they hatched a meticulous plan to infiltrate the strip club during daylight.

But, as anticipated, they fell into a trap, captured alive by the big-headed boss and the male protagonist along with their troupe of strippers.

Naturally, the villain wouldn't immediately dispose of the heroine. Instead, the hero confined the heroine alone. The heroine, leveraging the hero's attraction, decided to engage him in a head-to-head confrontation.

The audience gathered here were predominantly lovers of B-movies, and they delighted in watching the spectacle unfold.

The scene design of the various fight sequences and the leading actor's special performances injected a sense of fun into the movie.

Towards the climax, the drama took center stage, shifting the focus to the heroine's psychological struggle.

This time, unlike her sister, the heroine prevailed and defeated the hero in a head-on confrontation.

In the ensuing battle, the heroine beheaded the hero.

With the hero's demise, the heroine led her team in a bloodbath at the Hulk Mansion Strip Club and took the hero's head as a trophy of their demon hunting.

As the film concluded, it revealed that the heroine, leading her demon-hunting team out of the city, had discovered she was pregnant, and the hero's head had mysteriously vanished.

In the darkness, amidst the applause, Blanco also rose to his feet and joined in the ovation.

Unlike typical French film companies, Europa, where Blanco worked, was known for its strong commercial orientation. Founded by Luc Besson, it had never delved into artistic or literary cinema.

The company's style was heavily influenced by its founder, and Blanco himself was a commercially inclined film buyer. This movie brilliantly incorporated American B-movie elements, including blood splatters, a tense atmosphere, and heightened hormonal intensity. Even crude American humor, usually dismissed by Blanco, found its place within this film.

Devoid of cheesy lines, the male protagonist met his end at the hands of the heroine, yet the film maintained a sense of joy throughout. Notably, the male lead delivered particularly dazzling performances in two out of the three key scenes—the zombie machine gun dance and the trapeze act.

Directors of French films, often characterized by obscurity and intellectual depth, should take a cue from this film on how to make art both entertaining and engaging.

In the final scene, although the heroine somewhat overshadowed the hero, it didn't diminish the overall impact of the film.

As the applause gradually subsided, Blanco contemplated how much it would cost to secure the French or European distribution rights for this film. If the North American and European rights were negotiated separately, he estimated it could be accomplished for under $2 million. It was clear that the film's actual production cost was significantly lower than the claimed $6 million.

The movie ended, the theater lights came on, and Dave called the cast and crew for a curtain call.

As Benjamin stood up, it was unclear whether it was due to nervousness or numb legs, but he almost stumbled on his first step. Quick to react, Martin caught him in time.

Benjamin turned with a forced smile. "Am I alright?"

Martin reassured him, "Director, we did our best. Let's go on stage."

Benjamin proceeded forward, and Martin added, "We'll greet everyone from the crew."

Benjamin responded softly, "I'll call them all to join us."

Martin turned back and waved Hart, Robert, and others from behind to come up on stage.

Kelly Gray had spent money to invite numerous media reporters, and they were all taking photos at this moment. Hart and the others went to the media and stood with the crew, fully aware that their public appearances would likely boost their profiles significantly once the film was screened in theaters.