Here is the traditional saga of twin sisters, different as night and day, recycled in an excitingly stunning way...
Separated as new-born babies, both protagonists lead their lives in extremely opposite ways.
One is a female serial killer desperately in search of the love she never experienced, while the other who’s got a good job, home and loving soon-to-be husband, has to realize as a grown-up, that there is that certain evil alter-ego.
More than that, this evil alter ego is hot on her heels, trying to ruin her life.
Both main characters are played by extra-ordinary English actress Fiona Horsey, who already showed her various talents in one of Wolfgang Büld’s previous productions PENETRATION ANGST and again plays a double role.
The main protagonist roams the streets of Hamburg leaving behind a trail of dead. She seduces men only to kill them in the most exquisite, abominable way.
One of her victims, a young musician, has a drum kit in his apartment and after giving him a rather explosive treatment by inducting a firework up his anus, an ecstatic Fiona Horsey - over and over covered with blood - sits behind the drums and smilingly displays her instrumental techniques.
Her expression of joy during that sequence is a must to see.
When it comes to the dramatic final showdown at the end of TWISTED SISTERS, the different character traits of the twins seem to melt into each another, almost like in an episode of Twilight Zone, thus making it hard to tell one from the other.
After PENETRATION ANGST and LOVESICK, Wolfgang Büld strikes again from the underground world of independent video productions, leaving us with the vivid impression, that genre-directors like Mr. Büld himself seem to enjoy their work a lot more than their colleagues plowing the fields of movie-art.
Dealing with blood and other body substances, added with a slight touch of naked beauty here and there, seems to have a way more inspiring influence on the creativity of movie directors than many of those meaning- ladden scripts, containing heavy-weight doses of seriousness.
While the contemporary “deutsche Kino” presents us with a broad variety of non-hedonistic, ascetic scenarios we are lucky enough to find the “real” stuff, the surprising and exciting moments, in these underground productions of “Genre Kino”.
A “never-tiring” Wolfgang Büld is one of the directors who presents us these exciting moments - thrilling and stirring, yet relieving ... all of a sudden, like a fresh breeze from out-of-nowhere.
Dominik Graf - Frankfurter Allgemeine Zeitung 4th April 2006
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