Cannibal Holocaust 1980

In New York City, a television news reporter delves into the perplexing case of a documentary film crew that vanished without a trace in the dense jungles of South America two months prior. The crew is led by Alan Yates, the ambitious director, accompanied by his girlfriend and script girl, Faye Daniels, along with cameramen Jack Anders and Mark Tomaso. Their last known location was the isolated town of Leticia, situated in the heart of the jungle, where they aimed to document the existence of local cannibal tribes. As part of an investigative effort, Professor Harold Monroe from NYU is tasked with uncovering the mystery surrounding the incautious film crew’s disappearance.

As the story unfolds in the South American jungles, a patrol led by a balding Negro lieutenant stumbles upon a shocking scene of cannibalism being practiced by local natives, culminating in a violent confrontation that leaves several natives dead. Following the chaos, Monroe meets the lieutenant, who presents a captured native linked to the Yacumo tribe, marked with a tattoo indicating significant heritage. A cigarette lighter found on him confirms the connection to Faye. Monroe teams up with Chaco, a Venezuelan guide, who provides insight into the local customs, revealing that the Yacumo are believed to be engaged in a spiritual ceremony rather than acts of cannibalism.

Monroe, accompanied by Chaco and another young guide named Miguel, embarks on a perilous journey deeper into the jungle, where they uncover signs of the missing filmmakers. Among the gruesome discoveries, they find the remains of Felipe, the Yates team’s guide, and witness a barbarous ritual involving a Yacumo man and his wife. Finding the Yacumo village, they cautiously earn the trust of the wary tribe members.

As they journey on, Monroe aims to reach the dreaded Yamamomo tribe, known as the Tree People, who are disconnected from the modern world and embroiled in perpetual conflict with the Shamatari, referred to as Swamp People. In a tense moment, Monroe and his guides manage to foster an alliance with the Yamamomo by leapfrogging into a confrontation against the hostile Shamatari warriors. However, their welcome remains fraught with suspicion. They teach Monroe some of the tribe’s customs to build rapport.

The following day, a moment of bonding occurs as Monroe engages in activities with the Yamamomo women, which gains him their favor. Ultimately, Monroe and his guides come upon a disturbing totem shrine with the skeletal remains of the Yates team, revealing the grim fate of the crew. The sight of their intact film equipment heightens Monroe’s urgency to recover their recordings.

Weeks later back in New York, Monroe is interviewed about the jungles’ dark secrets and the Yates crew’s tragic end. He sits to view the troubling footage from the lost film crew under the oppressive scrutiny of university board executives who wish to sensationalize the material for television audiences. They are treated to shocking glimpses of the film team’s arrogant ventures into the wild, revealing a string of morally atrocious acts committed against both nature and the indigenous tribes they sought to engage.

As the chilling imagery unfolds, Monroe grows increasingly horrified. He discovers how Yates and his crew, driven by a self-serving quest for fame, perpetrated brutal violence against the Yacumo and destroyed their village. In a particularly grotesque segment, they record the impact of their brutality, showcasing their misguided views as they continue filming without remorse.

Monroe pleads with the executives, arguing against airing the film, reframing it as an exploitation of their victims and calling it “offensive, dishonest, and inhuman”. In the final reel, an image surfaces revealing the crew’s vile demise as they encounter the Yamamomo. A young woman becomes their target, and as both filmmakers and indigenous tribes clash, it becomes clear that the fate of the heedless Yates crew is much darker than anyone could have anticipated.

As the viewing comes to a close, the executives are left aghast. After a moment of reflection, they acquiesce to Monroe’s perspective, agreeing to bury the footage. Stepping back into the urban landscape of New York, Monroe questions the nature of civilization and primal instincts, whispering to himself, “I wonder who the real cannibals are.”