If André Bazin once dreamed of a “myth of total cinema” in which the image would finally coincide perfectly with reality, *The Benefactress* is the nightmare fulfilment of that myth.
The ontology of Corporate Torment is the ontology of the fly that survives the mushroom cloud, the persistence of the unpresentable within the very heart of representation.
This article develops a philosophical analysis of three extreme subgenres within horror cinema by interrogating the ontological status of the body and the aesthetics of disgust.