he opening credits are homage to depression era films, complete with crackle sounds and cuts that simulate a broken projector. Accompanied by Henry Hall's haunting Hush, Hush, Here Comes the Bogeyman, the credit sequence and the interludes between the scenes are a significant part of the narrative story arc which revolves around the fantasy of Belladonna as the Doll Maker, a cross between Pinocchio's Geppetto, the Wizard of Oz and a perverted Doctor Frankenstein, bringing dolls to life in her workshop so they can engage in lesbian depravity with each other... often assisted by Belladonna herself.
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Monique Alexander
