As a symbolic representation, Gilgamesh’s world is one of evil and deceit, simultaneously laced with psychosexual tension and personal resonance for the Quays. The medical hooks, rusting scissors, and razor sharp high-tension wires all imply a castration theme, accentuated not just by the sadistic mechanical trap that Gilgamesh sets but also by the sequence in which he places two eggs on a slicing wicket, positioning them where his own testicles should be. Such brutal and sexually violent imagery would reoccur in the brothers’ other films, most notably in Street of Crocodiles, where organic materials are organized into representations of male genitals then pierced with tailor’s pins.[3]