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Sarah Makes People Watch Things!

@torsodapop

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I don't want to alarm you...but something very sinister is going on here

Nashville, TN
Joined February 2022
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
1 year
I want to live inside a title sequence from a Juraj Herz film Morgiana, 1972 // Panna a netvor, 1978 // Deváté srdce, 1979 // Upír z Feratu, 1982 #JurajHerz #CzechCinema #titles
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
2 months
To call Bava's PLANET OF THE VAMPIRES (1965) influential would be an undersell of its phantasmagorical reach: an ingenious micro-budget agglutination of horror & sci-fi, it uses the smoky void of space as a haunted house whose gothic ghouls embody contemporary paranoias #MarioMay
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Sarah Makes People Watch Things!
@torsodapop
1 month
OPERA (1987) is the purest synthesis of Argento's own gialli tropes while also being his most erotically charged exploration of the genre underscoring audience expectation/participation by coupling consensual & nonconsensual bondage with gorgeous but confrontationally grisly gore
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
6 months
░P░U░S░S░Y░ ░I░N░ ░B░I░O░
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
11 months
Martino’s baroque masterpiece YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (1972) is a lean, mean, highly effective mixture of slashiallo style, crackling noir dialogue & lush gothic menace so confrontationally spiteful & overwhelmingly voyeuristic Poe would indeed approve.
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Sarah Makes People Watch Things!
@torsodapop
24 days
Umberto Lenzi's giallo trashterpiece EYEBALL (1975) delivers on ambrosial absurdity as a group of tourists from the same town get an ocular clobbering courtesy of a crimson cuckoo majestically eluding justice in their OS poncho because a man can't recall his wife's dominant hand.
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
8 months
A detective who’s lost his daughter develops an odd paternal obsession with a serial killer during a surveillance job, his attempts to help her from afar often backfiring in perversely humorous but achingly tragic ways in Claude Miller’s unfairly obscure DEADLY CIRCUIT (1983).🎄
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Sarah Makes People Watch Things!
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2 months
#Junesploitation DAY 23: FREE SPACE DR. CALIGARI (1989), Stephen Sayadian Like being slurped into a televised broadcast of an overheated hardcore Cronenbergian staging of Beetlejuice as erotomaniac psych satire replete with lunatic dialogue, this re-quel defines elevated camp.
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
8 months
Anthology horror DEAD OF NIGHT (1945) holds a bedeviled bevy of ghostly yarns gathered inside an intriguing fireside frame narrative wherein a precognitive nightmare has a man truly unnerved. A behemoth of subtle scares many have imitated, it runs the genre gambit with aplomb!🎄
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Sarah Makes People Watch Things!
@torsodapop
10 months
#31DaysofHorror Day 14 THE HOUSE BY THE CEMETERY (1981) dir Lucio Fulci By stitching together derivative tropes like terrible houses & mad scientists Fulci creates a wholly original Gothic patchwork centering on the destruction of the family by a long interred predatory past.
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Sarah Makes People Watch Things!
@torsodapop
10 months
#31DaysofHorror Day 30🐈‍⬛ INFERNO (1980) dir Dario Argento Argento’s Suspiria follow-up is gothic fairy tale perfection, an insidious netherworld tucked beneath every expressionistic frame—& instead of irises the key to unlock this cruel mother is under the soles of your shoes!
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Sarah Makes People Watch Things!
@torsodapop
5 months
Comfort movie marathon. What are you watching? Mine:
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@CoyHallBooks
Coy Hall
@CoyHallBooks
5 months
Comfort movie marathon. What are you watching? Mine:
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Sarah Makes People Watch Things!
@torsodapop
3 months
Bava's intensely personal carte blanche art-horror opus LISA & THE DEVIL (1973) is at once an ambitious gothic opera of imagistic splendor & a sordid plotless necrophiliac daydream of late-night schlock whose only real audience at its inception was his own subconscious. #MarioMay
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
1 year
Baino’s DARK WATERS (1993) exemplifies the chill of creeping dread as a young woman investigates an isolated convent on the island of her birth. Essentially Ken Russell’s Suspiria under The Call of Cthulhu, its spell lingers like the half forgotten remnant of a dream upon waking.
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
1 year
No giallo from the filone’s heyday did more with the expected ingredients than Martino’s THE STRANGE VICE OF MRS.WARDH (1971). Ghastly but glamorous from top to toe, it’s an ideal amalgam of the right cast, script, score & camerawork to tidily convey the genre’s potential heights
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Sarah Makes People Watch Things!
@torsodapop
29 days
Brandon Cronenberg's POSSESSOR (2020) is a burning car without brakes careening downhill toward a group of school children, morphing Inception's cerebral espionage ballyhoo into a face melting totality where identity becomes so malleable utter destruction of self is the only out.
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
1 month
In MES NUITS SONT PLUS BELLE QUE VOS JOURS (1989) Żuławski explores with Sartrean acerbity the ways in which love can both heal & damage romantic partners using the loss of mental acuity & pain more profound than linguistic capability to align a psychic with a dying tech genius.
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Sarah Makes People Watch Things!
@torsodapop
3 months
The most narrative driven episode of Bava’s trio of terror I WURDALAK (1963) hides its subversive tale of melancholic repression behind a myriad of folkloric traditions, its chilling finale a glimpse of the grim inescapable windowed faces of cannibalizing familial love. #MarioMay
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
16 days
Title sequence from 1 of my favorite Spanish giallo José María Forqué's IN THE EYE OF THE HURRICANE (El ojo del huracán) aka The Fox with a Velvet Tail featuring theme song 🎶Once & Again, vocals by Shawn Robinson #NowWatching #Jos éMaríaForqué #PieroPiccioni #Giallo #SundayFunday
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Sarah Makes People Watch Things!
@torsodapop
3 months
“He told me I should always wear green, so I wore a little green dress…which I bought at Oxford Street, London. When I watch it I can see that Mario Bava really knew how to film me. He made me look beautiful.”—Brigitte Skay on A Bay of Blood #MarioBava #MarioMay
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Sarah Makes People Watch Things!
@torsodapop
22 days
Bergonzelli's demented gothic giallo IN THE FOLDS OF THE FLESH (1970) could quietly be considered Italy's earliest foray into splatter, its single location gangster palace awash in decapitations & sloshed sinners screaming over one another a hillbilly shy of Rob Zombie divination
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@torsodapop
Sarah Makes People Watch Things!
@torsodapop
2 months
#Junesploitation DAY 2: ZOMBIES NIGHT OF THE SEAGULLS (1975) dir Amando de Ossorio The Lovcraftian 7 Brides for 7 (Blind Dead) Brothers delivers through an hypnotically soft, dreary coastal haze as interminable as its pacing a skeletal grip so unyielding it chills to the bone.
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Sarah Makes People Watch Things!
@torsodapop
11 days
Like ethereal light glinting off a knife, Dallamano's beguilingly nasty giallo WHAT HAVE YOU DONE TO SOLANGE? is just as relevant now as it was in '72, objectively looking at the hypocrisy of environmental pressure on girls to grow up too fast yet face criticism over the results.
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8 months
GIALLO BARBIE aka The Forbidden Photos of a Lady Above Suspicion (1970), dir Luciano Ercoli #giallo #giallobarbie #pastels #LucianoErcoli #AlejandroUlloa #DagmarLassander 💅🐢✨
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Sarah Makes People Watch Things!
@torsodapop
4 months
#30DaysofWalpurgis Day 6 KILL, BABY…KILL! (1966) dir Mario Bava With his surreal Carpathian village plagued by a suicide evoking ghost child Bava performs miracles like Daedalus constructing uncanny coils of disquietude that affix themselves as webbing to the spellbound viewer
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1 year
Far beyond teen vampire romance, Neil Jordan’s exquisite BYZANTIUM (2012) paints a lushly violent, melancholic portrait of female expatriates in an immortality boys club, giving scenes of courtship room to breathe while basking in the stunning work of DoP Bobbitt & editor Lawson.
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Sarah Makes People Watch Things!
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26 days
ASSAULT (1971) cheekily oscillates between moments of seediness & silliness to a score that can only be described as aggressively inappropriate; yet, despite a vaguely regressive approach to exploitation still manages to be a breezy, ahead of the curve schoolgirl in peril giallo.
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@torsodapop
11 months
Martino’s slasher harbinger TORSO (1973) was ahead of its time in many respects from an upfront linkage of sin & death to DoP Ferrando’s tight hand-held stalking characters like a Steadicam omen—but it’s the dual act structure which truly sets it apart as an unrivaled nail-biter.
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Sarah Makes People Watch Things!
@torsodapop
1 year
Huyck & Katz’s MESSIAH OF EVIL (1973) foretells Romero’s satirical treatment of consumerism, using the same emotionally apocalyptic mentality toward setting as Harvey to illustrate how blurry the line can be between the robotically cannibalistic zombie & the melancholic vampire.
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Sarah Makes People Watch Things!
@torsodapop
3 months
BARON BLOOD (1972) is often seen as a zoom crazed William Castle-y rendition of House of Wax, but Bava’s anachronistic carnival ride with ancient codexes raising undead terrors long before Evil Dead cleverly entwines every genre he reveled in with self-reflexive panache #MarioMay
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Sarah Makes People Watch Things!
@torsodapop
2 months
#Junesploitation DAY 15: FREE SPACE CREATURES FROM THE ABYSS (1994), Alvaro Passeri Imagine if you will scientists discovered radioactive plankton which when ingested by fish causes calamitous transmutations during arousal. Now imagine spring breakers eating those fish. Gold.
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Sarah Makes People Watch Things!
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1 year
In Franco’s Bava meets Russ Meyer BLUE RITA (1977), female spies use a striptease joint to lure & torture men w/ libidinous green goo. Stunning art direction & an 11th hour plot twist pileup after 45 minutes of utter nonsense makes for his most enjoyable sex film. #FrancoFebruary
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11 months
Martino’s THE CASE OF THE SCORPION’S TAIL (1971) is a prime example of why Italy’s 1st giallo boom stands apart from other eras as a uniquely collaborative period wherein writers, camera operators, composers & stars at the top of their respective games deliver torrents of twists!
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Sarah Makes People Watch Things!
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2 months
#Junesploitation DAY 21: AIP BURN WITCH BURN (1962), Sidney Hayers Magic invades sexist academia when the wives of professors dabble in witchcraft for gain in this underrated suburban gothic that like Night of the Demon admonishes equally those who don't believe & those who do.
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Sarah Makes People Watch Things!
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1 year
Tourneur’s M.R. James adaptation NIGHT OF THE DEMON (1957)—while forcibly veered from ambiguity—nevertheless excels at harnessing everything from shadows to chaotic winds as heralds of the phantasmagorical, Dana Andrews’ snarky skeptic turned horrified witness speaking for us all
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@torsodapop
1 year
Unfolding in a mystical purgatory with the visual lyricism of Cocteau, gothic depravity of Poe, & slyness of Sartre, A VIRGIN AMONG THE LIVING DEAD (1973) is Jess at his most meditatively melancholy. Beleaguered by reshoots, its initial form is an unearthly elegy. #FrancoFebruary
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@torsodapop
1 year
Halted by the government in ‘77 Żuławski’s 80% adaptation of his granduncle’s Lunar Trilogy ON THE SILVER GLOBE (1988) moves in turns through found footage dystopia, creation epic & sophistic revolt, unflinchingly displaying an evolutionary correlation between fanaticism & war.🧵
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Sarah Makes People Watch Things!
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3 months
Terror fascinates & attracts me...Perhaps it's a question of psychology--to make a film of this kind helps me to overcome my own fears. The lights, the technicians & the actors help to defuse an atmosphere that in real life would be enough to make me die of fright. --Mario Bava
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Sarah Makes People Watch Things!
@torsodapop
1 year
Gogol’s satirical folkloric tapestry of the grotesque is brilliantly brought to watercolor Hallows Eve Looney Tunes life in Yershov & Kropachyov’s VIY (1967), bucolic setting & satisfying dénouement hinting at broader subtext beneath its mantle as a geographically premier horror.
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4 months
#30DaysofWalpurgis Day 28 ALUCARDA (1977) dir Juan López Moctezuma Immediately bonded by isolation, enamored orphans traverse yonic geography populated by nuns in referentially menstrual garb, their Humean explorations of theological authority a crimson spattered siren shriek.
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2 months
#Junesploitation DAY 3: REVENGE NOTHING UNDERNEATH (1985) dir Carlo Vanzina When park ranger Bob senses with twin magic that his model sis is in danger he flies to Italy—but finds no trace of her & mounting evidence of a link to a scissor wielding killer cutting up the catwalk.
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9 months
Taken on its own merits from behind the felinian shadow of its predecessor THE CURSE OF THE CAT PEOPLE (1944) tenderly captures the fantastical if not achingly lonely viewpoint of childhood—hiding a tale of familial postwar trauma inside a ghostly Cocteau does Disney snow globe🎄
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Sarah Makes People Watch Things!
@torsodapop
1 year
Weir’s PICNIC AT HANGING ROCK (1975) aimed a languorous eye toward antithesis—a body bursting with unspoken emotion or an open space turning oppressively claustrophobic—reframing horror as ephemeral abstraction, external & internal, made more disturbing by its incompleteness. 💌
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2 months
#Junesploitation DAY 19: 80S HORROR THE BOOGEYMAN (1980), Ulli Lommel Lommel hurls avant-garde eccentricity at a statement on Americana which presages not only supernatural slasher trends but the seething subtextual critique of conservatism that would permeate Reagan-era horror
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Sarah Makes People Watch Things!
@torsodapop
5 months
Black gloved revenge served with a side of gothic decay & creepy victim facsimile dolls? No, it’s not Italian but Amicus’s THE PSYCHOPATH (1966)—Freddie Francis & Robert Bloch no strangers to the burgeoning Hitchcockian body count thriller chromatically realized earlier by Bava!
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1 year
Like a match cut from a toy boat to a prow stuffed with machine gun toting pirates, unpredictability reigns while folkloric ghosts hop in limbo through gangster caches in Matsuno’s mod kaidan THE LIVING SKELETON (1968), a doleful doppelgänger dreamscape stressing sexual inequity.
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19 days
Glistening with sweat & more lens flare than you can shake a jazz hand at, Fulci's giallocise MURDER-ROCK: DANCING DEATH (1984) swaps out its predecessor's grimier set pieces for frenzied dance breaks & diaphanous dreamscapes, punctuating textbook tropes with tubular 80's trash.
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@torsodapop
8 months
“If the basis of Suspiria took inspiration from Snow White, in Inferno there was an obvious reference to Sleeping Beauty: [Sara] pricks her finger & in that precise moment enters a sort of parallel world—enchanted & evil—from which she will never be able to return.”—FEAR, Argento
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1 year
Larraz’s transgressive VAMPYRES (1974) is an unimpeachable sexploitation classic, a duo of female vamps flipping the script on male motorists seeking hookups. From Ted’s yonic arm wound to the shocking finale it challenges genre (& gender) conventions with nary a fang to be seen.
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4 months
#30DaysofWalpurgis Day 27 MAGDALENA POSSESSED BY THE DEVIL (1974) dir Walter Boos The Citizen Kane of Exorcist ripoffs retains krimi’s investigative structure but adds buckets of sweat, pelvic pivots, Kool-Aid man door busting, & the desire to take communion in an unholy place.
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3 months
Bava's savagely stylish BLOOD & BLACK LACE (1964) is a logical continuation of Black Sunday's pairing of beauty & decay, focusing much of its violence upon the female face while inversely using blank mannequins to echo a retinue of hidden motives & the killer's disguise #MarioMay
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4 months
#30DaysofWalpurgis Day 1 SUPERSTITION (1982) dir James Roberson A derelict house on the nearby church’s property where a witch was executed exacts her revenge (aka kills people)—which is exactly what you’d get if Argento & Lenzi ever collaborated on a stateside witchsploitation
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2 months
#Junesploitation DAY 17: FULCI BEATRICE CENCI (1969), Lucio Fulci Fulci's Rashomon sketched with the deep contrast of a Caravaggio delves headlong into the inequity of the church with agonizingly realistic fervor, confronting the past via attestation to the bravery of one woman
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1 year
What better way to usher in fall than Martino’s occult odyssey ALL THE COLORS OF THE DARK (1972), protean visual organization upseting a giallo framework while a closer reading hints at parallels between the vying interests of its heroine’s life & the stripping of her agency. 🍁
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1 year
Unfocused shot/counter shots, framing, & sound design build cracks of uncanny beneath the familiar in Bava’s SHOCK (1977), underscoring a corruption of normalcy—or more specifically a deconstruction of the nuclear family—POV & generational doubling chillingly used to destabilize.
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2 months
#Junesploitation DAY 4: FREE SPACE I HATE MY BODY (1974) dir León Klimovsky A chronic womanizer commits the cardinal sin of drunk driving while horny, landing near death in a hospital where a former Nazi doctor transplants his brain into a woman’s body. I wish this for all men.
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5 months
An isolated manchild insinuates himself into a kind student’s life in Boultings’ TWISTED NERVE (1968), the question of bioethics when determining psychopathy—albeit insensitively rendered—a curious variation on Shelley’s nature v nurture nightmare that finds a postmodern foothold
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3 months
Ground zero for this horror kid was THE PIT & THE PENDULUM (1961), its moody web strung together by Matheson on a filigreed hanger with a whisper of Poe's story & a scream of its sadism--a most fitting AIP gaslighting gothic to creep its way into Italian cinema #RIPRogerCorman 💔
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7 months
#JanuaryGiallo Day 21 THE KILLER IS ON THE PHONE (1972) dir Alberto De Martino After fainting at the sight of Telly Savalas (as one does), an actress awakens with no knowledge of the past 5 years—her memories & stage performances merging as a killer looks to tie up loose ends.
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1 month
Schivazappa's ultramodern parable FEMINA RIDENS (1969) is a masterclass in utilizing the requisite giallo plot twist to shift audience perspective of the narrative, dividing it into equal halves of power transference in a battle of wits that reverses sexism on every major level.
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2 years
Cronenberg’s Christmas adjacent pandemic horror RABID (1977) is still as timely as ever, with panic the scourge of mall Santas the world over permeating this season of scientific skulduggery. Chambers gives an eerie performance that is both childlike yet predatorily voracious. 🎄
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1 month
Atypical Peeping Tom-esque Spanish giallo THE KILLER IS NOT ALONE (1975) uses unfolding flashbacks in a dual plot format to engender sympathy for its murderous protagonist, his neglectful aristocrat father racing against time to find him as he strangles his way through holy week.
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5 months
In addition to proto-slasher status Collinson’s claustrophobic home invader FRIGHT (1971) is a taut stylistic rehearsal for his later genre efforts to also feature morose tie-in ballads, jagged cuts & double image, mounting dread piled on via split diopter & intense sound design.
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2 years
Mario Bava’s BLACK SABBATH aka I tre volti della paura (The Three Faces of Fear) was released by AIP #OTD in the 🇺🇸 US in 1964. To celebrate, I would like to explore this classic’s release!
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6 months
The Spiral Staircase (1946), Robert Siodmak // Tenebrae (1982), Dario Argento #sidebyside #noir #giallo #Siodmak #Argento #parallelshots 👁🖐
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2 years
A slyly sentimental Yuletide homage to plastic surgery horror, FACELESS (1988) is largely successful because of its stacked cast of absolute professionals, buoyant energy & grisly fx—carried off par excellence despite Franco’s feelings of indifference toward them. #FrancoFebruary
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5 months
Equal parts conspiracy thriller & psychological horror, Sarafian’s FRAGMENT OF FEAR (1970) mixes the espionage of a John le Carré novel with the offbeat isolation of giallo, Hemmings a sweaty pitch perfect unlikeable inept foisted down a rabbit hole while after his aunt’s killer.
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1 year
SCHIZO (1976) contains some of Pete Walker’s most effective set pieces, blending the giallo & triggers befitting Hitchcock’s Marnie with exploitation’s lurid antics. It’s also, as the title suggests, tonally schizo—no doubt due to McGillivray & Walker’s crumbling partnership. 🖌
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1 year
Margheriti’s THE LONG HAIR OF DEATH (1964) could perversely be considered a horror reworking of Divorce, Italian Style—however the medieval tale goes beyond spousal subterfuge to render the female body a simulacrum of vengeful rage & reverse The Pit & the Pendulum’s twist ending!
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9 months
Perhaps the most important noir in the formulation of the slasher—& by extension its ancestor the giallo—Siodmak’s THE SPIRAL STAIRCASE (1946) is a tight exercise in dread set in real time during a storm as a killer with a disability kink stalks a mute domestic worker. #Noirvember
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9 months
Giallo plots often hinge on perception—memory a cryptic skeleton key. SHORT NIGHT OF GLASS DOLLS (1971) entire runtime is devoted to memory, creating a fragmented, nonlinear & off-kilter blending of noir with occult horror that proves Lado was truly 1 of the masters💔 #RIPAldoLado
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1 year
Unearthing theological concerns in the bloody dirt of its undead ideologues, Ferrara’s THE ADDICTION (1995) re-examines risk/consent within craving for death—substitute knowledge or power at will—delving into vampiric seduction as a metaphorical shove off a Kierkegaardian cliff.
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2 years
January was a banner month for me. I was snowed in numerous times, felled by Omicron, and watched close to seventy Giallo.🧥🥃🔪My thoughts on that glorious cinematic experience will be in this thread so I can discuss some classics and highlight obscure gems. #giallojanuary
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15 days
The sun-kissed subterfuge of IN THE EYE OF THE HURRICANE (1971) is a fresh variant on the shattered romance of women's noir, a homme fatal representative of the dangers of extramarital sex, with Forqué's heroine not only seeking divorce when it was still taboo but saving herself.
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1 year
A staple Gothic narrative framing device is turned on its head in Margheriti’s metaphysical nightmare CASTLE OF BLOOD (1964)—whose pedigree couldn’t be higher with Steele as an undead heroine, directorial aid from Corbucci & A/D Deodato & Poe himself as a Cassandra-esque witness.
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4 months
#30DaysofWalpurgis Day 16 GHOSTWATCH (1992) dir Lesley Manning Journalists trigger a national séance in this fake live telecast with very real controversy investigating paranormal events—trusty Parky brazenly leading BBC audiences down an Orson Wellesian “glory hole” of terror.
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2 months
#Junesploitation DAY 1: ROGER CORMAN TRIBUTE THE TOMB OF LIGEIA (1964) dir Roger Corman This Towne penned cabbage hurling Price vs evil cat Poe finale featuring the oddest till death do us part ménage à trois ever manages to be just as absurd as it is gorgeously transgressive.
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3 months
From diegetic neons recalling Judy’s apartment in Vertigo to a personified dripping boom, Bava’s LA GOCCIA D’ACQUA (1963) is his most successful amalgam of lighting & sound design to escalate tension, saturating shadows with the spectral buzzing of an inevitable reaper. #MarioMay
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1 year
Żuławski often dealt with themes of gothic romance—love triangles, doubles, the subconscious, female hysteria—utilizing trappings of genre cinema in his banned masterpiece DIABEL (1972) to highlight an erosion of institutions & the soul with its landscapes of emotional brutality.
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4 months
#30DaysofWalpurgis Day 19 SWEET HOME (1989) dir Kiyoshi Kurosawa A Capcom spawning balance of sitcom & splatter, this disavowed Obayashi Hooper goulash shines—so enter if you dare the Mamiya mansion’s vortex of lethal shadows & drippy haired apoplectic cyclopean ghost momsters!
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2 years
Fulci’s THE BEYOND (1981) is akin to being swept into a cinematic tornado of unpredictability. The Southern Gothic chaotically spins through an Italian filter, disorienting with surrealism & inconsistencies for an experience entirely atmospheric, entirely Fulci! #31DaysofHorror
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2 months
#Junesploitation DAY 25: VIGILANTES VIOLENT CITY (1970), Sergio Sollima Sollima with the aid of the brilliant Lina Wertmüller crafts a revenge thriller that plays like a mafia western Count of Monte Cristo boasting a near perfect soundless dénouement featuring a glass elevator.
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3 months
A veritable catalogue of crime often imitated but never equaled, Bava's darkly ironic A BAY OF BLOOD (1971) operatically expands the gory potential of giallo, each set piece outdoing the last & emphasizing nature's beautiful cruelty with every twitch of the death nerve! #MarioMay
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3 months
In LA FRUSTA E IL CORPO (1963) Bava augments fear in a more modern subjective way, entombing the settings & color stories of Corman's Poe cycle within a paranoid Clouzotian playground for the subconscious dominated by doomed objects & faces adrift in subliminal shadows. #MarioMay
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2 years
THE HOUSE WITH LAUGHING WINDOWS (1976) • directed by Pupi Avati • DoP Pasquale Rachini • score by Amedeo Tommasi • fun facts: inspired by a children’s fable • rushed to production after Bordella was seized for obscenity • Avati dubbed it “Po Valley Gothic” • #GialloJanuary
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1 year
Margheriti’s THE VIRGIN OF NUREMBERG (1963) is an interesting study in the potential of a new strain of the gothic filone which combined arcane settings & fumetti’s pulpy thrills—a jazz backed giallo blend distinguishing itself by acknowledging WWII horrors through its “monster.”
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3 months
Although a reluctant gun-for-hire, in 5 DOLLS FOR AN AUGUST MOON (1970) Bava had the gall to deliver at the dawn of a new breed of giallo that gloried in beatific bloodshed an anti-thriller which served as an extemporaneous hyper stylish mirror for his own genre efforts #MarioMay
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2 months
#Junesploitation DAY 14: BEACH WHO CAN KILL A CHILD? (1976), Narcisco Ibáñez Serrador A classic where no punch is pulled or quarter given from the unease of linguistic disconnects paralleling fissures in a marriage to brutal atrocity footage alongside hordes of homicidal kids.
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1 year
Rollin’s FASCINATION (1979) toys with gothic paradigms of femininity, presenting a blood-spattered universe made up of mainly women—an implied bilateral less good vs evil more yonic subversion of phallic to form a deeper conversation about victimization & the mutability of power.
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1 year
Italy’s 1st gothic in Eastmancolor, Ferroni’s MILL OF THE STONE WOMEN (1960) pulls from both Vampyr & House of Wax. Like I Vampiri, it goes against typical representations of vampirism (fangs/cape), hedging closely to Bathory mythos & the growing trend toward eroticism & duality.
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11 months
#31DaysofHorror Day 2 BARON BLOOD (1972) dir Mario Bava In Bava’s fusion of modern themes & slasher set pieces with the grandiosely gothic during the zenith of the giallo a naïve tourist reads an incantation to resurrect his torture loving ancestor. Yeah—maybe don’t do that.
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1 month
#Junesploitation DAY 30: SLASHERS PIECES (1982), Juan Piquer Simón Things I've learned from Pieces: a point is not made until it is thrice repeated, avoid chop suey, where my pectorals are, avoid instant coffee, college gyms have waterbeds & nudie puzzles will drive you looney.
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3 months
Your vice is like a room locked from the inside and only I have the key🌹 The Whip & The Body, Mario Bava (1963) // The Strange Vice of Mrs. Wardh, Sergio Martino (1971) #sidebyside #YouHaveAlwaysLovedViolence #MarioBava #MarioMay #SergioMartino #LaviWalkedSoFenechCouldRun
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2 years
Greene’s underrated coming-of-age horror I START COUNTING (1969) had a troubled reception due to its then 16-year-old star Agutter’s confrontation of mature themes, but her stellar performance & Harris’ adaptation of Lindop’s story anchor this ahead of its time giallo-style film.
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2 years
Kümel’s DAUGHTERS OF DARKNESS (1971) is cascading with visual references to expressionism, Fassbinder & Vadim. Seyrig’s Dietrich as Bathory, veiled in kaleidoscopic allusions to Nazism & Old Hollywood, seduces & entraps with a still unmatched psychosexual glamour. #VampireWeek 🍷
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1 month
Żuławski's ironically named L'IMPORTANT C'EST D'AIMER (1975) skewers romantic artifice, a triangle of damaged individuals obsessed by image crumbling like sets around them & framed as if on a stage where what prevails is suffering that without desire or dignity cannot be allayed.
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1 year
With VENUS IN FURS (1969) Jess Franco at the peak of his powers envelopes the viewer in jazzy poetic ellipsis like sliding on a cool fur coat while wandering the landscapes of Rio & Istanbul rendered nearly subterranean by music as seductive as Wanda herself. #FrancoFebruary 🧵1/2
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6 months
Confrontational in both its bottomless melancholia & explicit gynecology, Franco’s DORIANA GRAY (1976) allows for further explorations of Female Vampire’s—er—thematic juices in a doleful aria showcasing Lina as doomed twins whose separation bred fatal consequences #FrancoFebruary
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