#JanuaryGiallo Day 16 THIRSTY FOR LOVE, SEX & MURDER (1972) Mehmet Aslan 58 torrential minutes of sadomasochistic reveries, mod fashion, nonsensical exchanges & deranged needle drops—no, it's not a biopic about yours truly but the Turkish remake of The Strange Vice of Mrs. Wardh.

#JanuaryGiallo Day 15 THE KILLER MUST KILL AGAIN (1975) Luigi Cozzi In a skillfully nasty nod to Scerbanenco & Highsmith, marital murder for hire goes awry when a thrill seeking couple unwittingly insert themselves in convoluted killer chicanery via a little grand theft auto.

#JanuaryGiallo Day 14 THE SPECTER OF TERROR (1973) José María Elorrieta After a stewardess survives repeated attempts on her life by a greasy war vet up-skirt photographer who makes out with dolls & does weird things to cigarettes, the cops & her sexy psychiatrist tighten the net.

#JanuaryGiallo Day 13 ELLA Y EL MIEDO (1964) León Klimovsky A showgirl is relentlessly stalked after witnessing a strangling on her way home from work in this Spanish answer to The Girl Who Knew Too Much brimming with borrowed visual hallmarks from Hitchcock & the German krimi.

#JanuaryGiallo Day 12 HEAD DOWN, FEET UP (1972) Ugo Novello Andrea’s avoidant attachment style not only makes him a terrible boyfriend, but he can’t focus at work or in the yoga studio. He can, however, become the prime suspect in a series of gay teacher slayings. Che peccato.

#NowWatching VARIETY (1983), Bette Gordon 📽️

Blood Link (1982, Alberto De Martino) Michael Moriarty plays siamese twins; one good, one evil, both giving me goosebumps. I really freaking love Moriarty! Thank you @torsodapop.bsky.social for turning me onto this banger!

#JanuaryGiallo Day 11 A QUIET PLACE IN THE COUNTRY (1968) Elio Petri In a slant approach to The Beckoning Fair One, Petri utilizes a typical ghost story as a frame for an idiosyncratic mystery pinioned to masculine & artistic crisis which in turn undermines pop proclivities toward commodification.

#JanuaryGiallo Day 10 MASSACRE (1989) Andrea Bianchi A maniac decapitates a sex worker a short drive from a séance being held for no discernable reason by the quarrelsome cast of a troubled flick causes an evil spirit to jump into the nearest warm body–& that's just the first half hour.

#JanuaryGiallo Day 9 THE FRENCH SEX MURDERS (1972) Ferdinando Merighi Dollar store Humphrey Bogart investigates the soporific flapdoodle emanating from priceless Anita Ekberg's brothel, resulting in some heady nonsensical merriment unsuitable for those dismissive of the joys of hot garbage.

#JanuaryGiallo Day 8 SEVEN MURDERS FOR SCOTLAND YARD (1971) José Luis Madrid Lookout London—a killer with a body part fetish has been loosed, giving Naschy as ex-circus performer/med school dropout suspect numero uno ample opportunity to love up the ladies & punch people in the face.

#JanuaryGiallo Day 7 JACK’S BACK (1988) Rowdy Herrington Following the staged suicide of psychic shoe salesman Spader’s hot med student twin, a mystery unfolds that is most certainly NOT about a ripper copycat plaguing a three block pocket radius of LA.

#JanuaryGiallo Day 6 BLOOD LINK (1982) Alberto De Martino After some medical tomfoolery obliquely involving brain waves, sex machine Michael Moriarty—words I never tire of saying—is tormented by visions of his presumed dead siamese twin seducing & brutally killing women.

#JanuaryGiallo Day 5 CASSANDRA (1987) Colin Eggleston The macabre dreams of a girl whose shifty parentals run a fashion house become a bloody reality in this outré Ozploiallo oddity of twinscest, nonlinear gorgeous atmospherics, distractingly wooden acting & incongruous synths.

#JanuaryGiallo Day 4 DELIRIUM: LE FOTO DI GIOIA (1987) Lamberto Bava A killer's dehumanizing eye focuses on clearing Gioia's Pussycat magazine of its titillating roster in this 80's exemplar, surrealist sleaze colliding with star Grandi's own reluctance to be typed as a buxom ideogram.

#JanuaryGiallo Day 3 THE HOUSE THAT VANISHED (1973) José Ramón Larraz Model Valerie cannot relocate the scene of a robbery/homicide in this nightmarishly erotic merging of the giallo's unreliable witness with gothic metaphorical decay that revisits Larraz's own Whirlpool via Twisted Nerve.

#JanuaryGiallo Day 2 LA CASA DEL BUON RITORNO (1986) Beppe Cino A man returns to his childhood home with fiancé in tow only to be confronted by the slow dissolve of his sanity through a sexual obsession with a deceased girl, a mysteriously ageless photog & a stalker in a shiro hannya mask.

#JanuaryGiallo Day 1 LOVE & DEATH IN THE GARDEN OF THE GODS (1972) Sauro Scavolini An ornithologist uncovers the debauched dealings of a sibling rivalry through taped psychiatric sessions in this coup de giallo often overlooked due to its unstructured fidelity to filone expectations.

It’s time once again to intake all the sesso e violenza my eyeballs can handle because I love gialli like pussies love Fabio Testi—so get ready to watch my brain liquify in real time & as always felice anno nuovo giallo-holics! 😉🎉🧥🥃 #JanuaryGiallo

Every outfit Jennifer O'Neill wears in Lucio Fulci’s THE PSYCHIC (1977) is a 10 out of 10 [Costume design: Massimo Lentini with furs by Fendi & jewels from Bulgari] #costumedesign #JenniferONeill #Fulci #Giallo #Horror #OOTD #fitgame #filmsky

Favorite first time watches of the year: As Deusas (1972), Walter Hugo Khouri // Threshold of the Void (1974), Jean-François Davy // The Snow Queen (1986), Päivi Hartzell // Silencer Made of Glass (1991), Hisayasu Satō #HappyNewYear2026 #NW #filmsky 📽️🖤

It’s that time again—the dreaded end of year roundups—so here are some of my favorite albums from 2025 🙃🎧 #musicsky #happynewyear

Renato Polselli’s thrice retooled impious k-hole of masturbatory insanity OSCENITÀ (1980) turns an eve of sacrilegious story time into batshit russian nesting dolls of reality bending speculative smut that somehow hail marys a statement on love & sexual equality through its odd channels.

Khouri's ambiguously gothic throuple dread-scape AS DEUSAS (1972) conveys small-scale suffocation of the soul without any overt violence, its horror of the unspoken protracted within a limbic space of overwritten ego dwarfed by the natural world, intense sexuality & the pull of classist ideologues.

Panayiotatos' nebulous cavity LOVERS BEYOND TIME (1990) presupposes romantic entitlement is just a physics problem, its paradoxically stilted histrionics of orgasmic erasure shot through a hormonal veil of nostalgia porn for those of us old enough to recall 90's MTV aesthetics.

A feat of Yuletide Omnibus trickery inspired by Borowczyk's Blanche, Leslie Megahey's russet 16mm artist docudrama style le Fanu adaptation SCHALCKEN THE PAINTER (1979) lurks in genre's shadowy margins with admirable, unsettling restraint to imply the vampiric commodification of beauty & sex.

Gonna tell my kids The Legend of Hell House (1973) is a heartwarming Christmas film🎄

The Pyjama Girl Case (1977) Directed by #FlavioMogherini Starring: #RayMilland #DalilaDiLazzaro #MichelePlacido #MelFerrer Cinematography by #CarloCarlini Music by #RizOrtolani #ThePyjamaGirlCase #Laragazzadalpigiamagiallo #Giallo #CultFilms #CultMovies #ItalianCinema #cinemaitaliano #italianfilm

Film’s greatest love story. Franco made over a hundred films with Lina Romay and the two were together until her death in 2012. Franco himself passed away just a little over a year later in 2013. #FrancoFriday

Isabelle Adjani in The Story of Adèle H. (1975), dir. François Truffaut #CurrentMood #Subtitles

Jess Franco's Sadean billet-doux to antireligious intelligentsia LOVE LETTERS OF A PORTUGUESE NUN (1977) is never lascivious when lingering upon Maria, but sardonic, even enviously awestruck as transgression only serves to deepen her piety in a Buñuelian inversion of stubborn naïveté. #FrancoFriday

I feel like I know her, but sometimes my arms bend back. Venus in Furs (1969), Jesús Franco // My Nights Are More Beautiful Than Your Days (1989), Andrzej Żuławski #sidebyside #floorshow #20years 📽️

Here’s your winter lookbook courtesy of Päivi Hartzell’s THE SNOW QUEEN (1986) aka Lumikuningatar #FinnishFilm #manifesting #SnowQueen #filmsky #WhereImAtMentally ❄️

Replacing the creak of the crypt with the squeak of the bed, Andrea Bianchi's MALABIMBA (1979) is a tragi-melo-comic late bloomer Exorcist effigy by way of a dip in Teorema's ever diminishing wellspring, critiquing the castello in between bouts of self-care with plushies & fatal fellatio.

The one-stop-shop for all your holiday nunsploitation needs, Kōyū Ohara's WET ROPE CONFESSION (1979) doesn't' just have a sex auction ewe won't believe, but also whipping, sapphic sisters getting in flagrante with breadsticks, odd racial fetish, toilet licking, disco dancing & a madcap meet-cute.

#NowWatching Comrades: Almost a Love Story (1996), Peter Chan

‘Tis the season… of Jess Franco’s FACELESS 🎄💉

As modern imitators aiming for the transgressive combustible that is Moctezuma’s ALUCARDA (1977) churn out empty hyperbolic nonsense, swear your fealty to the OG 666 with a sanguinary princess streak as it couches exquisitely explicit blasphemy within romantic echo chambers of yonic yarling.

Assisted by crime tv stalwart Jürgen Roland, Josef von Báky's THE STRANGE COUNTESS (1961) with Lil Dagover as manic eyed, venerable Gloria Swanson adjacent Countess Moron (yes, MORON) achieves a climactic krimi comingling of old sensibility fantastic with steely hardboiled edge. #Noirvember

find no interest in the racks and shelves just 10,000 reflections of my own sweet self The Velvet Vampire (1971), Stephanie Rothman // Daughters of Darkness (1971), Harry Kümel // Death Bed: The Bed That Eats (1977), George Barry // Immagini di un convento (1979), Joe D'Amato #sidebyside #mirror 📽️

Mesmerically heartbreaking chamber piece AL OTRO LADO DEL ESPEJO (1973) is Jess Franco's most beautifully restrained meditation on female neurosis, a tragic heroine both bride & groom to the violent trauma unsuccessfully dislocated in a reflective nether realm of erotic self-destruct. #FrancoFriday

I visited Hong Kong once as a teen, and saw Simon Yam wearing a skintight, full body jumpsuit straight out of The Running Man. All I could do was point at him, slack-jawed, and he smiled and said “Yes, it’s me.” Almost died right there and then.

Here's wishing you and yours a very fruitful Yamsgiving Simon Yam in John Woo's BULLET IN THE HEAD (1990) #HappyThanksgiving2025 #HappyYamsgiving #GiveThanks #SimonYam #filmsky

Four Flies on Grey Velvet (1971), Dario Argento // Angel Dust (1994), Gakuryū Ishii #filmsky #gialloscience if you know you know 📽️👁️

Directed by Andrzej Żuławski

Arne Mattsson recaptures the spine-tingling snap of Damen i svart with inheritance ruse VITA FRUN (1962) after the third Hillman mystery fell victim to the law of diminishing returns, backloading budget conscious lake lore & somnambulant suicide with a humdinger of a sting op séance. #Noirvember

Satō's bleak reinterpretation of The Conversation SURVEY MAP OF A PARADISE LOST (1988) also examines voyeurism from an auditorial standpoint, challenging the technology meant to ease connection that further divides & mechanizes a bubble society reeling from its byproduct: lack of sensation.

While Ákos Ráthonyi's THE DEVIL'S DAFFODIL (1961) feels most recognizably giallo in its dancer dispatching stocking masked menace & airline insurance sleuth, the daffy smuggler subplot, crazed Kinski & cringe use of Christopher Lee as a Charlie Chan-esque spy are pure krimi kookiness. #Noirvember

My favorite flavor of giallo: fashionable haunted women in existential crisis mode aka haute paranoia

#NowWatching THE BEAST TO DIE (1980), Tōru Murakawa #Noirvember