#31DaysofHorror Day 3 POSSESSED 2 (1984), David Lai A detective & his family move into an apartment with a palatial cemetery view & let me tell you it's a real bargain if you don't mind hedonistic dog meat grubbing ghosts who enjoy murder, spanking each other & possessing your wife & child.

#31DaysofHorror Day 2 NIGHTMARE WEEKEND (1986), Henry Sala Reasons why your best friend shouldn’t be a puppet named George: he gives bad fashion advice, he hacks your Dad’s evil supercomputer, he lies to you about your gaming skills & he drops plane hangar doors on your boyfriend.

#NowListening Wednesday || Bleeds

#31DaysofHorror Day 2 NIGHTMARE WEEKEND (1986), Henry Sala Reasons why your best friend shouldn’t be a puppet named George: he gives bad fashion advice, he hacks your Dad’s evil supercomputer, he lies to you about your gaming skills & he drops plane hangar doors on your boyfriend.

#31DaysofHorror Day 1 BODY MELT (1993), Philip Brophy Commodified self-improvement causes detergent chugging, tentacled torment in this erratic glandular absurdity of iffy beta-testing, incendiary mucus, aggressive mutant placenta &—my personal favorite—exploding phalluses. Giddy up.

#31DaysofHorror Day 1 BODY MELT (1993), Philip Brophy Commodified self-improvement causes detergent chugging, tentacled torment in this erratic glandular absurdity of iffy beta-testing, incendiary mucus, aggressive mutant placenta &—my personal favorite—exploding phalluses. Giddy up.

So glad I can unwind after a long day of pretending to not be depressed by watching gialli ✌️ @vinsyn.bsky.social #justsaying #giallo #physicalmedia #nw

Georgia’s dream sequence from Roger Vadim’s ...Et mourir de plaisir (Le sang et la rose) aka BLOOD & ROSES (1960) #filmsky #horrorsky #indreams

Shuddering with the unexpected agony of an intimate conversation overheard without context, Vadim's BLOOD & ROSES (1960) is more complex in its delicate subtlety than many of its descendants, characters constricted by the weight of performative social expectation, ancestral trauma & unrequited love.

just me and my dog and an impossible view Black Sunday (1960), Mario Bava // The Grapes of Death (1978), Jean Rollin // Damned in Venice (1978), Ugo Liberatore // The Beyond (1981), Lucio Fulci #sidebyside #filmsky #horrorsky #me&mydog 🐾

Birthed in the piteously unwholesome gloom perhaps known only to Venetian set horror or Goya, Ugo Liberatore's DAMNED IN VENICE (1978) attaches its ectopic antichrist narrative askant an awkwardly cold, desaturated & depressed fugue of inverted mundanity more disquieting than anything it imitates.

I have risen. Hallelujah. (I missed you guys 🖤) The Fall of the House of Usher (1928), Jean Epstein

Hello my people, I'm taking some time off from posting for a bit to process through the loss of a loved one--but I will be back. I just wanted to say that I appreciate this space and all of you so much. Thank you for creating a safe place for this whacky, loquacious weirdo. See you all again soon! 🖤

Stephanie Rothman's acid western Dracula's Guest THE VELVET VAMPIRE (1971) explores post Manson life on the casually racist ranch with Celeste Yarnall as a bisexual icon of bloodsucking bitchery, satirizing nonoccidental cinegoth womb envy through a spiteful sunlit fangless rejection of the typical.

Vampirism has always been about deadly seduction but by removing the subtextual boundary between sex & death FEMALE VAMPIRE (1973) strips shadowy androcentric gothic paradigms bare, basking in alienatingly horny sunbaked lunacy as Romay becomes a primal hieroglyph for forbidden desire. #FrancoFriday

Notable for a vampire bride gender reversal somewhat indebted to I Vampiri's contemporary Italian Báthory & her mad scientist, Polselli's THE VAMPIRE & THE BALLERINA (1960) shifts the fantastique's provocatively ambiguous feminine monstrosity into a more overtly erotic 20th century context.

The endearingly silly finale of Lamberto Bava’s Brivido Giallo DINNER WITH A VAMPIRE (1989) blends classic tropes with metafiction & goopy gaffes for a quirky gothic horror lite when #BOTD George Hilton as a maudlin vampiric film director auditions hopefuls for the role of a lifetime—his slayer!🦇

Two years ago (on twix🪦) due to Curti’s Italian Gothic books & the giallo bee in my bonnet I attempted to find & watch all of Lamberto Bava’s telefilms & the High Tension series contains some of his finest work—now fully restored by @severinfilms.bsky.social It’s Lamberto’s year & I am here for it!

The genre entropy of Polselli's dracula dance party IL MOSTRO DELL'OPERA (1964) unwittingly develops a paradigm for later theater set horrors mired in backstage drama, its lugubrious reverse T-rex nosferaboo dealing with a bad breakup by chaining scantily clad women to a wall & wielding a pitchfork.

“Think me not cruel because I obey the irresistible law of my strength & weakness; if your dear heart is wounded, my wild heart bleeds with yours. In the rapture of my enormous humiliation I live in your warm life, & you shall die--die, sweetly die--into mine. I cannot help it..." ―Le Fanu, Carmilla

"Welcome to my house. Come freely. Go safely; and leave something of the happiness you bring." ~ Bram Stoker, Dracula Soledad Miranda in CUADECUC, VAMPIR (1971) dir. Pere Portabella

Shot during the filming of Jess Franco's Count Dracula in 16mm with dissonant image-sound syncopations, special effects process deconstruction & candid cobwebbing, Portabella's avant-garde metafilm CUADECUC, VAMPIR (1971) shatters the illusion of narrative filmmaking while also preserving its magic.

COUNT DRACULA (1970) can be draining (no pun intended), but this baroquely appointed shaggy dog with more thematic affection for Universal than Hammer & a stylistic dependency on the latter that morphs into despondency would indeed push Franco's future gothics into wilder territory. #FrancoFriday

The Bloody Vampire. 1962. Wonderfully quirky Mexican gothic, superbly spooky visually striking and loaded with unique latino lore. Great fun. #horrorcommunity #horrorfamily #horrormovie #horrorfilm #horrorfan #classichorror #horroraddict #filmsky #horrorsky #mutantfam #horrorfam #monsterfam #horror

Robert Eggers wishes...

COUNT DRACULA (1970) can be draining (no pun intended), but this baroquely appointed shaggy dog with more thematic affection for Universal than Hammer & a stylistic dependency on the latter that morphs into despondency would indeed push Franco's future gothics into wilder territory. #FrancoFriday

While lacking its neighbor Black Sunday's narrative finesse & visual elegance, Regnoli's atypical gothic proto slasher THE PLAYGIRLS & THE VAMPIRE (1960) does place uninhibited showgirls in a single location to be stalked by an unseen evil whose ancestral double provides stark moralistic contrast.

❤️‍🔥 Happy Soledad Miranda Day to all who celebrate 📽️ SHE KILLED IN ECSTACY aka Sie tötete in Ekstase (1971), Jesús Franco Soledad Rendón Bueno (July 9, 1943--August 18, 1970) #BOTD #SoledadMiranda #Muse #filmsky

It's bedlam in the antebellum where the life you save may be your own as time transposes in Herschell Gordon Lewis's exemplar folk gore TWO THOUSAND MANIACS! (1964), turning qualities intrinsic to southern gothic like deceptive innocence or the pressure of past upon present into a violent carnival.

The genre entropy of Polselli's dracula dance party IL MOSTRO DELL'OPERA (1964) unwittingly develops a paradigm for later theater set horrors mired in backstage drama, its lugubrious reverse T-rex nosferaboo dealing with a bad breakup by chaining scantily clad women to a wall & wielding a pitchfork.

"Woe be unto him who opens one of the seven gateways to hell because through that gateway evil will invade the world..."~The Book of Eibon Happy #FulciFriday #FourthofFulci #TheBeyond #HolidayIdRatherObserve #horrorsky #filmsky 📽️🎆📖👁️

Renato Polselli's once presumed lost barmy berserker MANIA (1974) could easily be mistaken for a Lifetime Movie giallo remake of Clouzot's Les Diaboliques that has been vigorously rear-ended by House on Haunted Hill, dialed up to 11 & sent through a woodchipper on enough speed to kill an elephant.

There are mysterious parts in that book, but the only true mystery is that our very lives are governed by dead people... Dario Argento's INFERNO (1980), raw 35mm grindhouse scan

#NowListening Lucy Gooch || Desert Window

#Junesploitation DAY 30: ITALIAN HORROR UN FIOCCO NERO PER DEBORAH (1974), Marcello Andrei Masqueraded as another Rosemary's Baby yet more congruous with later Farrow film The Haunting of Julia, Deborah is an existentially unsettling ghost story set amidst the ruins of a once ardent marriage.

#Junesploitation DAY 29: 80s ACTION RIGHTING WRONGS (1986), Corey Yuen A disgruntled prosecutor takes matters into his own lethal hands, his vigilante quest for justice hampered by the badass CID agent hellbent on stopping him in this all-star tragicomic blood, sweat & glass slinging projectile.

#Junesploitation DAY 28: CANNON NO PLACE TO HIDE (1992), Richard Danus Next time on trapped on VHS: Lt. Kristofferson is sleepy & grumpy but thankfully not dopey as he protects baby Barrymore from a syndicate of ballet hating dirty Harrys by taking her clubbing & hiring OJ Simpson to babysit.

#Junesploitation DAY 27: FREE SPACE DARK BAR (1989), Stelio Fiorenza A trombonist in a steampunk jazz band & a projectionist who dresses like a mime team up to investigate the murder of someone only giallo fans would assume is the protagonist in this hyper stylish latter period nod to Psycho.

#Junesploitation DAY 26: EUROSPLOITATION SLAUGHTER HOTEL (1971), Fernando Di Leo A heady giallo cocktail of HIPAA violations such as pressure washing patients, clitoral massage, indigenous disco & medieval weaponry that shouldn't be kept around wealthy neurotics that'll have you soused in seconds.

#Junesploitation DAY 25: WINGS HAUSER SIGHT UNSEEN (1990), Greydon Clark It's hard to deny the chintzy charm of a janky DTV giallo toilet flush with irrationally gauche dialogue, Wings yeeting a man off a roof, Captain Mullet feeding Coors to his fish & Susan Blakely out of her mind on pills.

#Junesploitation DAY 24: HONG KONG ACTION THE LADY PROFESSIONAL (1971) Kuei Chih-Hung, Akinori Matsuo Rarely discussed enough, this Lily Ho on a righteous warpath Shaw Brothers crime thriller hints at the frenetic handheld action of heroic bloodshed with an eerily prophetic female prisoner flavor.

#Junesploitation DAY 23: NEW WORLD PICTURES GOD TOLD ME TO (1976), Larry Cohen Only Cohen could toss mass shooting panic, dirty cops, alien insemination & incandesce genderflux messiah cultists into a religious horror sci-fi blender & have the result be so wildly ultramodern it's still edgy today.

#Junesploitation DAY 22: TEENAGERS TEENAGE GANG DEBS (1966), Sande N Johnsen Cool it & listen up, buster. Manhattan doll Terri is lookin' to Lady Macbeth her way to the top of the food chain & those Rebels better watch it 'cuz this new Deb likes to stir the pot with all kinds of rumble, 'ya dig?

#Junesploitation DAY 21: WESTERNS VENGEANCE IS MINE (1967), Giovanni Fago A maudlin, unduly overlooked Cain & Abel revenge western where the actual villain is the past itself in a landscape dominated by decline & irredeemable natures as a bounty hunter seeks to bring his own brother to justice.

#Junesploitation DAY 20: EXPLOITATION AUTEURS THE ESCAPEES (1981), Jean Rollin While not entirely abandoning the fantastique's exquisitely static visual poetry, this evocative tale of misfits on a journey to find meaning is a punk girl road trip through modern social dystopias of disenchantment.

"They're not monsters that come from outside the social structure like Godzilla or Frankenstein, they are the remnants of that broken social structure. They come from within; they are us." Jim Jarmusch on Romero's zombies George A. Romero's NIGHT OF THE LIVING DEAD (1968), raw 35mm grindhouse scan

#Junesploitation DAY 19: FREE SPACE THE NIGHT OF THE WALKING DEAD (1975), León Klimovsky Objectively a moody, period gothic with a loose approach to lore, it is more so a dreary yet dreamy fairy tale of yearning for both life & love augmented by parallels to Cocteau's Beast or Browning's Freaks.

#Junesploitation DAY 18: ROCK N ROLL PAGANINI HORROR (1989), Luigi Cozzi A female rock trio probably embroiled in a lawsuit with Bon Jovi repurpose Paganini's cursed score, even renting his haunted manse for their music video in this jewel of what-the-frickery from Cozzi's delightful garbage era.

What strikes me most upon every rewatch of Fulci's singular gothic nightmare CITY OF THE LIVING DEAD (1980) is the acute fear that death might not be permanent, that life like the past is a state of recurrence, of suppressed resurface that can be cruel, bestial & anything but peaceful.

"Fulci's zombies are not driven by a pathological hunger, but by a punishing rage, which doesn't aim at the consumption of the bodies but at the destruction of the minds." Roberto Curti on City of the Living Dead aka Gates of Hell Happy Birthday to the poet of the macabre #LucioFulci #BOTD 🧠🪦🪱