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  • Harry and Tonto
  • Blonde Death
  • Singapore Sling
  • Navajeros

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  • Love and Anarchy

  • Anchoress

  • Kadaicha

  • Lokis, a Manuscript of Professor Wittembach

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  • The Demon

    The Demon

    I've been hotly anticipating my watch of Il Demonio and I was really taken with it on this first viewing. Formally this is presented in stark, black and white compositions that wouldn't be out of place in the international art house cinema of the time and yet it also manages to mix in kinetic camerawork that evokes some of the European gothic horrors - particularly Bava. Symbols, portents, and rituals permeate just about every moment of the film - opening…

  • The Night Porter

    The Night Porter

    ★★★½

    This is a game for freaks!

    The Night Porter was the film that for better or worse put Liliana Cavani on the map - widely recognized as provocative in Europe, several prominent American critics dismissed it at the time relegating it to cult movie status or lumped in with Nazisploitation films. I've got no issues with treating The Night Porter as a cult film but this is hardly an Ilsa flick and I think it navigates some fascinating and controversial…

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  • Love and Anarchy

    Love and Anarchy

    Funny, humane, and genuinely dark. There's very little I didn't love about this from the charming characters, the location work, the period stylings, and the music. Something about a table filled with prostitutes screaming at each other about food and then breaking out into song feels like peak Italian cinema to me.

  • Anchoress

    Anchoress

    Anchroess is a beautiful film and one that impressively seems to exists outside of time, but I also struggled to settle in with it. To call this a folk horror is really to stretch the definition to its furthest reaches - but it is an admirably composed medieval period drama. Maybe just a little too deliberate in its Bergman-esque delivery for me.

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  • Viy

    Viy

    ★★★½

    Nothing particularly revelatory on this revisit except that I can now see the parallels to Leptirica. Đorđe Kadijević would go on to adapt his own version of Gogol's folk tale and the author of the story inspiring Leptirica - Milovan Glišić - was sometimes referred to as the Serbian Gogol. Viy remains an astonishing visual feast - the supernatural sequences are vital and thrilling and fun. I still don't totally connect with the mundane aspects of the movie - maybe the comedy shines better with an audience. Maybe one day I'll be able to see a theatrical screening.

  • Shock

    Shock

    I can see the impulse compare Bava's final feature to Argento due to the proggy score and Daria Nicolodi's stand out performance, however I couldn't help but be reminded more of Fulci's moldering nightmares. Shock doesn't look much like the lush gothics Bava is best known for but it has an otherworldly strangeness to it. The last thirty minutes deliver on hallucinatory, dread soaked visions even if it takes a minute to get there. Nicolodi is in top form and…