Although a reluctant gun-for-hire, in 5 DOLLS FOR AN AUGUST MOON (1970) Mario 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. #BavaVive 🖤📽️

Carroll Baker in Umberto Lenzi’s A QUIET PLACE TO KILL (1970) reminding you there's still time left in hot giallo July aka #gially to watch some awful bourgeoisie by the sea...⛵🥃📽️

The most bananas neo-noir to emerge from erotic 90s gooey afterbirth, Avi Nesher’s DOPPELGÄNGER (1993) plays like De Palma fiddling with the Lament Configuration during a Scooby-Doo goes X-files skinemax special only to detonate with an ending beamed in by giallo-loving Martians.

We Heard About This "Old Lady Rental" Service And Were Wondering How Far Can We Take It... When We Seriously Talked About Our Problems, She Took Us Seriously, And Let Us Have Creampie Sex With Her! 13

This is a public service announcement informing you that Tales From The Crypt is available in its entirety on Tubi You're Welcome #ChristmasInJuly 🎁

FOLLOWING, directed by Sergio Martino

Nelo Risi's giallo cum curio / Jean Seberg showpiece DEAD OF SUMMER (1970) ultimately feels so singular because it strips away nearly every convention of the giallo except its most fundamental one: someone witnessed something they cannot fully understand. In Risi’s film, that someone is us.

Amadio's quasi-giallo SO YOUNG, SO LOVELY, SO VICIOUS (1975) is what happens when Bonjour Tristesse has a torrid one-nighter with sun-soaked Italian exploitation: sleazier, nastier, more melodramatic—yet Sagan's emotional core survives intact ensuring the tragedy hits just as hard.

Single White Female (1992) Barbet Schroeder 📺 In A Lonely Place (1950) Nicholas Ray // Femme Fatal (2002) Brian De Palma📺 Double Indemnity (1944) Billy Wilder #sidebyside #noirinnoir #mustseetv #filmsky 📽️

A heatwave exacerbates overactive internal fantasy in Eloy de la Iglesia's masterful domestic giallo THE GLASS CEILING (1971)—a disciplined unraveling of Rear Window & Gaslight's inherent themes of visual spectatorship, sexual desire vs the desire to be known & faulty perception.

Larraz's EMMA DARK DOORS (1974) conjoins old dark giallo, moody slasher & anti-psychiatry road trip inside an intensely tidy boundary blurring brain melter genre orgy of tension that acts as a proximate dry run for the obsessively claustrophobic love trauma of his follow up Symptoms.

Existing at an intersection of woman's picture, giallo & Nikkatsu's apartment wife is Rossati's THE CAT IN HEAT (1972)—gorgeously photographed by D'Amato, the admonitory pleasure-seeking of an isolated bourgeois woman is the type of piquant dime store Flaubert still consumable on Lifetime.

I'm as puzzled as a newborn child I'm as riddled as the tide should I stand amid the breakers or should I lie with death, my bride? The Seventh Victim (1943) Mark Robson // Venus in Furs (1969) Jesús Franco #sidebyside #deathknell #filmsky 📽️

Rather than adapting Justine & Juliette directly, Yamaguchi's LOVE HUNTER (1972) prisms De Sade's binary into Gothic doubles: desire contaminates innocence even as innocence haunts desire & transgression lies less in sexuality than in a refusal to let innocence & vice remain morally distinct.

THE SISTER OF URSULA’s reputation as sleaze has long eclipsed the sadness at its center—its kills aren't cathartic, its sexuality is rarely liberating & its unglamorous eroticism ultimately less interested in arousal than in exposing the ugly relationship between desire, power & repression.

Me: I don’t need a fancy place… Also me: but I do want an apartment that is giving 1970’s Italian giallo aka midcentury homicidal

#Junesploitation DAY 30: 80S COMEDY THE DEAD & THE DEADLY (1982) Wu Ma A joyous ghost gag reel built around Taoist folklore, slapstick soul shenanigans, a little randy revenge & Sammo's comedic timing rather than his fancy footwork—all while making room to prod pop cliché the HK way.

#Junesploitation DAY 29: FREE SPACE THE NIGHT OF THE DEVILS (1972) Giorgio Ferroni A brutal Spanish Italian cross-pollination of Tolstoy's Vourdalak that explores both the inversion of family as a safe social structure & the fragile boundary between rural traditions & corruptive modernity.

#Junesploitation DAY 28: PM ENTERTAINMENT BLOOD MONEY (1991) Joseph Merhi To live & die in Van Nuys—where the Wings are extra spicy yet serious as a car crash, the scenery is lost beyond hope within Z'Dar's massive maw & Karen Black makes that paper while busting people for it.

#Junesploitation DAY 27: CINEMA ITALIANO PATRICK VIVE ANCORA (1980) Mario Landi For those who lament that films today have too much plot & not enough nudity, lewd drunkenness & gonzo gore—cry no more. Everyone else: there’s still a valuable lesson on the consequences of littering.

#Junesploitation DAY 26: HEROES & VILLAINS KILLER CONSTABLE (1980) Kuei Chih-Hung As with revisionist westerns, acts of heroism offer no redemption, villains possess traces of humanity & bloodshed is not a means of restoring order but the defining condition of existence itself.

#Junesploitation DAY 25: JACKIE CHAN CITY HUNTER (1993) Wong Jing A fascinating specimen of gag driven chaos, this slant meditation on star persona runs Hojo’s manga through a hyper powered HK pop culture paper shredder, flinging logic to the wind like the resulting confetti.

#Junesploitation DAY 24: SLASHERS FOLIES MEURTRIÈRES (1984) Antoine Pellissier Hallucinogen persisting perception disorder cinema (n): a no-fi super 8 set piece mixtape sent by Milligan & Rollin to Lustig so episodically alien a plot only emerges from the nether in the final 15.

#Junesploitation DAY 23: EXPLOITATION AUTEURS ICHIJO'S WET LUST (1972) Tatsumi Kumashiro The All About Eve of Roman Porno fuses prestige melodrama with backstage meta-cinema—the modus of exploitation auteurism not in escaping genre constraints but uncovering the unexpected depths within them.

#Junesploitation DAY 22: REVENGE EMANUELLE & FRAÇOISE (1975) Joe D’Amato After a model Anna Karenina’s herself over George Eastman—as one does—her sister chains him up behind a two-way mirror to helplessly watch her have all manner of lascivious encounters off his nut on LSD.

Mill of the Stone Women. 1960. The first Italian horror film in colour, sumptuously shot in the Netherlands with dark gothic style and macabre mood to burn. 1960. #horrorcommunity #horrorfamily #horrormovie #horrorfilm #horrorfan #italianhorror #horroraddict #filmsky #horrorsky #mutantfam #horrorfam

#Junesploitation DAY 21: FREE SPACE THE GUARD FROM UNDERGROUND (1992) Kiyoshi Kurosawa In a more tangible embodiment of dread than later provocative iterations, corporate nightmare slasher trappings merely cloak Kurosawa’s already signature incursion of violence into mundane spaces.

#Junesploitation DAY 20: 80S SCI-FI DESCENDANT OF THE SUN (1983) Chor Yuen Fairy realm wuxia Superman fights demon realm space baby Zod & an IQ obsessed moronic infant genocide plotting lord by shooting lasers & playing the world’s most gargantuan game of rock paper scissors.

#Junesploitation DAY 19: BLACK FILMMAKERS THE BLOOD OF JESUS (1941) Spencer Williams Working within the race film while reaching back toward the silent era & passion pageantry, Williams constructs a visual language of folk theology, dialogue secondary to tableau-like composition & gospel chorale.

#Junesploitation DAY 18: FRANCO NERO DAY OF THE OWL (1968) Damiano Damiani Damiani’s years of lead mafia melodrama feels comparatively shrewd—by trading machismo mythology for quiet moral gray zones he recognizes the humanity & logic of every position without endorsing any of them.