Actualités

In the spring, a young man’s fancy lightly turns to thoughts of love. For Eli Roth in spring, however, his fancies tend to turn darker, more menacingly humorous, and toward the more bloodily outrageous. Take his plans for March 21. That’s when the horror film director-writer will be putting out the first release of his collaboration with the Italian soundtrack label Cam Sugar, “Eli Roth’s Red Light Disco: Dancefloor Seductions From Italian Sexploitation Cinema,” which will be distributed through Universal Music.

March 21 is also the day that Roth begins offering “stock” to his rabid fanbase in what he calls his independent “mini-studio,” the Horror Section, in partnership with the investing platform Republic.

An obsessive when it comes to music and film — be it admiration for the currency of horror filmmakers, his own slasher cinematic catalog, or the “commedia sexy all’italiana” soundtracks of the 1970s and early 1980s...

Since its launch in 2012, the Sarajevo Film Festival’s Kinoscope sidebar has presented challenging, experimental and genre-bending titles from around the globe.

This year’s lineup includes an eclectic showcase of feature and documentary works from mostly young directors, half of them women, including Nicolas Pesce’s U.S. thriller “Piercing”; Dominga Sotomayor’s “Too Late to Die Young”; Hélène Cattet and Bruno Forzani’s “Let the Corpses Tan”; and Gustav Möller’s Danish thriller “The Guilty,” this year’s opening film.

Kinoscope programmers Alessandro Raja and Mathilde Henrot sat down with Variety to discuss the section and this year’s lineup.

Q: Half of your films are by female filmmakers. Is there a conscious effort on your part to present works by women?

Henrot: It’s a conscious selection which doesn’t require too much effort. Since the beginning of Kinoscope we’ve always chosen to have a balanced...

For those of you who enjoy your genre offerings on the eccentric side, May 8th is shaping up to be a wild day of home media releases. Severin Films has put together a limited edition Blu-ray for Emmanuelle and the Last Cannibals and they have the uncut version of Violence in a Women’s Prison coming out this week as well. Both The Devil Incarnate and Enter the Devil have been gussied up for an HD release this Tuesday, and for all you Amicus fans out there, Scream Factory is bringing The House That Dripped Blood to Blu, too.

Other notable releases for May 8th include Disembodied, Bizarre, Sick Sock Monsters From Outer Space, The Creeps, Gutboy: A Badtime Story, and The Violence Movie.

The Devil Incarnate

The action takes place in 16th century Spain. The Devil comes to earth to live as a mere mortal. Together with a human companion,...

During the early 60’s to the mid 80’s Italian horror was in its heyday – directors such as Mario Bava, Dario Argento, Lucio Fulci, Antonio Margheriti, Umberto Lenzi, Joe D’Amato, and Enzo. G. Castellari directed some of the most outrageous terror films ever. Films that, at the time, pushed boundaries, depicting some of the most stylish and horrific on screen images. But at the same time these films included some of the most elegant and beautiful scores, scores which gained a cult following then and to this day – and they remain as popular now as they’ve ever been.

In comes Vault of Horror – The Italian Connection from Demon Records…

Featuring twenty of the most amazing film Italian genre themes ever, it is a heady mix of funk, disco, electronic and prog rock; featuring composers such as Stelvio Cipriani, Franco Micalizzi, Roberto Donati, Carlo Rustichelli, Nico Fidenco, Ennio Morricone, Fabio Frizzi,...

One of the formative events in my journey toward cinephilia was finding a copy of Cathal Tohill and Pete Tombs' invaluable text on European art film and sexploitation, Immoral Tales.  I would open it randomly to a page almost daily and find some of the most interesting sounding films at my fingertips.  I haven't yet managed to watch all of them, I man never manage that, but it gave me a point of departure for exploring the very specific type of of film really only made in Europe in the late 50's through the 70's.  The auteurs given greatest attention in the boook have turned out to be some of my favorites, the kind of people who could make a sexy horror or fantasy film that felt like a work of art.  Sure, some of them were trashy, many of them were over the top, and some even were pornographic,...