What better way to usher in fall than Martino’s occult odyssey ALL THE COLORS OF THE DARK (1972), protean visual organization upseting a giallo framework while a closer reading hints at parallels between the vying interests of its heroine’s life & the stripping of her agency. 🍁

Crispino's giallo AUTOPSY (1975) courts death with a lover's persistence, cooking its oblique moral viewpoint over intense August heat while protagonist Simona lives to work (at the morgue), unravels daddy issues, & collects emotionally unavailable men like Pokémon. I feel seen.

Balcázar's NIGHT OF THE SCORPION (1972) is more than just a zany paint-by-numbers whodunnit, whisking the lugubrious familial strife of Gothic melodrama, Hitchcock's obsession with the past & ridiculous giallo drawing room intricacy into a degenerate batter of masochistic longing

Enfolded by the emotionally kaleidoscopic perspective of a fractured psyche, Bazzoni's FOOTPRINTS (1975) is the most unfairly hidden gem in Italy's giallo film chest of treasures, flipping tropes to render the implied black gloved pursuer as inescapable horror of the unknown self

Garrett’s EXCITAÇÃO (1976) puts a sumptuously sinister spin on pornochanchada with a Gaslight/Diabolique giallo chassis doused in marital menace & supernatural shenanigans, Reichenbach’s shot composition making it a visual standout of the woman slowly loses mind cinematic subset.

A nightclub singer blackmails her way into the grave in Chen Lo’s deliberately paced modtastic mystery RAW PASSIONS (1969), pointing a slick black-gloved finger at the burgeoning Italian giallo with copious amounts of red herrings, baroque interiors, & outré camerawork! #Shawgust

Today is a holy day… Happy Evil Evelyn Day to those who celebrate #OTD #HBDEvelynCunningham #HBDEvelynWildenbrück #TheNightEvelynCameOutOfTheGrave #TheRedQueenKillsSevenTimes #Giallo #Gothic #EmilioPMiraglia

The hills have eyes Viy (1967), Konstantin Yershov & Georgi Kropachyov // All The Colors Of The Dark (1972), Sergio Martino #sidebyside #NatalyaVarley #EdwigeFenech #gothicgals

Left up to my own devices while my partner self quarantines, I spent the afternoon McKAY's acquiring a pile of goodies—then looked over my shoulder the whole way home because it cost me way less than it should’ve… Where do I even start here?🤔😍 #PhysicalMedia #shoplocal

A bloated cornucopia of blasphemous barbarity & stained-glass sadism, Toei goes Eurociné nunsploitation potboiler Norifumi Suzuki’s SCHOOL OF THE HOLY BEAST (1974) is a warped nativity pageant of sacrosanct revenge via savage erotic odyssey as visually pleasing as it is perverse.

The current swell of Alien franchise revisitation brings to mind that other Cillian Murphy builds a bomb film, Boyle & Garland's Promethean space slasher SUNSHINE (2007) which deploys its god science skirmishes in blinding opposition points to the idea fear is evoked by darkness.

Shirley Jackson is brat #ShirleyJackson #EnglishTeacherJokes #BratSummer #BackToSchool #Bye

A slice of Johnny Wang good holy god gratuity that predates the Heroic Bloodshed boom, HONG KONG GODFATHER (1985) leaves it all on the floor & sops up the blood with whatever akimbo limbs remain in a finale that should sit next to the word brutal on the OED's database. #Shawgust

Oh I, I just died in your arms tonight It must've been some kind of kiss I should've walked away A Bay of Blood (1971), Mario Bava // Friday the 13th Part 2 (1981), Steve Miner #sidebyside #giallo #slasher #parallelparking

Me decorating for Halloween vs. Me as my neighbor asks me if I’m aware it’s only September 1st #LaborDayWeekend #GeorgeHilton

We did it #giallofilmtwitter My work here is done 🥃🧥🔪👁

Set in a Venice as laden with melancholia as the lives of its inhabitants, Lado's giallo WHO SAW HER DIE? (1972) is as much about shame as it is intrigue, unflinchingly powered by a bereaved pre-Roeg father unraveling conspiratorial threads in an attempt to assuage his own guilt.

Not only is HUNCHBACK OF THE MORGUE (1973) one of Paul Naschy's best performances, but a fine example of why a monster kid making monster movies rules with nary a gothic trope neglected from dungeons & doomed love to reform school hijinks & an outlandish primordial blob humanoid.

"My intention was to build a narrative device that, in a crescendo of domestic violence & urban horror, could make the viewer's emotional journey into the intricate puzzle of the plot unbearable--but at the same time attractive." ~ #BOTD 🎂Maestro Dario Argento on DEEP RED (1975)

A maudlin ex-con cleans house for 3 sisters enslaved by each other's demons while a Frère Jacques humming enucleator terrorizes the campagne in Naschy's stab at giallo THE BLUE EYES OF THE BROKEN DOLL (1973), a surprisingly disquieting apex in his cinematic partnership with Aured