With its neon heart bruised by unrequited sincerity, Egoyan's EXOTICA (1994) devises a house of mirrors as the machinery for faulty observation where surveillance is mistaken for knowledge & ritual for desire—each gaze refracting the unspoken into a weight to be borne, not lifted.

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.

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.

👨‍🍳💋🤌

#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.

😆☠️