A travel experience, an encounter with other codes and other gods in a contemporary Lithuania. In the country where legends and pagan practices have survived the influence of the Catholic religion and later the Soviet bloc to feed a folklore still tenacious, weighs the strange sensation of presences belonging to another world.
A documentary that pays tribute to the horror genre, a nostalgic and intense journey with the spirit of rock, to the universe of cinema, the passion of fantasy told by its specialists, fans and world stars. An entire international spiritual community twinned under the cathartic shadow of horror.
Fulci talks uncut conversation with Lucio Fulci by Antonietta De Lillo is a ride through the cinema of the 'gorefather' Lucio Fulci, nicknamed also 'the genre terrorist', a director that went from the comedies to the thrillers, from the spaghetti western to the horror movies. It is a 'journey' through the Italian and the international movies he made, he knew, loved and, occasionally, he criticized too with a well-owned sense of humor and a smart mouth. Antonietta De Lillo, after 30 years from an in-dept interview she did with Fulci, done with the film critic Marcello Garofalo, brings to light this rare and precious shooting and creates the unexpected portrait of a great and refined 'craftman of cinema'.
Manuel Pérez Clemente (Barcelona, June 24, 1941) is one of the most important Spanish illustrators, with his art he has crossed borders and has managed to be recognized worldwide. "Sanjulian, the power of illustration" in a documentary in which we will go through the life and work of this spectacular artist, told by himself, whose illustrations captivated George Lucas himself.
A retrospective look at A Nightmare on Elm Street Part 2: Freddy's Revenge (1985) and the life of its lead actor, Mark Patton and the homoerotic subtext and the special place that the 'Nightmare' franchise keeps within the canon of gay cinema.
In 1965, three years before the release of George A. Romero's Night of the Living Dead, in Tucumán, director Ofelio Linares Montt shot Zombies in the Sugar Cane Field, a horror film with strong politi- cal allegories. The film opened in the us to great success, but when it was time for its Argentine release, in the midst of Onganía's regime, things went south and all trace of the film was lost. Following Lu- ciano Saracino, a writer in search for the film's original screenplay, Schembri's documentary researches the steps of this cursed classic, with a few surviving images and testimonies of critics, filmmakers and the beloved Isabel Sarli. At the end, an idea is summoned: aren't there too many "coincidences" between Linares Montt's and George A. Romero's films?