THE HOUSE BY THE CEMETERY
1981, Grindhouse Releasing, 82 min, Italy, Dir: Lucio Fulci

Italian director Lucio Fulci already had a track record of surreal giallo thrillers before he cranked out the DAWN OF THE DEAD knock-off ZOMBIE, which put him on the map with fans of extreme genre cinema. Dubbed the king of Italian goremeisters after following up with CITY OF THE LIVING DEAD and THE BEYOND, Fulci turned out this very atmospheric (and gory) ghost/zombie saga. Katherine MacColl and her husband and son move into an ancient house owned long ago by the insane medical experimenter Dr. Freudstein. Ghost sightings, mysterious disappearances and bloody killings begin, and the traumatized family wonders if perhaps the good doctor is still around.


THE GATES OF HELL (aka CITY OF THE LIVING DEAD)
Paura nella città dei morti viventi
1980, Grindhouse Releasing, 93 min, Dir: Lucio Fulci

If you like great photography, supernatural themes, painful insertions of carpentry tools, portals to Hell, vomiting-up of intestines and maggot-dripping zombies, this is the film for you. A priest commits suicide by hanging himself in the church cemetery of Dunwich, and the horrific act opens the gates of Hell. As zombies pour forth. a reporter, a psychic, a psychiatrist and his patient must close the gates before All Saints Day or the dead will destroy the world (in a creatively gory way, of course). Gruesome savant Fulci’s follow-up to ZOMBIE features fantastic makeup by Gino de Rossi and cinematography by Sergio Salvate.


THE BEYOND
…E TU VIVRAI NEL TERRORE! L’ALDILÀ
1981, Grindhouse Releasing, 87 min, Italy, Dir: Lucio Fulci

In director Lucio Fulci’s gothic masterpiece, Lisa (Catriona MacColl) inherits a decrepit New Orleans hotel and hopes to renovate it. What her real estate agent failed to tell her is that one of seven doors to Hell is in the cellar; after several gruesome accidents, the passageway opens, unleashing a horde of zombies. Both gory and surreal, Fulci's tribute to Antonin Artaud’s Theatre of Cruelty is not so much a film as a stunning series of brutal images - faces eaten by spiders, seeing-eye dogs gone mad, men losing eyeballs and, of course, blood-soaked bodies. With one of Fabio Frizzi's most menacing scores.


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