THE INVISIBLE GUEST
CONTRATIEMPO
2016, 106 min, Spain, Dir: Oriol Paulo

At the center of a locked-room mystery is Adrián Doria (Mario Casas), a successful businessman who has been discovered in a hotel suite with the body of his lover. Charged with murder, he enlists top-notch witness preparation expert Virginia Goodman (Ana Wagener). As the clock ticks down to the start of Doria’s trial, Goodman’s relentless questioning of her client’s defense brings to light some troubling inconsistencies. With strong performances and plenty of plot twists, this superbly crafted thriller delivers on the promise of Paulo’s earlier THE BODY.


RAWHEAD REX
1986, Kino Lorber, 89 min, Ireland/UK/USA, Dir: George Pavlou

Bursting from beneath thunderstruck Earth, Rawhead Rex shares more with the rubber-suit monster movies of yore than his much darker cousins, the Cenobites from HELLRAISER, though both were spawned from Clive Barker’s Books of Blood. Director George Pavlou took the ancient pagan God from Barker’s script and transformed him into a 9-foot-tall, punk-rock ogre moving at full ramming speed across the Irish countryside - no man, no child, no trailer park and especially no priest can withstand his unholy rampage.


OPERA
aka TERROR AT THE OPERA
1987, 100 min, Italy, Dir: Dario Argento

One of director Dario Argento’s greatest masterpieces, OPERA is a tour-de-force of deliriously cinematic setpieces surrounding the murderous production of an operatic version of "Macbeth." (The script was inspired by Argento’s attempt to mount "Rigoletto"!) Argento’s camera moves like a thing possessed: swooping, gliding, tracking a bullet through a peephole and, in one mind-bending shot, whirling around the opera house on raven’s wings. When a prominent opera star suffers a non-fatal car accident, her understudy Betty (Cristina Marsillach) must take on the role of Lady Macbeth. Coincidentally, a deranged madman goes on a homicidal rampage. Co-starring Ian Charleson and Daria Nicolodi (DEEP RED). “A violent aria of memory, bad luck, the artistic drive and the horror of the stare. … If you've pinpointed the identity of the film's killer, it's of little consequence - the genius of the film lies not in such details but in Argento's operatic attention to death and the way in which the film's killer forces Betty's gaze.” – Ed Gonzalez, SlantMagazine.com.


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