 By Denis Winston Brum A man is framed through the noose of the gallows attached to his living room ceiling while the soundtrack accompanies the fast beating of his heart. This unexpected shot opens “Excitação”, director Jean Garret's second film, a rare horror title at a time when Brazilian cinema suffered under the military dictatorship's political censorship. Born in Açores, Portugal, José Antônio Nunes Gomes e Silva arrived in Brazil to work as a photographer. He soon found himself under the tutelage of José Mojica Marins, better known internationally as Brazilian horror titan Coffin Joe, and performed several singular jobs in the master’s productions. Adopting the alias Jean Garret, he got involved in a film genre known as “pornochanchada”, a mix of popular comedy seasoned with some light nudity and completely avoiding any political content. His first film in this genre was the dramatic, romantic, erotic, and full of surrealist touches, A Ilha dos Desejos. Just a couple of years later, in 1976, making a full turn into the horror genre, he chose Excitação for his second directorial effort, sharing script duties with Ody Fraga, a well-known name in Brazilian exploitation cinema.  Renato, an engineer responsible for programming computers more passionate about machines than people, isolates his beautiful wife Helena from the big city pressure in order for her to recover from a nervous breakdown. The chosen mansion of solitude is located next to a beautiful natural landscape at the end of a sunny beach, without Helena knowing that a suicide was committed in this same house. Roberto leaves his unstable wife by herself most of the time and, to complicate matters, Helena has Arlete, the suicide’s widow, as her only neighbor.  When she tries to relax in a bath, the shower pours increasingly hot steam over her. She finds herself locked in the bathroom and barely escapes with a local fisherman’s help. Renato dismisses the incident, attributing it to a hallucination resulting from her nervous breakdown. The scale of inexplicable events grows as the television set turns on by itself and displays a late-night horror movie. Soon, every electronic device seems to take on a life of its own. Helena is also disturbed by apparitions of the man who hanged himself in her living room. Renato receives all this with skepticism. Unaware that she is having an affair with her husband, Helena finds little solace in Arlete’s company.  Under this tense atmosphere, the arrival of Arlete’s cousin Lu, who has fun teasing each one of them with her hedonist life philosophy, messes up the situation. In a faith paradox typical of Brazilian society, after Lu reveals that the suicide of her visions took place in her own home, Helena goes to a Catholic Church and also brings a group of Umbanda, an African-based religion, to perform a spiritual cleansing in the house’s living room, in an attempt to help the dead man’s soul to find rest. Things go quiet for a little while and Helena feels strong enough to try to seduce Renato, and rescue the romance in her life, but she suffers a cold rejection from him.  The attacks return more aggressively than ever, and Helena strongly believes that she is in contact with the dead man’s vengeful spirit. The ending reserves a couple of twists, none of which are so easy to guess. Unlike many exploitation films of this period, which seems to lengthen scenes to ensure enough time and find distribution as a feature, the lean script was written in a way that delves into situations and characters without repeating itself.  For the main roles, Jean Garret casts Kate Hansen (Helena), Flávio Galvão (Renato) and Bety Saddy (Arlete), well-known faces from the TV soap operas, and added Zilda Mayo (Lu), protagonist of countless pornochanchada productions as a support player. As the dialogs were dubbed later, this often affects the spontaneity of the cast’s performance. Even so, Kate Hansen stands out as the tormented and neglected wife, especially when Helena accelerates her descent into madness. Flávio Galvão projects all of Renato’s unbalanced human coldness and technological passion. Bety Saddy composes Arlete with an ambiguous sweetness, making her convincing when she loves, helps or betrays others. The underrated Zilda Mayo portrays Lu with an extra layer of sassy, having fun delivering her dialogs that challenges prevailing morals. The São Paulo coast serves as the main location elevating the production values with its natural beauty.  Brazilian exploitation productions used to rely on stock music in their soundtracks. In “Excitação”, Beto Strada’s original score flirts with the electronic music that would dominate world cinema in the following decade. Almost entirely electronic, the theme that accompanies the attacks by machines against Helena proves to be very efficient. The film is also far ahead of its time in employing abrupt changes in soundtrack volume as scare tactics. “Excitação” resorts to ingenious, very well-edited, practical effects to simulate machine attacks and supernatural events. These scenes contributed to the suspense and shock in the darkness of a 1970s movie theater; however, it is undeniable that those effects have suffered with the passage of time and, it will not be surprising, become laughable to current audiences.  Jean Garret avoids using the handheld camera as much as possible, opting for smooth pans and tracking shots. Always framing the house in a long shot, the director illustrates Helena’s isolation. To achieve a claustrophobic feeling, most of the time he frames Helena through windows, door frames and in the background of ceiling lamps. Wide shots are only used when she is in other character’s company. Jean Garret aesthetic refinement even helps to disguise the production’s limited budget. Realized through pornochanchada's cheap production values, this unexpected blending of technological and supernatural horror seasoned with a giallo pinch is Jean Garret's unique, fascinating contribution to the Brazilian horror genre.  In the mid-1980s, Brazilian cinema faced one of its many crises, and, at the end of his short career (he only lived to be 50 years old), the need to survive led Jean Garret to get involved with pornography, as did a considerable number of Brazilian filmmakers. “Excitação” was never released on home video, and, as it were a ghost from cinema eras past, can be rarely seen haunting Brazilian late-night cable TV.
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by Jimmy O'Hara
Source: Etheria Film Festival 2024 Teaser 1. Submit to self at the mercy of an army of cannibalistic teeth.
2. Worship at the altar of a cheesy marinara god.
3. Battle demons from the passenger seat of a predatory automobile.
4. Join a fair/competitively priced pyramid scheme headed by THE Barbara Crampton! (And THE Ax Man!)
5. Stream ETHERIA FILM NIGHT 2024, a short film festival dedicated to championing female identifying genre filmmakers, on Shudder NOW!
2. Worship at the altar of a cheesy marinara god.
3. Battle demons from the passenger seat of a predatory automobile.
4. Join a fair/competitively priced pyramid scheme headed by THE Barbara Crampton! (And THE Ax Man!)
5. Stream ETHERIA FILM NIGHT 2024, a short film festival dedicated to championing female identifying genre filmmakers, on Shudder NOW!
Source: Etheria Film Festival 2024 Teaser
A delightfully dreadful and diverse showing of genre filmmaking promoting independent Women filmmakers within the industry, both on and off screen! From body snatching folklore to edible eldritch horror to a satirical, social media induced slasher, these nine short selections from Women writers, directors, producers, and stars entertain a wide variety of chills, thrills, and overall good genre entertainment (and all under 120-minutes)!
Source: Etheria Film Festival 2024 Teaser
Kicking things off with the equal parts cheeky and GORY “creature” feature, Tooth, writer Katie Gault and director Jillian Corsie bring a new meaning to “body horror”. Janine Peck stars in a near silent but sensational performance as an elderly woman attacked by her own…teeth!?! Stylish, funny, and BLOODY from start to finish! These teeth have literal teeth and…well, let’s just say that these cannibalistic canines bite back!
Source: Etheria Film Festival 2024 Teaser
Faye Jackson’s Ten of Swords brings its own unique hunger. Theo Solomon stars as a zombie with not only a constant craving, but ALSO a conscience as the latest victim of a late-stage capitalistic venture seeking to monetize…the afterlife?!? And these zombies don’t moan and groan all day! Instead, they hold blue collar jobs, perform musical numbers, and form undead unions of likeminded, reanimated proletaries.
This gritty allegorical critique offers a chillingly close glimpse into a not-so-distant future society SUFFERING (both living AND dead) under capitalism. A sleek display of postmodern science fiction and jam packed with brutally symbolic imagery, touchingly nuanced performances, and visually dynamic direction. Jackson’s story makes the strongest case for feature-length adaptation with vast potential for lore expansion within her meticulously crafted universe.
This gritty allegorical critique offers a chillingly close glimpse into a not-so-distant future society SUFFERING (both living AND dead) under capitalism. A sleek display of postmodern science fiction and jam packed with brutally symbolic imagery, touchingly nuanced performances, and visually dynamic direction. Jackson’s story makes the strongest case for feature-length adaptation with vast potential for lore expansion within her meticulously crafted universe.
Source: Etheria Film Festival 2024 Teaser Video
Sofie Somoroff’s Ride Baby Ride, an antithesis to John Carpenter’s Christine (1983), matches the colorfully whimsical atmospheres established in both aforementioned outings brilliantly, but subtextual exploration of gender roles and female sexual assault dissolves far less comfortably than themes addressed in preceding festival romps. The short runtime is intentional, choosing to abandon the audience as quickly as possible in an effort to disarm their sensibilities throughout the violent action sequence.
A non-stop heart racer of (wo)man vs. beast. A young, female mechanic in the middle of nowhere fighting for much more than just her life. The audience can’t help but be affected until after the credits roll.
So fast paced, so action packed, so thrilling that it is only capable of being fully digested in the aftermath. A rather disarming and confounding viewing experience that is eerily emblematic of what survivors experience in the wake of an assault.. Subversive, stifling, surreal!
A non-stop heart racer of (wo)man vs. beast. A young, female mechanic in the middle of nowhere fighting for much more than just her life. The audience can’t help but be affected until after the credits roll.
So fast paced, so action packed, so thrilling that it is only capable of being fully digested in the aftermath. A rather disarming and confounding viewing experience that is eerily emblematic of what survivors experience in the wake of an assault.. Subversive, stifling, surreal!
Source: Etheria Film Festival 2024 Teaser Video
And yet, it is Grace Rex’s alluringly unnerving The Shadow Wrangler that steals the show with a provocative probe into the (increasingly) blurry psyche of a smut novelist as she is haunted by metaphysical ruminations of grief. The heavily stylized worlds, of both the writer’s reality and her fiction, clash violently in melodramatic juxtaposition. All seamlessly produced with refreshing polish by writer/director Rex and held together by Mitzki Akaha’s star-making performance in the leading role; equal parts tenacious and grounded, Akaha navigates comedy, drama, and horror with sultry magnetism and cool, veteran-like ease.
No matte backdrops, painted with fields of bright flowers hidden between puffy pink clouds, nor romantic sunsets, washing out debonair highwaymen from the dirtiest, wettest dream, can color the dark shadows that creep within this lonely writer’s apartment. A visual FEAST, Rex is the real deal and Akaha has serious chops to match! A duo made in Hollywood heaven (which probably is nowhere near as stunning as that opening sequence)!
Source: Etheria Film Festival 2024 Teaser Video
The festival closes out on the high note with the most hilariously absurd (complimentary) piece for last, Brea Grant’s MLM. Horror legend Barbara Crampton is at the center of a horrific scam aimed at utilizing social media to victimize wealthy, and lonely, suburban housewives. Comedic tour de force’s Jessika Van and Courtney Pauroso succumb to the negative consequences of their “feminist” subscription as the final act, fully allowing the leading duo to show off their range as actors in a meta comedic display of slapstick, satire, and slasher HORROR. The subscription may be terminal, but shipping is free!
Etheria Film Night 2024 is also free to view on their website AND Shudder! Horror fans, be sure to support these works (and more!) from up-and-coming Women filmmakers…or else face the wrath of the Ax Man!
Etheria Film Night 2024 is also free to view on their website AND Shudder! Horror fans, be sure to support these works (and more!) from up-and-coming Women filmmakers…or else face the wrath of the Ax Man!
Nathan sat in the cold booth, clinging on to the scalding hot cup of coffee so tight that his knuckles had turned white.
His fingers weren’t the only part of his body that craved heat, but his situation wasn’t so dire that he was ready to fling hot coffee at his own face.
As he sat, he looked up at the old, barely functioning television positioned above the counter.
His fingers weren’t the only part of his body that craved heat, but his situation wasn’t so dire that he was ready to fling hot coffee at his own face.
As he sat, he looked up at the old, barely functioning television positioned above the counter.
“Now we turn our attention back to The Moose – a killer, as violent as he is enigmatic, that has been prowling the otherwise peaceful streets of Canada. The latest is he has claimed another victim. Maple Creek local man Jason Jones was found in what is thought to be a disused meth lab hanging upside down with all of his blood drained into steel drums.”
Nathan grimaced and took a sip of the burning liquid, smiling as it washed over his numb lips. Nathan tried to shut the newscast about The Moose’s rampage out of his mind – after all, he thought, if anything was going to kill him that night, it would be ice on the roads.
Nathan grimaced and took a sip of the burning liquid, smiling as it washed over his numb lips. Nathan tried to shut the newscast about The Moose’s rampage out of his mind – after all, he thought, if anything was going to kill him that night, it would be ice on the roads.
That’s what Nathan thought. But Nathan, of course, thought wrong.
After Nathan had suitably warmed himself and got some food and coffee into his stomach, he ventured back out into the cold. The wind had settled somewhat, and the snow had lifted; if he made good time, he could still get to his destination before nightfall. As the sun sank below the horizon and darkness overtook the night, Nathan was thankful for the coffee he’d drank back at the rest stop. He flicked his lights on full, and just a few yards ahead, the beams illuminated a sight he never thought he’d see…
A hitchhiker!
He slowed his car down and pulled into the layby a few yards ahead of the woman, who excitedly picked up her weatherbeaten backpack and ran over.
“Hey!” she said breathlessly. "Thanks for stopping.”
“No worries.”
“Where are you heading?”
“Maple Creek. Where are you hitchhiking to?” he asked.
The woman laughed, a relieved smile forming. “Maple Creek," she said, beaming.
Nathan unlocked the car doors. “Well, if you want to hitch a ride, you’re welcome to.”
He slowed his car down and pulled into the layby a few yards ahead of the woman, who excitedly picked up her weatherbeaten backpack and ran over.
“Hey!” she said breathlessly. "Thanks for stopping.”
“No worries.”
“Where are you heading?”
“Maple Creek. Where are you hitchhiking to?” he asked.
The woman laughed, a relieved smile forming. “Maple Creek," she said, beaming.
Nathan unlocked the car doors. “Well, if you want to hitch a ride, you’re welcome to.”
“Yes please.” The woman said enthusiastically. She opened the passenger door and got in, stuffing the backpack in the footwell. Nathan pulled out of the layby and back onto the road – the road which was far less populated than it had been earlier in the day. Not that Nathan minded that – he was a man who enjoyed the romanticised idea of one man in a vehicle on the open highways of Canada.
“So, why Maple Creek?”
“I was born there, I have family there. Just visiting, got to keep up my Good Daughter Score," she said with a laugh. “Oh shit, how rude am I? I’m Megan. Thank you for stopping.”
“I’m Nathan. It was a pleasure to stop," he said with a dopey grin.
The drive passed pleasantly with the two of them exchanging stories about growing up in Maple Creek and offering opinions on the stories that were making the news. Of course, the discussion got more serious and somber in tone when the story of The Moose’s reign of terror was inevitably brought up on the news.
“I was born there, I have family there. Just visiting, got to keep up my Good Daughter Score," she said with a laugh. “Oh shit, how rude am I? I’m Megan. Thank you for stopping.”
“I’m Nathan. It was a pleasure to stop," he said with a dopey grin.
The drive passed pleasantly with the two of them exchanging stories about growing up in Maple Creek and offering opinions on the stories that were making the news. Of course, the discussion got more serious and somber in tone when the story of The Moose’s reign of terror was inevitably brought up on the news.
“That’s scary shit.” Megan mumbled flatly, her posture changing. She shrank back in her seat and began to fidget nervously, her eyes darting around as if she were looking for an escape route. Nathan noticed her movements out of the corner of his eye.
“Hey, are you okay?”
“Yeah, yeah, I’m fine," she said, a little too quick… quick enough for Nathan to realise that she was lying.
“I can change the station?” he offered. Megan shifted nervously.
“You can let me out here.”
“What?”
“Here. Let me out. Please.”
“But…”
“Hey, are you okay?”
“Yeah, yeah, I’m fine," she said, a little too quick… quick enough for Nathan to realise that she was lying.
“I can change the station?” he offered. Megan shifted nervously.
“You can let me out here.”
“What?”
“Here. Let me out. Please.”
“But…”
“Now. Please.” She snapped, now looking visibly distressed. Nathan relented and parked up in a layby and unlocked the door. Megan grabbed her backpack and got out of the car. She reached into her backpack and pulled out an expensive-looking flashlight, switched it on, and began to walk quickly. Nathan killed the engine and got out of the car.
“Megan.” He called. She turned around. He was bathed in torchlight.
“What?”
“Why are you leaving? Is it because of the news? Are you scared?”
“Of course I’m fucking scared.”
“And you don’t trust me?”
“You’re a man.”
“Megan.” He called. She turned around. He was bathed in torchlight.
“What?”
“Why are you leaving? Is it because of the news? Are you scared?”
“Of course I’m fucking scared.”
“And you don’t trust me?”
“You’re a man.”
“Megan, we’re going to the same place. You can trust me. I’m not The Moose," he said softly in a measured tone. Megan stared at him, unblinking for a few moments before exhaling heavily. She trudged slowly back over to him. When she was closer, she looked into his eyes.
“I’m sorry.”
“It’s okay, it’s okay to be scared. But you don’t have to worry about me. Like I said: I’m not The Moose," he said with a friendly smile. Megan returned the smile.
“I’m sorry.”
“It’s okay, it’s okay to be scared. But you don’t have to worry about me. Like I said: I’m not The Moose," he said with a friendly smile. Megan returned the smile.
“I know," she said before slamming the head of the flashlight into Nathan’s temple. He yelled out in pain and went down. His head slammed into the bonnet of his car as he fell. Megan rushed to his side and checked his pulse – he was still alive. Nathan groaned and his leg twitched, but Megan was quick and slammed the torch against his temple again. Nathan’s head slumped forward. She heaved Nathan into the passenger seat, and she got into the driver’s seat, adjusted the positioning of the seat, and drove off into the night.
***
***
Nathan let out a loud moan as he woke up.
He opened his eyes and then quickly shut them again as a stinging liquid hit his irises. He turned his head, opened his eyes slowly, and saw that his arms and legs were bolted to the ground. He couldn't move.
In an erratic exercise in futility, Nathan tried to free his limbs, but alas, he was unable to. He tried to work his hands or legs free – the foul-smelling liquid had made him wet and slick – but the restraints were much too tight.
He was most certainly trapped.
He opened his eyes and then quickly shut them again as a stinging liquid hit his irises. He turned his head, opened his eyes slowly, and saw that his arms and legs were bolted to the ground. He couldn't move.
In an erratic exercise in futility, Nathan tried to free his limbs, but alas, he was unable to. He tried to work his hands or legs free – the foul-smelling liquid had made him wet and slick – but the restraints were much too tight.
He was most certainly trapped.
The sprayers overhead ceased spraying and Nathan was left in silence – without the sound of the sprinklers to distract him he became acutely aware of just how sodden he was and how putrid the stench was. He heard the door open and now that he was able to he opened his eyes and looked at the figure who was approaching him. She was wearing a containment suit, but Nathan still recognised her – it was Megan. She’d hit him in the head with a torch!
“What do you want? Why am I here?” he asked, struggling to keep his composure as some of the mystery liquid seeped into his mouth. “And what the fuck is this shit?” he spluttered. Megan chuckled.
“Well, let’s see,” she began, “let’s start with the liquid, shall we? That is a mixture of cedar oil and beaver pheromones.”
“What the…”
“You’re here,” she interrupted, “because what baby wants, baby gets. And I’m baby.”
She walked to the door that she had come through and turned. “Oh Nathan, as for what I want, I would have thought that would be rather obvious to you. I want you to die.”
She turned to leave.
“Well, let’s see,” she began, “let’s start with the liquid, shall we? That is a mixture of cedar oil and beaver pheromones.”
“What the…”
“You’re here,” she interrupted, “because what baby wants, baby gets. And I’m baby.”
She walked to the door that she had come through and turned. “Oh Nathan, as for what I want, I would have thought that would be rather obvious to you. I want you to die.”
She turned to leave.
“Why me? What the fuck have I ever done to you?” Nathan yelled desperately. Megan stopped and turned around.
“Nathan, you’ve done nothing to me. We’ve never met before. I don’t know you, you don’t know me. Why you? Because you stopped. If you’d carried on driving, someone else would be here instead of you. You may be the main character in your own story, but in my story… you’re a footnote. This isn’t about you, this is about me. I like to kill people. I am The Moose!” She turned and left the room as Nathan yelled uselessly for help.
The door closed.
It locked.
“Nathan, you’ve done nothing to me. We’ve never met before. I don’t know you, you don’t know me. Why you? Because you stopped. If you’d carried on driving, someone else would be here instead of you. You may be the main character in your own story, but in my story… you’re a footnote. This isn’t about you, this is about me. I like to kill people. I am The Moose!” She turned and left the room as Nathan yelled uselessly for help.
The door closed.
It locked.
All around the room, small segments of the wall opened, revealing pitch-black apertures – and from within Nathan could hear a scratching sound. A scratching sound that was getting progressively louder as something, or some things, approached at speed.
“What’s happening, what’s going on?” Nathan screamed, his voice cracking and leaving his mouth as a high-pitched squeal.
The scratching noise reached a crescendo and a horde of beavers swarmed into the room. The beavers were in a frenzy – they could smell the pheromones and the smell of wood – they were consumed with the urge, the need to strip bark and mate. All of the beavers that had flooded into the room were male, and as the lack of wood and viable mates became ever more apparent, their confusion and fear swiftly changed to anger and frustration. At first, they snapped and swatted at each other, but animals so often work together, especially when they are up against a foreign threat. And so it was that their aggression towards one another paused and was turned upon the large pink creature on the ground. One beaver tentatively nipped at one of Nathan’s exposed toes.
“What’s happening, what’s going on?” Nathan screamed, his voice cracking and leaving his mouth as a high-pitched squeal.
The scratching noise reached a crescendo and a horde of beavers swarmed into the room. The beavers were in a frenzy – they could smell the pheromones and the smell of wood – they were consumed with the urge, the need to strip bark and mate. All of the beavers that had flooded into the room were male, and as the lack of wood and viable mates became ever more apparent, their confusion and fear swiftly changed to anger and frustration. At first, they snapped and swatted at each other, but animals so often work together, especially when they are up against a foreign threat. And so it was that their aggression towards one another paused and was turned upon the large pink creature on the ground. One beaver tentatively nipped at one of Nathan’s exposed toes.
“Ow, you motherfucker!” he yelled. Another beaver - this one much bigger and evidently much bolder - rushed forward and sank his large teeth into one of Nathan’s love handles and tore away a small chunk of flesh. The wound wept thick tears of blood as Nathan howled at the ceiling. The beavers quickly realised that their foe was little threat to them, and so, one by one, they rushed forward to take a bite.
One bite turned to a second bite and a second bite turned to a third. The hungry, aggressive beavers severed with their mighty teeth, rending flesh, stripping muscle, slicing tendons with each bite, all the while Nathan screamed incoherently and wept.
One bite turned to a second bite and a second bite turned to a third. The hungry, aggressive beavers severed with their mighty teeth, rending flesh, stripping muscle, slicing tendons with each bite, all the while Nathan screamed incoherently and wept.
A sizeable cluster of the blood-sodden beavers rushed to Nathan’s neck and began to chew, and as their hunger grew and their frenzied tearing continued, Nathan’s screams became quieter and quieter.
His screams were completely and utterly silenced when one of the fatter beavers, who had worked up a monstrous appetite, tore apart Nathan’s throat and eagerly dived in. Its teeth shredded his windpipe and silenced his impotent screams, and as his body filled with spilled blood, and as the animals worked their way inwards, he looked up.
And as he died, as his vision turned black, the very last thing he saw was a particularly fat beaver clambering onto his face.
This beaver had a hunger…
for eyes.
FIN.
His screams were completely and utterly silenced when one of the fatter beavers, who had worked up a monstrous appetite, tore apart Nathan’s throat and eagerly dived in. Its teeth shredded his windpipe and silenced his impotent screams, and as his body filled with spilled blood, and as the animals worked their way inwards, he looked up.
And as he died, as his vision turned black, the very last thing he saw was a particularly fat beaver clambering onto his face.
This beaver had a hunger…
for eyes.
FIN.
Huckleberry Watts
writes about monsters, murders and mayhem. He spends his time being a perpetual disappointment to everyone who knows him and dreaming up horror stories. If you want good horror… read Stephen King. If you want the written equivalent of an obscure low-budget horror flick available only on Tubi, then read Huckleberry Watts.
Huckleberry Watts currently resides in your attic… it desperately needs a clean.
by Jimmy O'Hara
Source: Silent Night, Deadly Night 4: Initiation - Official Trailer
5. Silent Night, Deadly Night 4: Initiation (1990)
In the subversive fourth sequel to the 80s Santa-slasher franchise, the jolly nosed, ax wielding maniac is replaced with a cult of lesbian coded witches who worship satanic bugs during the sacrificial holiday season.
Source: Silent Night, Deadly Night 4: Initiation - Official Trailer
Sex, hedonism, and body horror, all staples of any Brian Yuzna film, are on full display in this nastily gory and disgustingly stunning showcase of costuming, make up, and practical and visual effects.
Source: Silent Night, Deadly Night 4: Initiation - Official Trailer
Fans of cult film Society (1989) will be pleased to realize Yuzna is able to utilize his signature gnarly style in horrifyingly staunch juxtaposition against the cheery holiday setting, creating an unforgettable, self-contained sequel installment that is able to stand on its own two…or six…legs.
4. Adult Swim’s Yule Log (2022)
Source: Fireplace Yule Log | adult swim
Charmingly surreal, psychedelically horrifying, and effectively hilarious; all the renowned trademarks of THE Adult Swim network! And throwing in a surprisingly evocative dive into historical fictitious lore, an equally nuanced subtextual analysis of class divide, and the perfect hint of extra-terrestrial cosmic horror ensures this found-footage horror-comedy TV movie will warm horror lovers of all ages on one of those cold summer nights.
Whether on vacation like the main heroine, or just trying to dream of cooler, winter days ahead to get you through the hot July, an annual Yule Log viewing is the perfect untraditional tradition!
Whether on vacation like the main heroine, or just trying to dream of cooler, winter days ahead to get you through the hot July, an annual Yule Log viewing is the perfect untraditional tradition!
3. Cuento de Navidad (2005)
Source: CUENTO DE NAVIDAD (Películas Para No Dormir) - Trailer español
Is there anything more horrifying than the loss of youthful innocence? In many Western cultures, the myth of Santa Claus is held most dearly by the youngest and most innocent within society. Fitting that this Spanish Santa-slasher indie film would use the jolly holiday as a chillingly naughty allegory for societal greed, human corruption, and animalistic vengeance surrounding a group of poor, young children looking to get rich quick in time to get everything they want for the holiday season. Layered, sympathetic, and brutal.
Source: CUENTO DE NAVIDAD (Películas Para No Dormir) - Trailer español
2. Anna and the Apocalypse (2017)
Joy to the world, peace on earth, and goodwill to all men and…zombies?! This critically acclaimed, Scottish indie horror-action MUSICAL (and future cult classic) has enough energy, heart, and meat (pun intended) to remind viewers of the true reasons for the holiday season!
Source: Anna and the Apocalypse Official Trailer
There's plenty of suspense, horror, and gore to keep every horror lover engaged as well! Anna and the Apocalypse is a profound display of indie filmmaking, musical storytelling, and genre exploitation coming uniquely together to create a wholly original and subversive, yet classic, modern-day epic of adolescent, apocalyptic, and acoustic proportions! Anna and her merry band of survivors will make you laugh, cry, and sing along all summer!
1. Silent Night, Bloody Night (1972)
Source: Silent Night, Bloody Night (1972) - Trailer
A horror masterpiece that must be experienced to be believed, Silent Night, Bloody Night is a holiday gothic nightmare filled to the brim with mood, atmosphere, and period allure. A haunted old mansion with a sinister backstory, a small-town urban legend turned deadly conspiracy, and a violent, ax-wielding psychopath leaving threatening phone calls ties an ensemble of colorful victims together in this early proto-slasher gem. Featuring Killer POV shots predating Black Christmas (1974) and Halloween (1978) that effectively crafts a visceral, slow burning sense of dread that meanders within the stone halls of the haunted house, lingering throughout the film to yield a sense of voyeuristic intimidation.
Source: Silent Night, Bloody Night (1972) - Trailer
A predator stalks its prey! The murder mystery is heavily stylized, atmospheric, and reminiscent of golden age Italian giallo classics (think your favorite Argento). It also serves as an early blueprint for the American slasher craze that would soon begin to BOOM in the latter half of the 70s decade; conventions of which would be imitated in more famous titles like Black Christmas (1974), When A Stranger Calls (1979), and, of course, Halloween (1978).
And the entire drama unfolds to the most deliciously foreboding score that dances along with the dialogue, adding to and/or diluting the suspense in waves; it successfully matches the trepid uncertainty contained until the final moments.
And the entire drama unfolds to the most deliciously foreboding score that dances along with the dialogue, adding to and/or diluting the suspense in waves; it successfully matches the trepid uncertainty contained until the final moments.
Source: Source: Silent Night, Bloody Night (1972) - Trailer
It is in these last beats of the films where the true horrors are revealed in incredible German expressionist silent film era glory - the iconic hymn after which the title is named chimes in minor harmony with the credits. A full circle ending that calls back to the opening title card sequence.
The action of the plot in between these cyclical moments, self-contained to two Christmas Eve nights exactly two decades apart, starts and ends with the famed holiday. Christmas comes and goes every year, and it will come again. Just like the horrors of life, none of which care about ruining the holiday season!
The action of the plot in between these cyclical moments, self-contained to two Christmas Eve nights exactly two decades apart, starts and ends with the famed holiday. Christmas comes and goes every year, and it will come again. Just like the horrors of life, none of which care about ruining the holiday season!
Connie wrote me a letter. She’s a cat, so this is a metaphor. She sent me a message through her squinty little eyes: You idiot, said Connie’s Eyes. You promised them these Bitter Bites weekly.
What’s a week in wolf years? Four weeks? Two months?
Connie’s Eyes are always this combative and degrading, yes.
But perhaps I deserve it! Whatever the case may be, I’m sorry for the delay, and here’s my most recent assembly of horror goodies:
I watched two movies with Sean Harris recently, A Lonely Place To Die (2011) and Possum (2018).
One’s about a climbing trip gone wrong, and the other’s about a climbing, trippy spider puppet with a doll’s head named Possum. The puppet is creepy as shit. I’m not going to spoil it here but take a wolf’s word for it.
As a result of Possum's oppressive nature and general creepiness, Sean Harris makes this face a lot:
One’s about a climbing trip gone wrong, and the other’s about a climbing, trippy spider puppet with a doll’s head named Possum. The puppet is creepy as shit. I’m not going to spoil it here but take a wolf’s word for it.
As a result of Possum's oppressive nature and general creepiness, Sean Harris makes this face a lot:
Source: POSSUM Official Trailer (2018)
Frankly, I’d rather die in a lonely place than succumb to this Possum, but Sean Harris can still be scarier than either of those options!
Down (2001), Dick Maas’ remake of his own 1988 movie The Lift featuring several authentic New York accents and Naomi Watts, James Marshall, Ron Perlman, Michael Ironside, and Edward Hermann.
Elevators start acting up in a building with 100+ floors, and I mean really acting up. These elevators are possessed!
Down (2001), Dick Maas’ remake of his own 1988 movie The Lift featuring several authentic New York accents and Naomi Watts, James Marshall, Ron Perlman, Michael Ironside, and Edward Hermann.
Elevators start acting up in a building with 100+ floors, and I mean really acting up. These elevators are possessed!
Source: Down (2001) Trailer
Down features some of the most delightfully outrageous death sequences, and nobody is safe! Not old people, blind people, children, dogs (okay, sorry about this last one, everybody). An elevator drags one poor gentleman all the way up to the 100+th floor and spitoons him out right over the edge.
The mounting absurdity overflows in abundance, making this a very fun movie to watch. As Ron Perlman says, “We live in a vertical world! If you can’t trust an elevator, what the fuck CAN you trust?” I agree, Ron Perlman.
The mounting absurdity overflows in abundance, making this a very fun movie to watch. As Ron Perlman says, “We live in a vertical world! If you can’t trust an elevator, what the fuck CAN you trust?” I agree, Ron Perlman.
 Source: Bruno Mattei's THE TOMB - US Trailer |  Source: The Mummy Official Trailer #2 - Brendan Fraser Movie (1999) |
Now let's talk Bruno Mattei's The Tomb (2006). An archaeology team goes to Mexico to study ancient Mayan culture and hunt for buried treasure! It's silly but has some entertaining action and horror sequences.
I love Bruno Mattei, and I love Cruel Jaws, the only shark movie I’m aware of that pays homage to Star Wars by blatantly stealing its theme song! The Tomb takes a similar approach, embracing the idea that imitation is the sincerest form of flattery by merging narrative and visual elements of The Mummy (1999) and From Dusk Till Dawn (1996).
Do those seem like very specific references? Well, this movie features a rip-off of the entire Salma Hayek dance scene from FDTD, so you tell me!
For this reason alone, I'd say the movie is worth watching.
I love Bruno Mattei, and I love Cruel Jaws, the only shark movie I’m aware of that pays homage to Star Wars by blatantly stealing its theme song! The Tomb takes a similar approach, embracing the idea that imitation is the sincerest form of flattery by merging narrative and visual elements of The Mummy (1999) and From Dusk Till Dawn (1996).
Do those seem like very specific references? Well, this movie features a rip-off of the entire Salma Hayek dance scene from FDTD, so you tell me!
For this reason alone, I'd say the movie is worth watching.
Source: Children of Sin (2022) - Official Trailer
With Children of Sin (2022), director Christopher Wesley Moore delivers a twisted tale of religious trauma! Nothing brings out the bitterness of one particular wolf more than digging into the roots of extreme fundamentalism, and this one packs a punch.
A pair of siblings gets sent to a retreat to be cleansed of their sins and set back on a path of righteousness chartered solely by a singular old woman who lives alone with her beliefs and her secrets.
Never a good start to your day but ALWAYS a good start to a horror story!
A pair of siblings gets sent to a retreat to be cleansed of their sins and set back on a path of righteousness chartered solely by a singular old woman who lives alone with her beliefs and her secrets.
Never a good start to your day but ALWAYS a good start to a horror story!
Source: Children of Sin (2022) - Official Trailer
Jo-Ann Robinson shines as the pious headmistress, whose faith is so powerful, it causes her to run around terrorizing teens and waxing poetic in christo-crazed reveries! I’ve written in human form about how much I love Jo-Ann Robinson, and it’s fun to watch her take on a very different role from the one she tackled in When the Trash Man Knocks (2023).
That’s it for now, greasy humans! Watch these movies, or they may watch YOU instead!
About The Bitter Wolf
Part-time wolf.
Part-time human.
Full-time horror lover!
I live in a cat with my cat, Connie.
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