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Larraz had made the two movies under a pseudonym (Joseph Braunsteinn) and his champions tend to ignore them (authors Cathal Tohill & Pete Tombs devote a couple of sentences to them in Immoral Tales: European Sex & Horror Movies 1956–1984 after devoting several pages to the rest of his filmography).
Following Vampyres, he returned to Spain and broadened his genre scope with respectable melo/psychodramas, like El mirón (Spanish: The Voyeur, 1977), artful softcore, like The Coming of Sin (Spanish: La visita del vicio, 1978), and horror comedies, like The National Mummy (Spanish: La momia nacional, 1981), but, following a bit of a lull (and a TV miniseries covering the life of Goya in 1985), the market had turned towards Juan Piquer Simón’s brand of schlock, leading to the production of two gory, straight-to-video, American co-productions: Rest in Pieces (Spanish: Descanse en piezas, 1987) and Edge of the Axe (Spanish: Al Filo del Hacha, 1988). The combination of sex, violence, and artsy ambiguity he developed was exemplified by his sapphic bloodsucker opus, Vampyres (1974), which remains his signature film. and Die! and Please! Don't Go in the Bedroom, 1973) and Symptoms (also released as The Blood Virgin, 1974).
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Larraz’ work as a genre director began when he helmed a series of violent, Pete Walker-esque British thrillers, including The House That Vanished (aka: Scream. Director José Ramón Larraz’ movies sat right at the crossroads between each of these styles. But, before that brief period when Simón’s brand of lovable rubbish made its impact, Spain’s genre output was (similar to Italy) a healthy combination of Saturday morning serial-type throwbacks, sexploitation, thoughtful, adult-aimed stories, and arthouse horror. Following this downturn, Simón himself was among the region’s genre filmmaking leaders with goofball creature features Slugs (Spanish: Slugs, Muerte Viscosa, 1988) and The Rift (Spanish: La Grieta, 1990), after which a new guard took over and brought “prestige” to Spanish horror. North American slashers were already dying out, to say nothing of the pre-slasher Italian gialli that Spanish filmmakers had been mimicking since the ‘70s. By the end of the ‘80s, European horror was struggling to hold its place in the international market.
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It's all set to an equally eclectic score co-written by Pink Floyd's Nick Mason.ĭescribed by the distinguished critic David Thomson as "one of the great secret works in cinema", White of the Eye is one of the most bizarre and unforgettable thrillers ever made.Juan Piquer Simón’s Pieces (Spanish: Mil gritos tiene la noche, 1982) is the ne plus ultra of trashy Spanish slasher cash-ins, that much is true, but it certainly wasn’t the region’s final word on the matter. So far so familiar, but in the hands of British visionary Donald Cammell (who wrote and co-directed Performance with Nicolas Roeg), the film becomes a dazzling kaleidoscope of images and ideas, spanning everything from Apache folklore, desert landscapes and stylish murder set-pieces that recall Dario Argento to a painfully vivid dissection of the emotional fissures undermining a modern marriage.
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The only difference between a hunter and a killer.Is his prey!Ī serial killer is on the loose in and around the small community of Globe, Arizona, and housewife Joan White (Cathy Moriarty) gradually comes to suspect that her opera-loving hi-fi engineer husband Paul (David Keith) might know more than he's letting on.