In 1978 Kurdistan, so close to an Iran about to change forever, the village of Zalava is cursed by demons or so the locals believe. To stop those who have been taken over by the dark ones, they use bloodletting as a form of lo-fi exorcism. But now a non-believing military man named Masoud wants to stop that from happening, but his initial efforts lead only to the town growing even more angry.
So when the shaman — or oil snake saleman — Amardan shows up and claims he can stop the demons, even Masoud might be willing to listen. Or Kurdistan is going to burn. But can you really keep demons locked up in a glass jar?
Seriously — I’ve never been more freaked out by a glass jar than director Arsalan Amiri has made me. That’s a major feat.
Between a man who believes in the rational, one who sees the spiritual and a doctor who believes in science but won’t discount that the darkness may be real, Zalava is a real nail biter and a very different take on the exorcism film.
Zalava is playing Fantastic Fest. When it starts streaming, we’ll update this article.
Based on the Department Q series by Jussi Adler-Olsen, this is the fifth in a series of movies and seeing as how I haven’t seen any of the other ones, I think I can get past Nikolaj Lie Kaas and Fares Fares not being in this movie and Ulrich Thomsen takes on the role of Detective Mørck and Zaki Youssef as Assad.
Actually — the director and screenwriters have changed too!
In this one, a child trying to enter Denmark to meet with his father turns out to be carrying the passport of a man who has disappeared, but not before he allegedly took money from the nonprofit he works for and was also being investigated for pedophilia. Even weirder, the investigation into this man vanishing from sight was closed in just two weeks.
A lot of the fun of watching films at Fantastic Fest has been not knowing what I’m getting into. Sometimes you’re watching a movie about nuns that quickly pivots, other times you’re following the story of Gwar and then, still other times, you wind up in the middle of foreign crime series that you had no idea existed.
Dastan’s wife is very high maintenance. And very pregnant. So when his friends leave on a fishing trip, he decides to go along, seeing it was one last getaway before becoming a dad. Which would be all well and good, except he and his friends see a mob hit. And then the mob sees them. And then the backwoods maniac sees them all.
Kazakh director Yernar Nurgaliyev takes the expected — think The Hangover — adds in what should be a backwoods slasher like The Hills Have Eyes or Just Before Dawn and then makes it work. In lesser hands, this would be sub-Troma material. Here, things get out of control in the best of ways.
I’ve never seen a slasher where one of the people in danger has to keep holding in their farts so that they don’t alert the killer. That’s something really wonderful. There’s a lot to laugh at and be grossed out by in Sweetie, You Won’t Believe It. Hopefully, Dastan survives and something is left of him to go back to that toxic marriage.
And yes, this movie came from the land of Borat.
Sweetie, You Won’t Believe It is playing Fantastic Fest. When it starts streaming, we will update this post.
Somewhere in the backwoods of Latvia — perhaps even on the edge of a mythical forest — Sam is a long way from Belgium. He’s looking for his father and is distracted, which leads to him hitting a piglet with his car. He tries to bury it, but it’s still alive, so to make amends, he drives the piglet and its owner Kirke back to their farm.
He mistakingly trusts the girl, who is the daughter of a pig farmer. The next day, her family members attack him, throw him in chains and toss him into the pig sty. Now, he’s their property. Yet Sam will find happiness in slavery, along with that piglet who can talk and who becomes his friend. But Kirke’s jealous ex-boyfriend wants him dead so he can marry her and take the farm.
Director Aik Karapetian also made Firstborn, People Out There and The Man in the Orange Jacket. Who knew that his next film would be a near fairy tale where searching for your missing father in a foreign country ends up putting you either into the middle of a fairy tale or, perhaps more to Sam’s struggles, into The Odyssey, as Kirke’s name is close to Circe and she’s the one that turned all of Odysseus’ crewmen into swine before giving him the opportunity to stay and love her instead of leaving for home.
You can learn more about Samuel’s Travels at the official site.
The first horror film in history to be shot on video, Boardinghouse is…well…there really isn’t anything else like Boardinghouse. Somehow, this movie seems at once ten minutes and ten hours long, taking you on a journey into — man, I have no idea how we got here ot where we’ve been, but we really went somewhere.
Back in 1972, Dr. Hoffman and his wife — who one assumes were doctors of the occult — died in their Mulholland Drive home on the night of their anniversary, committing double suicide in front of their daughter Debbie, who had a nervous breakdown. Everyone who has lived in the house since has died. And now, a decade later, the nephew of the last owner of the home, James Royce, puts out an ad looking for single women — beautiful women with no ties — to move in with him — he plans on you know, studying the occult while they’re there — so Sandy, Suzie, Cindy, Gloria, Pam, Terri and — you know it — Debbie all move in.
To say this movie has a disjointed narrative is like saying that you’re reading this on a web site.
James is also trying to get with Victoria, a singer, and shows her how she can use her own latent telekinetic powers. After a dream in which she is dragged to the grave of Dr. Hoffman, she begins to grow jealous the women of the boardinghouse who are all potenitally sleeping with the occult master that she has come to love.
Oh man, before you know it, people are throwing cake at one another, women are clawing their eyes out, Debbie revealing herself as the psychic monster who killed both her parents after sleeping with her father, Jim shows up with less clothes in every scene and the end credits look like they came from a Apple 2E.
Directed by, written and starring John Wintergate, this is the kind of movie that defies description, despite me writing so many words about it already. It has a lead actress with one name — Kalassu. And she’s the wife of Wintergate and their children show up. And then there are monsters, hallucinations and bloody showers. And the cut I watched has a running time of 2 hours and 38 minutes.
This movie was also shot in Horror-Vision, which is a swirl of color and a glove and it’s supposed to warn you when something scary happens but nothing like that seems to happen and man, they blew this up on film and played it in theaters and Wintergate must have quite the thong collection.
You know how I know life is good? Because AGFA + Bleeding Skull! are releasing the 35mm theatrical cut to home video for the first time later this year, along with an alternate cut named Psycho Killer and a family film from the filmmakers, Sally & Jess. I’m ordering that right now. If you come to my house this year, you will be subjected to this movie.
“Kino Lorber is excited to announce that they have partnered with Giant Pictures to launch Kino Cult, the new free ad-supported streaming destination for genre lovers of horror and cult films. Featuring hundreds of hours of curated, theatrically released films all in High Definition, with new titles added monthly, Kino Cult launches widely in the U.S. and Canada on October 1, 2021 across web, mobile devices and connected TVs, with VOD apps on all major devices such as Roku, Amazon Fire, Apple TV, Google TV, iOS, Android, and more.”
Just from reading this announcement, I have to tell you how excited I am. Kino Lorber has been releasing some great films this year and are now bringing the weird stuff — for free! — to streaming. When asked their plans, Kino says that they plan to offer a deep catalog of hundreds of relevant titles, many of which are streamable for the very first time, all in HD and all completely free.
As the service launches. it will feature films including A Girl Walks Home Alone at Night, Dogtooth, Welcome To The Circle, Beasts Clawing at Straws, The Forbidden Room, Chained for Life, Let the Corpses Tan, A Bay of Blood,Black Sabbath, Black Sunday, Daughter of Dracula, The Erotic Rites of Frankenstein, Female Vampire, A*P*E*, Beware the Blob, Attack of the Robots, Astro-Zombies, The Grapes of Death, Frightmare, Mom and Dad, A Virgin Among the Living Dead, House of Exorcism, Requiem for a Vampire, Star Slammer, The Pit, The Quest, Rawhead Rex, The Stud, The Wanderers, Legend of the Mountain, The Devil’s Playground, Straight to Hell, Hercules in the Haunted World, Kill, Baby…Kill!, Hatchet for the Honeymoon, Four Times that Night, Evil Eye, The House, Hemel, Meat, The Summer House, First Born, Fever, Observance, The Perfect Husband, The Man with the Magic Box, Blood Paradise, Virgin Witch, Black Magic Rites, Luciferina, White Zombie, Vampyres, The Blood Beast Terror, Nosferantu, The Asphyx, Bunny: The Killer Thing, Killbillies, Those Who Deserve to Live, Trauma, The House of 100 Eyes, Snowflake, Taste of Phobia, Horror Stories, Au Pair Girls, Zeta One, Eden and After, I Need a Ride to California, Trans-Europe Express, The Balcony, La’Immortelle, The Oldest Profession, Successive Slides of Virtue, Vice and Virtue, The Atomic Cafe, Metropolis, London in the Raw, The Queen, Primitive London, Lucha Mexico, In Search of Dracula, The Showman, The Ape, Fear and Desire, The Flesh and the Fiends, Dirty Gertie from Harlem U.S.A., Devil Bat, Fear and Desire, Madchen in Uniform, The Blood of Jesus, The Growler Story, The Phantom of the Opera, the Fantomas series, Hard Romanticker, The Robber, Like Me, The Chase, Headshot, Deadly Virtues, Reefer Madness, She Shoulda Said No, Marihuana, How to Take a Bath, The Diabolical Doctor Z, The Awful Dr. Orloff, How to Undress, Sex Madness, Pin Down Girl, Girl Gang, Exorcism and Test Tube Babies.
Plus, Kino Cult will have curated categories including the Golden Age of Exploitation, ’60s espionage films in Crime & Suspense, ’70s and ’80s Flashback, and witchcraft and devil worship in Occult. Nearly all of these titles are streaming for the first time free without a subscription, with some making their streaming debuts on Kino Cult!
An expansion to the library is also planned, to include more genre greatness from other venerated cult labels like American Genre Film Archive, Code Red, Scorpion Releasing, Severin Films, Something Weird and Vinegar Syndrome, in addition to the current offerings from Kino Lorber partners Artsploitation Films, Palisades Tartan, Raro Video and Redemption Films.
You can download the Kino Cult app in the U.S. and Canada and watch free on Roku, Amazon Fire, Apple TV, Google TV, iOS, Android and at www.kinocult.com.
After young Pandu witnesses the murder of an old man who refuses to leave his property and hurts local gangster boss Guru, he must turn to his deaf father Sandi. The trouble is that his father is also a gangster and if he turns against his crime family, he may as well just kill himself. But that’s what happens and Guru sends all of his men after boh Pandu and Sandi, who must face their reprisal face-to-face.
Writer and director Randolph Zaini started his storytelling life by acting out stories for his younger siblings with G.I. Joe figures, then years later came to America for school. That childlike beginning plays out here, as Sandi sees his depressive state as a series of anthropomorphic foxes and a blue bunny which symbolizes one of the first violent acts of his life, being forced to punch a friend in the face to prove that he wasn’t gay.
Today, he struggles to keep violence out of his son’s life, yet his very career is in ousting people from their homes so that real estate companies can take over. His entire worldview is even further skewed because Guru is at once the leader of the criminals and a cop, so any hope of the police helping him in his battle against the gang and the hired killer Butcher doesn’t exist.
Whlle this is an action film, it’s primarily about the relationship between father and son, as well as the hopes for something better for your child. If not for Pandu’s action, Sandi may have stayed under the cruel thumb of Guru for life.
Preman is playing Fantastic Fest. When it starts streaming, we’ll update this article.
This is one of funniest and enjoyable, cult-driven 78-minutes you’ll enjoy unspooling across the SOV tundras. And it was done to the tune of $1000. Lazarus the Legend is a shot-on-video epic that would have also fit nicely into our “Regional Horror Week,” which ran from Sunday, March 14 to Saturday, March 20 (use our “Search Box” feature to your left to find those films), but since that end of the B&S schedule filled up quickly, this lone feature writing and directing debut by Erie, Pennsylvania’s Matthew Frazzini — since it is a shot-on-video feature, after all — overflowed into our current, September “SOV Week” tribute.
When Lazarus (Dale Crawford) receives a do-or-die challenge from Nick Safara (writer-director Matthew Frazzini), an ancient foe, Lazarus begins his quest in a world where the lines of good and evil blur as he saves the world by acquiring the ultimate power. Lazarus’s sidekick in his fight against Safara’s “Clobbers” is Eva (Frazzini’s sister, Christine Lorraine), a local fortune teller, and his girlfriend, Nina (Patty Colman).
Pour John Carpenter’s Kung-fu/sci-fi action tribute, Big Trouble in Little China (which has its share of fans and detractors; I’m a fan — and no, not because of the Kim Cattrall bondage scene, but because of Kurt Russell’s perfect slices of ham; I’ll watch anything with Kurt, yes, even Escape from L.A. which sucks donkey), dump in Lloyd Kaufman’s 1990 Troma superhero comedy romp Sgt. Kabukiman N.Y.P.D., then smidgens of your favorite Turkish or India ripoffs of American film/TV franchises, then soupçons of Kiss makeup, Star Trek music, and Bruce Lee sound effects. Shake your ’90s Blockbuster Video-logo’d tumbler. Movie served! Gulp the greatest action-comedy ever committed to camcorder. Does this exceed the “heart” of Tommy “The Room” Wiseau that we oft mentioned often around the B&S About Movies cubicle farm — and then some? Oh, yes. And it’s even better than Wiseau’s debut — because, with Frazzini’s debut, the comedy here, is intentional.
King Diamond just # 2’d his leathers/courtesy IMDb.
Courtesy of his sister and co-star, Christine, in her efforts to satiate fans’ questions about the film, she maintains the film’s IMDb page. So we know that her brother created Lazarus the Legend as a spoof of his fandom of martial arts movies. (Shameful Plug: We love the genre, too. Check out our “Drive-In Friday: Karate Blaxploitation Night” featurette.) She also tells us the cast featured Matthew’s co-workers/friends from the steel mill company where he was a plant superintendent. He produced, wrote, taped, and edited the film in his spare time, which was shot in and around Eric, Pennslyvania — the Bayfront Parkway area in particular, which has vastly changed since the film was shot. And Frazzini’s passions paid off: Lazarus the Legend won the “Best Screenplay” award at the 1993 Hometown Video Festival — against 2,200 films from five countries — in Atlanta, Georgia.
Unlike most SOVs, Lazarus the Legend was never released on VHS or DVD. Outside of the festival circuit, it aired on Erie public access television — only once. The folks at Adjust Your Tracking later came to release in the film in a limited-edition VHS — which includes a newly-produced “Making of” documentary and other Frazzini-produced horror-short films.
However, no worries! You can enjoy this ingenuity-rife, Kung-fu sci-fi-action wrestling comedy courtesy of Vacuum Tube Rescue You Tube — in its original, unedited and full-length state. The commercial-free upload has been online since 2014, so it’s not going anywhere. Enjoy!
Hey, wait! Don’t leave! Come back!
In keeping with the regional wrestling comedy vibes of Lazarus the Legend — and the fact that it also shot in Pennsylvania (well, Eastern, this time) — you may want to check out Masked Mutilator. That film had a 25-year production history that began in 1994 to be completed and release in 2019. Another wrestling-centric — and SOV flick — we reviewed this week is Heavy Metal Massacre (1989). Yeah, we love wrestling-oriented films around the ol’ B&S cubicle farm along the muddy waters of the Allegheny . . . you can catch up with all of our wrestling flick reviews, here.
Sadly, we lot Matthew Frazzini in 2009 as a victim in a car crash. And he left us with this film. And the SOV canons are better for it. Just wow . . . if that doesn’t look like Sam the Bossman in ersatz King Diamond face paint. . . .
About the Author: You can learn more about the writings of R.D Francis on Facebook.He also writes for B&S About Movies.
Bobbi Young AKA David DeFalco* co-wrote and stars in this movie, which was shot in the metal bars — “The Living Room” — of Province, Rhode Island. Research has shown me that Bill Conti — yes, the man who wrote the song that Rocky runs up the steps to — as well as Blu Cantrell, Combustible Edison, Deer Tick, Jeffrey Osbourne, Six Finger Satellite and Throwing Muses may come from the Renaissance City, but very few hair metal bands (and yes, I realize Vital Remains and The Body are from there, but they are very far removed from the music in this movie).
The movie is all about Bobbi killing women he picks up in nightclubs, but also video effects. It’s the kind of movie that George Lucas might say of, “Maybe you shouldn’t use so many of those transitions.”
This is the kind of movie where the budget did not include cops and emergency crews, so according to an interview from Kotaku Australia, the production got someone to actually call 911 for the end of the movie.
The article goes on to explain that the sledgehammer kill that is so brutal in this movie also nearly killed the girl in the scene doing it, as DeFalco didn’t understand that he had to hit the styrofoam head and missed his mark by 5 inches, striking the actress directly in the head with the wooden handle and knocking her out.
You know, my cousin made a Shot On Video movie once and my grandmother made us all sit down and watch it. She beamed with pride the entire time the film played, which was mostly an endless scene of a drunk old man screaming and not letting the story go on, as they had to shoot in one of his friend’s houses. Then, my cousin’s character killed his girlfriend and had sex with her, but his character had VD, so he ripped off a condom and it was filled with blood.
“I’m so proud of you,” my grandmother said.
Heavy Metal Massacre is somehow worse than that movie.
*Oh man — DeFalco was also once a pro wrestler and on his 2005 film Chaos, he had an extra scene called “Inside the Coroner’s Office: A Tour of the L.A. Coroner’s Crypt” where he walks around the mortuary and talks about Los Angeles’ most disturbing crimes with technician Michael Cormier, who later died from massive organ failure in what has been said to be a conspiracy related to the Obama administration.
On the site Awesome for Awesome’s Sake, the video is said to be “17 minutes of a greased up, shirtless Dave “The Demon” DeFalco (the writer/director of Chaos) flexing and ranting (wrestler style) about how brutal the world (and his movie) is and how much Roger Ebert sucks…in front of real dead bodies (wrapped in plastic)!”
Then, Cormier “walks us through the various crypts pointing out all sorts of stuff, like dead babies (wrapped in plastic) and dead fat people (wrapped in plastic)!”
This is followed by DeFalco and Cormier discuss their new project The Devil’s Doorway, in which their theory of how meth “opens up a doorway to another dimension allowing demons to possess these meth-heads and then these possessed speed freaks commit brutal crimes!”
Here’s the link that I found on YouTube about it. Any time I think I still can’t be stunned about movies, something amazing comes my way.
So yeah. Cormier died right around the same time as Andrew Breitbart in very much the same way. He ingested arsenic 24 to 48 hours before his death and it’s never come out as to why.
Editor’s Note: This interview with Dutch filmmaker Wim Vink by Hans Minkes originally appeared in the pages of the Netherlands-published Schokkend Nieuws (Shocking News) Film Magazine, dedicated to horror, science fiction, fantasy and cult cinema. It was first published on July 9, 2013, and digitally-republished in its homeland on September 9, 2013, and updated on July 22, 2018.
Hans Minkes, the writer of this interview for Schokkend Nieuws, also publishes his film insights for the Dutch-language cinema blog Bloedlink FilmBlog— a blog dedicated “about the real necessities in life . . . Genre, Horror, and Cult Movies!”
As you read this interview, you’ll discover Wim Vink has a rabid, international fan base and is revered in the United States by horror aficionados. While the press is bountiful in the Netherlands, there’s no English-language press on Vink’s works—let alone an interview—with the writer-director.
Our thanks to Schokkend Nieuws and Hans Minkes for allowing this English-translated version of this article to appear on B&S About Movies.We also extend our special thanks to You Tube user altohippiegabber for their efforts in preserving the career of Wim Vink and making us aware of this rare interview, which we’ve translated for U.S. and other English-speaking fans. As Alto opined: Wim Vink is undoubtedly the godfather of the Dutch horror film, “the uncrowned horror king of Tiel.”
Amen to that.
Wim Vink: Groundbreaker from Tiel
09-09-2013 | Last updated: 22-07-2018 | 07-09-2013 By Hans Minkes
In ZOMBIE 1, Richard Raaphorst’s short film from 1995, Wim Vink rises from the grave after a drunk has pissed on his tombstone. This time, reaching retirement age is enough to bring about his return. Wim Vink, after a long career as a professional photographer, hangs up his camera. But his film camera hangs on another twig. . . .
The founder of Dutch low-budget horror—he has directed the short films ZOMBIE HORROR (1981), DANCE MACABRE (1986) and the feature film HEAVEN IS ONLY IN HELL (1994)—is reviled by many. He is accused of a lack of talent or is called a sell-out for the ostentatious use of surreptitious advertising in his films. Yet there is no escaping it: Wim Vink was the first to shoot horror films on pro-super-8 and 16mm with friends and acquaintances. And that from the wet river clay of Tiel.
What I admire in this man is that he has managed to make horror films with his own hands for years and that he enthusiastically tried to sell them to everyone. Pouring blood bag after blood bag on your actresses, while no one around you is waiting for this and investing so much money in your dream with a reasonable chance of never seeing it again, that’s guts! To me he is the Godfather of Dutch Horror.
ZOMBIEHORROR was your first short horror film in 1981. Why did you choose horror?
“I was crazy about horror. I had already filmed everything; documentaries, nature films, corporate films, but no feature film yet and you should have tried everything. The equipment was there and within two days I had gathered friends around me who wanted to go on the adventure with me. I was a big fan of Fulci, Argento and Romero’s work, so a horror film was a natural choice.”
Image courtesy Letterboxd. Both are available as a two-fer PAL-VHS in overseas markets.
How did you manage to finance the films?
“I paid for everything out of my own pocket for ZOMBIEHORROR. I had a budget of 10,000 guilders (!) [dollars]. Later I started using surreptitious advertising. I often had to hear criticism about that, but it was effective and shooting a film costs a lot of money.”
It sometimes comes across as if you were fighting the windmills of Tiel like a Don Quixote in clogs. Did you encounter a lot of resistance? To what extent are you responsible for the end result?
“The problem is I’m stubborn. I want to keep everything in my own hands and that takes a lot of time. I wrote the scripts, filmed everything myself and also did the editing. It was always really a Wim Vink Production. You really shouldn’t arrive in the Netherlands with Dario Argento at the time, then you would have been ripped off. I’ve argued hundreds of times with people who don’t understand horror, but I don’t anymore. Everything is allowed in movies. It is and remains film. End of discussion.
“The headmaster of a school in Zoelen, a village next to Tiel, has been unimaginable at me with letters sent to the local newspapers. I was put down. Fortunately, there were also supporters, such as the then mayor of Tiel. The misunderstanding has even once almost led to a real lynching. I had planned a funeral scene next to the cemetery in a small village outside Tiel on a Sunday morning. We were busy when suddenly a procession with villagers and accompanying coffin entered the cemetery. To say the least, people were not pleased with the film crew present. We were almost molested there. Fortunately, one of the actors was a police officer. He called for reinforcements quickly, otherwise things could have gone wrong.”
In the pre-internet era, advertising a movie was a bit more challenging than it is today. No YouTube or crowdfunding, but with a film look and your soul under your arm, you can visit potentially interested parties. How did you handle that?
“In the Netherlands I distributed large numbers of video tapes with my own hands, but it was mainly abroad where I had the most success.”
In a videotape I bought from you, I found a personal message from the American distributor Mondo Video. They asked if you could provide NTSC versions of your movies. What have you managed to achieve internationally?
“I immediately saw the great potential of the foreign market and therefore decided to make my films in English. I have spent many guilders [dollars] advertising in fanzines worldwide. For example, I had advertisements in Fangoria, which I paid five hundred dollars for at the time, and then you only had a postage stamp size in advertising space. The advertising campaign certainly paid off. I distributed my films single-handedly in the United States, Russia you name it! I also had a long-term contract with the French television channel Antenne 2, which often showed my films in the late evening programme. I have won 187 awards worldwide, so in addition to scorn and ridicule, I have certainly received respect and appreciation. [There was never a deal with Mondo Video due to financial disputes].”
The VHS reissues/courtesy of onorato73/picuki.
Despite the relative success overseas, you were systematically rejected at film festivals in the Netherlands. Seems quite frustrating to me.
“I submitted my films several times for festivals, but I never made it through the pre-selection. ‘We don’t allow those kinds of films,’ was often the reaction I got. I thought, look at it, I am organizing a festival myself; the Benelux Horror & Science-Fiction Narrow Film Festival in Tiel. It had four editions in the eighties and was very infamous! I had about 1,200 visitors in one day, so there were definitely people waiting for genre films.”
Strangely enough, you can’t be found in the compilation video THE NETHER HORROR COLLECTION from 1995. Your name does appear in ZOMBIE 1 by Richard Raaphorst. The grave of Wim Vink that is pissed on by a drunkard, on which ‘Wim Vink-the Zombie’ comes to life; do you consider it an ode or a snarl?
“Oh, delicious! I think it’s a good joke. Any form of publicity is advertising and it was entertaining too. Richard Raaphorst contacted me to ask if I would mind. The film was already finished by then, but I said: ‘Go ahead!’ I’m actually flattered.”
I recently came across a DVD of your movie HALF PAST MIDNIGHT on a site. Doesn’t seem like pure coffee to me?
“I’ve come across that DVD too, but it’s as illegal as it can be! I have not given permission for that. I’ve been working on the release of a DVD box set containing all six horror movies I’ve made for some time now. With making offs, trailers, soundtracks, stills, mini posters, and two short horror/science fiction animation films. And then there is also a bonus. What that will be. . . . There were some contractual obligations that made it take so long.”
The original VHSs/courtesy of mattressparty/picuki.
Now that you’re retired, you naturally have plenty of time. Can we expect some more news from you?
“It’s always itchy! I have stories on the shelf for ten films. But making those films takes a lot of time and energy and I’m not twenty-five anymore.”
END
* Be sure to read the retrospective review by R.D Francis at B&S About Movies of Wim Vink’s Half Past Midnight and Heaven is Only in Hell, along with Pandora and Dance Macabre.
Our many thanks to Julius Koetsier, the Editor-in-Chief at Schokkend Nieuws, for working with B&S About Movies to honor the work of Wim Vink in the U.S.
Banner image courtesy of Schokkend Nieuws Filmmagazine Facebook.
About the Author: You can learn more about the writings of R.D Francis on Facebook.He also writes film reviews for B&S About Moviesand publishes music journalism pieces and short stories based on his screenplays, on Medium.
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