There are twenty new films available to stream as of today on Kino Cult, the new free ad-supported streaming destination for genre lovers of horror and cult films. These films join a growing list of hundreds of new and rare theatrically released cult hits, all presented in beautiful high definition. Additionally, Kino Cult is now offering an ad-free subscription plan for $4.99 per month for the first time.
Here’s what’s new:
Babylon (director Franco Rosso) https://www.kinocult.com/feature/babylon
Young reggae DJ Blue (legendary singer Brinsley Allan Forde) is trying to make a name for himself in the 1980s London music scene. He has a steep uphill battle: not only is he a total unknown, but he has to fight against Thatcher-era politics both artistically and personally. Babylon is an intimate and raw look at the racism, xenophobia, and police brutality of the 1980s.
Black Gravel (director Helmut Kautner) https://www.kinocult.com/feature/black-gravel
Helmed by Helmut Käutner (Port of Freedom), Black Gravel is hard-boiled cinema at its most cynical. In this gripping Cold War noir, tensions simmer between residents of a small German village and the soldiers of a U.S. military base. Postwar economic hardship has turned the town of Sohnen into a vice district. The women serve as entertainment for the GIs, while the men struggle for survival in the black market. Black Gravel continues the gritty tradition of “Trucker Noir” begun by They Drive by Night, The Wages of Fear and Thieves’ Highway.
The Devil Lives Here (director Rodrigo Gasparini, Dante Vescio) https://www.kinocult.com/feature/devil-lives-here
Three teenagers go on a trip to visit their friend Apolo at his family’s farm for a weekend of fun. At the same time, Sebastião and his younger brother Luciano are getting ready to perform the spiritual ritual their family has been tasked with every nine months, for centuries. On the night the two groups meet, they find out that what they thought were scary tales becomes more than real. It is now up to them to prevent evil from being born and taking over the world.
The Frontier (NOIR) (director Oren Shai) https://www.kinocult.com/feature/frontier
A neo-noir neo-Western in the spirit of the Coen Brothers and Quentin Tarantino, The Frontier follows a female drifter (The House of the Devil’s Jocelin Donahue)as she steps into a desert motel run by a mysterious woman (Kelly Lynch), inhabited by a violent gang of thieves vying for control of a stash of cash. An official selection of SXSW 2015.
German Angst (director Jorg Buttgereit, Michal Kosakowski, Andreas Marschall) https://www.kinocult.com/feature/german-angst
German Angst consists of three short tales, each more depraved than the last. Final Girl details the exploits of a lonely girl, her guinea pig, and a secret in the basement. Make a Wish is a supernatural entry about a deaf couple and their magical talisman. Finally, Alraune follows a man whose hedonism takes him on a horrific journey. It’s a horror anthology that’s not for the faint of heart.
Grace Jones: Bloodlight and Bami (director Sophie Fiennes) https://www.kinocult.com/feature/grace-jones-bloodlight-and-bami
The life and career of Grace Jones—prolific musical artist, androgynous icon, and glam pop staple—documented in a film just as bold, unpredictable, and dedicated as she is. The film follows Jones everywhere, onstage and off, revealing a determined artist navigating the pitfalls of a professional music career, a woman returning to visit her family and cultural homeland, as well as the massive on-stage legend she’s become.
Happy Times (director Michael Mayer) https://www.kinocult.com/feature/happy-times
A boorish Israeli-American couple plans a Sabbath dinner party for a group of fellow ex-pat friends and family in their Hollywood Hills mansion. What could possibly go wrong? Well, start with a deadly mix of alcohol, add inflated egos, some inappropriate lust and top with raging jealousy and the result is a cauldron of murderous mayhem. A shotgun, garden shears, kitchen knives and even a garbage disposal are used as weapons of choice as these deranged guests turn on each other in director Michael (Out in the Dark) Mayer’s outrageous and bloody comedy.
The Hitch-Hiker (director Ida Lupino) https://www.kinocult.com/feature/hitch-hiker
Beyond its obvious cultural significance as the only classic film noir directed by a woman (actress Ida Lupino), The Hitch-Hiker is perhaps better remembered as simply one of the most nightmarish motion pictures of the 1950s. Inspired by the true-life murder spree of Billy Cook, The Hitch-Hiker is the tension-laden saga of two men on a camping trip (Edmond O’Brien and Frank Lovejoy) who are held captive by a homicidal drifter (William Talman). He forces them, at gunpoint, to embark on a grim joyride across the Mexican desert. 2K Restoration from 35mm elements preserved by the Library of Congress.
House of Mortal Sin (director Pete Walker) https://www.kinocult.com/feature/house-mortal-sin
Pete Walker continued his series of religious-themed exploitation films with the scathing House of Mortal Sin. Father Meldrum (Anthony Sharp) is a Catholic priest more dedicated to the word than most. His strict belief in “divine justice” influences him to take rather extreme measures to redeem the lost and punish iniquity.
House of Whipcord (director Pete Walker) https://www.kinocult.com/feature/house-whipcord
House of Whipcord follows fashion model Ann-Marie (Penny Irving) as she is lured into a private reform school to be punished for her sexual liberation. Disciplined by a zealous warden (Barbara Markham) Ann-Marie must rely on her will and the help of her roommate (Ann Michelle) to escape this school of horrors. An undeniable influence on Edgar Wright’s Last Night in Soho, Pete Walker’s film was at the time a reaction to the rising conservatism in British media.
Lips of Blood (director Jean Rollin) https://www.kinocult.com/feature/lips-blood
Jean-Loup Philippe stars as Frederic, a maternally-dominated young man who by chance is awakened to a dormant childhood memory by attending a launch party for a new perfume. A chateau pictured in the poster reminds him of a night, long ago, when he was lost and a beautiful young woman (Jennifer, played by Forever Emanuelle‘s Annie Belle) came out of nowhere to protect him through the night. Later, the woman—unaged—magically appears and beckons to him, and Frederic finds his way back to the chateau and to her, uncovering some dark secrets about his family’s past along the way.
The Living Dead Girl (director Jean Rollin) https://www.kinocult.com/feature/living-dead-girl
Catherine Valmont (Françoise Blanchard), a wealthy heiress dead before her time, is accidentally reanimated when some unfortunate movers attempt to store drums of chemical waste in the neglected burial vaults below her uninhabited chateau. Bloodier and more violent than his own tastes preferred, Living Dead Girl forced Rollin to work against the grain in his own preferred genre—and he transformed himself in the process.
Losing Ground (director Kathleen Collins) https://www.kinocult.com/feature/losing-ground
The first feature film directed by an African American woman, Losing Ground follows a black professor of philosophy as she embarks on an intellectual quest just as her painter husband, sets off on an exploration of joy. Victor decides to rent a country house away from the city, but the couple’s summer idyll becomes complicated by their extramarital explorations. The film is notable to genre fans as the second pairing of actors Duane Jones (Night of the Living Dead) and actor/filmmaker Bill Gunn, after their 1973 cult classic Ganja and Hess.
Miss Zombie (director SABU) https://www.kinocult.com/feature/miss-zombie
In a not-so-distant future, zombies have been partially domesticated by scientists and sold to rich families in Japan as slaves. One of these undead indentured servants—lucid enough to vaguely remember her past—becomes the pet of an influential Japanese family. Disrespected by her owners and abused by citizens, Miss Zombie’s animalistic instincts kick in, leading her to rise up against her oppressors.
Night Tide (director Curtis Harrington) https://www.kinocult.com/feature/night-tide
Prepare for Guillermo Del Toro’s’ Nightmare Alley with this carnival-themed psychological mystery. Dennis Hopper (Blue Velvet) plays a young sailor on leave who meets a woman working as a sideshow mermaid, who is rumored to have caused the deaths of her previous two lovers. The sailor must balance his growing affection for the siren and the increasing number of warning signs. Featuring occultist Marjorie Cameron as the Sea Witch.
Post Mortem (director Pablo Larrain) https://www.kinocult.com/feature/post-mortem
Mario (Alfredo Castro) is an unassuming state employee who transcribes notes during autopsies. Furtive and lonely, he becomes obsessed with his neighbor, the dancehall girl Nancy (Antonia Zegers), who is involved with a group of left-wing activists. With the coup, and the death of President Salvador Allende, Nancy’s friends are hunted down, and Mario’s hospital becomes clogged with the bodies of dissenters. Soon the violence filters into Mario’s psyche, and he begins to break down, much like his country.
Red Christmas (director Craig Anderson) https://www.kinocult.com/feature/red-christmas
Horror legend Dee Wallace (The Hills Have Eyes, The Howling, E.T., Cujo, Critters) stars as the stressed-out mother of a squabbling family, gathered together in a remote Outback estate on Christmas Eve. When a misshapen young man named Cletus appears at their door, things soon change from petty insults to bloody, imaginatively orchestrated violence as Wallace attempts to protect her family from the vengeful intruder. The film deliriously infuses comedy, dark family secrets with outlandish gore and adds the always controversial subject of abortion in its blood-stained mix.
Santa Claus Conquers the Martians (director Nicholas Webster) https://www.kinocult.com/feature/santa-claus-conquers-martians
Renowned as a holiday cult classic, Santa Claus Conquers the Martians is one of the most amusing films ever made. It tells the story of the depressed children of Mars, who can only be brought out of their funk through the jolly cheer of Old St. Nick. So the Martian leaders travel to Earth and kidnap two local kids (one played by an 8-year-old Pia Zadora) and Kris Kringle himself. Brought back to the Red Planet, they are forcibly installed in a factory to make toys. But you can’t manufacture happiness, with Santa having to teach his alien overseers the true meaning of Christmas.
Un Chien Andalou (director Luis Buñuel) https://www.kinocult.com/feature/un-chien-andalou
With its closeup shot of the slicing of an eyeball, Un Chien Andalou is a cinematic gauntlet thrown down by Luis Buñuel and Salvador Dali. Almost a century old, the surrealist short masterpiece has lost none of its power to confound and shock an audience.
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Five Dolls for an August Moon: Mario Bava’s transforms an Agatha Christie-style whodunit into a delirious mod giallo. A space age island retreat is visited by a group of friends and business associates, one of whom is a scientist who has invented a revolutionary chemical process, and is fending off various offers to buy it. Soon the vacationers start dying, and the survivors begin to wonder who has the most to gain from these murders most foul.
Kidnapped
Lady Vengeance: After being wrongfully convicted of kidnapping and murdering a young child, a beautiful young woman (Lee Young-ae) is imprisoned for 13 years and forced to give up her own daughter. While in prison she gains the respect and loyalty of her fellow cellmates, all the while plotting her vendetta on the man responsible (Choi Min-Sik). Upon her release she sets in motion an elaborate plan of retribution, but what she discovers is a truth so horrifying, even revenge doesn’t seem punishment enough.
Nightmares Come at Night: For years considered a lost Jess Franco film, Nightmares Come at Night (Les cauchemars naissent la nuit) was rediscovered in 2004 and has been recognized as a key film in the evolution of Franco’s cinema, which in 1970 was assuming a dreamlike logic, governed more by the director’s libido than traditional horror movie structure. Diana Lorys (The Awful Dr. Orlof) stars as a sultry dancer who falls under the hypnotic control of the sinister blonde Cynthia (Colette Giacobine) and begins to suffer terrifying hallucinations. Meanwhile, a pair of jewel thieves (Soledad Miranda and Jack Taylor) hide out at a nearby house, biding their time until they can confront Cynthia for their share of a recent heist.
Sadistic Baron Klaus: In this follow-up to his ground-breaking horror film The Awful Dr. Orlof, Jess Franco continued to lay the foundation of a career defined by fetishistic imagery and transgressive violence. A series of grisly murders in the remote village of Holfen convinces the locals that the town is still cursed by the spirit of a 17th-century baron who maintained an elaborate torture chamber in the dungeon of his estate. Undaunted by the villagers’ superstitions, a detective (Georges Rollin) quickly focuses his investigation upon the creepy Max Von Klaus (Howard Vernon).
Schizo
The Sex Thief: From its opening title sequence, it is apparent that director Martin Campbell (
The Shiver of the Vampires: A most unorthodox vampire film; by turns, it is magical, eccentric, poetical, erotic, philosophical and, whenever the vampire cousins are onscreen together, surprisingly funny. It is also unique among vampire films for offering some sort of backstory of warring paganism and Christianity that explains why a vampire would feel revulsion for the sight of a crucifix.
Sinful Nuns of St. Valentine: Pursued by soldiers, having been accused of heresy, Esteban (Paolo Malco) seeks refuge in a nearby convent–the same convent to which his girlfriend Lucita (Jenny Tamburi) has been banished by her parents. In order to be reunited, Lucita must resist seduction by her lesbian cellmate (Bruna Beani), endure the deranged torments of the Inquisition, and escape from a madehouse within the convent walls. Esteban, meanwhile, contends with the advances of a sensual abbess (Francoise Prevost).
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