It’s officially the beginning of Halloween season and the end of the Japanese celebration of the dead, Obon. Obon is celebrated at different times in different parts of the country, though it is traditionally mid-August. I’m being a little flexible with the dates here, because I want to start doing an annual Obon-themed episode that focuses on Japanese folklore, horror, and the supernatural.
This episode is also an experiment — it’s my first solo episode of Eros + Massacre, which is something I’ve been planning to do for a while. For this one I’m discussing the horror genre’s lord and savior, Kiyoshi Kurosawa, the only person who should be allowed to make new horror movies.
For this episode, which I’m hoping will be the start of a recurring Kurosawa series, I’m discussing the horror movies and thrillers he made between 1989 and 1999: the special effects-driven haunted house romp Sweet Home (1989); his segment in the anthology film Dangerous Stories (1989), about a writer visited by homicidal ghost samurai with a boombox; the absurdist office slasher The Guard from Hell (1992); his effective body horror outing about an insurance saleswoman, Door III (1996); the sublime Cure (1997), contender for scariest film of all time; deconstructed revenge thriller Serpent’s Path (1998) and its wonderful sequel, Eyes of the Spider (1998); his segment about a malevolent tree spirit attacking high school students in the anthology film School Ghost Story G (1998); and his interpretation of absurdist folk horror, Charisma (1999), about a polarizing tree.

This is an extra special episode near and dear to my heart, since Kenji Misumi has become one of my favorite directors, largely because of the Sword trilogy. Though his name may be unfamiliar to many of you, you have likely seen a few of his films: he directed most of the Lone Wolf and Cub series and many Zatoichi films. Longtime Criterion producer Curtis Tsui — who worked on both of those sets — joined me to discuss some of Misumi’s less frequently seen or discussed masterpieces.
We briefly discuss the great Satan’s Sword (1960) trilogy, but focus mostly on his loosely connected Sword trilogy starring the wonderful Raizo Ichikawa, which includes Kiru (Destiny’s Son, 1962), the Yukio Mishima adaptation Ken (The Sword, 1964), and the supernatural-tinged Kenki (Sword Devil, 1965). We also spend a fair amount of time in the second half of the episode talking about his gothic, apocalyptic Devil’s Temple (1969), an adaptation of a play from ero guro master Jun’ichiro Tanizaki starring Shintaro Katsu (Zatoichi) as a horny, blood-soaked hedonist; and Internal Sleuth (1973), starring Katsu’s real-life brother Tomisaburo Wakayama (star of the Lone Wolf and Cub series) as a beleaguered detective up against a chaotic yakuza syndicate. We also very briefly bring up Misumi’s final film, the epic The Last Samurai (1974), which I wish we had more time to dive into.
All of these films are incredible and come with the HIGHEST possible recommendation. Even if you’re not frothing at the mouth over chanbara films the way I am, all of these are masterclasses in filmmaking. I’m begging all of you to watch at least one of them.

Chicago film programmer John Dickson, from the Oscarbate podcast and film collective, joined me for another wild discussion of Jess Franco’s spy/detective films. This time we’re talking about most of the movies in his Red Lips series, focusing on two female friends (and later, lovers), who are imaginative young strippers and/or cabaret performers who moonlight as private detectives, spies, vigilantes, Interpol informants, and so on.
This episode covers Tio Jess’s debut film, We Are 18 Years Old (1959), which is the origin of the character types even if it isn’t officially in the series, plus Red Lips (1960), Two Undercover Angels (1969), Kiss Me Monster (1969), Les emmerdeuses (1976), and Two Female Spies with Flowered Panties (1980).
And if you’re in NYC from July 12-16, John and Will from Oscarbate are presenting a slew of Franco screenings, including a marathon at Spectacle Theater, a double feature of the 4K restorations of Vampyros Lesbos and She Killed in Ecstasy, Venus in Furs on 35mm, and Lorna: The Exorcist on 35mm. Find links to all the events and tickets here.

Since we’re on the verge of summer, it seemed like the perfect time for my first episode on American sex comedies. After years of asking, I finally listened to reason and sat down with gentleman pervert Shawn Porter, who has been proselytizing to me about the joys of Hamburger: The Motion Picture (1986) for far too long. You might remember Shawn from the Jamie Gillis episode of Twitch of the Death Nerve, but he also runs the body modification archive Sacred Debris, an important resource documenting the history of tattooing, piercing, other body mods, which focuses on a lot of folks in the queer and leather communities.
But he’s also the world’s biggest Hamburger: The Motion Picture fan. We spend most of the episode talking about just how surreal, absurd, and incredible it is — it follows a class of hopefuls who attend a fast food university and is part sex comedy and part satire of American capitalism. We also discuss Hot Dog… The Movie (1984) and the connections between the two, Tarot cards, Road House, Porky’s, Hard Bodies, The Mutilator, Cheech and Chong’s Nice Dreams, Summer School, Waterpower, Better Off Dead, my hatred for John Hughes, and so much more.
This episode is tasty, by God, though I should warn you that there’s a lot of laughing (and I actually cried with laughter while trying to edit it). If you have trouble finding Hamburger: The Motion Picture, I will help you out of that pickle.

Clara from Angura Research Center was kind enough to join me for this episode on one of cinema’s greatest surrealists, Shuji Terayama. Poet, writer, master of underground theater (known as angura in Japanese) and experimental cinema, and so much more, Terayama had an incredibly rich, prolific career in many art forms, which blend together influences from classical Japanese theater, pop culture, folklore, deeply personal elements of biography, etc. Consider this episode more of an introduction to Terayama: we break down why he is so important and mainly discuss one of his more accessible films, the beautiful Pastoral: To Die in the Country (1974). We also talk about his influential experimental theater troupe, Tenjo Sajiki, and some of his short films, namely Laura (1974), The Trial (1975), The Cage (1964), and Grass Labyrinth (1979), among a few other titles.
I strongly recommend checking out the Angura Research Center if you want to explore more about Terayama and Tenjo Sajiki. Clara has been doing really important work translating filmed versions of his plays, which you can watch on her YouTube channel, and writing essays on her site that give some really helpful cultural and historical context. The books we mention in the episode are from Carol Sorgenfrei and Steven Ridgely. All the music in the episode is from Terayama’s lifelong collaborator, JA Seazer, and his score to Pastoral. (And if you do a little digging, you can find the majority of Terayama’s short films on YouTube, all scored by Seazer, though beware that the YouTube version of The Trial that I linked to has some other music included.)

Ditch class, rev your engines, sharpen your switchblades, and roll up some reefer! Extremely patient friend of the show Byron Lueders joined me for this episode that we recorded four score and seven years ago (or at least that’s how long it feels), all about American teenage girl gang films in the 1950s and ’60s. In the episode, we focus primarily on Girl Gang (1954), Teenage Crime Wave (1955), One Way Ticket to Hell (1955), The Violent Years (1956), Teenage Doll (1957), The Delinquents (1957), Live Fast, Die Young (1958), and Teenage Gang Debs (1966). We discuss: the rise of “teenager” culture in postwar America and how many of these films suggest that the America dream is toxic garbage; class warfare; the horrors of the Hays Code; teen partying and drug use on screen; proto-exploitation cinema; directors like Robert Altman, Roger Corman, and Paul Henreid (?!); and of course we have a lot of say about eyeliner, custom biker jackets, and 1950s hairstyles.
Follow Byron on Instagram at @byronlueders and check out his new bootleg shirt shop here!

It’s officially spring, which seems like a fitting time to release the first — but certainly not last — Jess Franco episode of the show. Thanks to Patreon supporter Pat Radke for requesting a series of Jess episodes! Chicago film programmer John Dickson, from the Oscarbate podcast and film collective, joined me for a particularly wild discussion of Jess Franco’s best films featuring his recurring detective character, Al Pereira. Sometimes played by Howard Vernon, Eddie Constantine, Uncle Jess himself, and Antonio Mayans, among others, Pereira is a perverse twist on the standard sleazy private eye character from pulp fiction.
This episode focuses mainly on Death Whistles the Blues (1964), Attack of the Robots (1966), Les ebranlées (1972), Downtown (1975), Night of Open Sex (1983), and Black Boots, Leather Whip (1983). Despite how specific the topic is, I do think it’s a good intro to Jess’s career, because we cover a lot of his recurring themes, his early work, how elements of his personal life appear in the films, etc. And we have a lot to say about our horny exhibitionist queen, Lina Romay. There’s romance, there’s a lot of sex, there’s a fair amount of torture, and even some Nazi gold. I think this goes without saying for most of my episodes, but this one is extremely not work safe. Wait till you get to the song about sperm.

It’s spring equinox and Eros + Massacre is emerging from hibernation! This first episode of 2025 is a discussion with cinema historian Tom Mes. He’s an international treasure and many of you were likely introduced to some incredible Japanese films due to his exhaustive writing and research and his site Midnight Eye. He just released a new book, Japanese Film and the Challenge of Video, and works with blu-ray companies like Arrow and Radiance as a producer on many of their Japanese cinema releases. Be sure to check out his latest lovechild with Arrow, V-Cinema Essentials: Bullets & Betrayal (for which I was honored to contribute a video essay), and Radiance releases like Elegant Beast and A Tale of Sorrow and Sadness (immense thanks to Tom for hiring me to do the commentary!), among many more.
Needless to say, this episode is all about Japanese V-cinema, a really underrated direct-to-video subgenre that emerged in Japan in the late ’80s and throughout the ’90s and spanned everything from crime and horror films to romances and comedies. I wanted to list out some of the names and titles we talk about in the episode, to make them easier to find. Directors we mention: Yasuharu Hasebe, Toshiharu Ikeda, Shunichi Nagasaki, Sogo Ishii, Kazuhiro Kiuchi, Takashi Miike, Kiyoshi Kurosawa, Banmei Takahashi, Rokurō Mochizuki; also actors Yūsaku Matsuda, Shô Aikawa, and Riki Takeuchi. Some key films/series mentioned: Carlos (1991), Stranger (1991), Crime Hunter (1989), Neo Chinpira: Zoom Goes the Bullet (1990), Suit Yourself or Shoot Yourself series, The King of Minami series, The Outer Way (1998), and Yakuza Taxi (1994).

We are still in the no man’s land between Christmas and New Year’s Day, so hopefully this second part of my two-part episode on the BBC’s original Ghost Stories for Christmas series with Will Dodson will get you through. As a reminder, in part one we discussed six M.R. James adaptations, mostly from the original series. Part two takes us through the final three episodes, The Signalman (1976), Stigma (1977), and The Ice House (1978), plus two spin off films, The Stone Tape (1972), and Schalcken the Painter (1979), and one last M.R. James television adaptation, Casting the Runes (1979) from ITV Playhouse.
And if you missed Will’s info the first time around, he’s an academic focusing on film and media studies and some of you might know him from his special features work on various blu-rays with Ryan Verril (find a complete list of their work here). He’s also edited a number of film books, namely American Twilight: The Cinema of Tobe Hooper.
Eros + Massacre will be back in 2025! Thank you for all the support this year and thanks always to Cinepunx!

My sweet Yuletide angels, here is the other two-part episode I’m shoehorning into this December. I’ll have the second part up later this week (though it will be on my Patreon earlier) so you all have something to listen to when you’re driving to and fro family holiday events this week. I have been absolutely dying to do an episode on the BBC’s original Ghost Stories for Christmas series. I’m grateful it finally happened because this was such a joy and I was thankful to find a cohost insane enough to agree to watch and discuss everything on my list, Will Dodson.
Will is an academic focusing on film and media studies and some of you might know him from his special features work on various blu-rays with Ryan Verril (find a complete list of their work here). He’s also edited a number of film books, namely American Twilight: The Cinema of Tobe Hooper.
In this first part, we discuss the precursor film, Whistle and I’ll Come to You (1968), as well as the first five official Ghost Stories for Christmas episodes: The Stalls of Barchester (1971), A Warning to the Curious (1972), Lost Hearts (1973), The Treasure of Abbot Thomas (1974), and The Ash Tree (1975). All of these are adaptations of M.R. James stories, so we talk a lot about him as well — ghost stories and folk horror would not be the same without him.
Merry Christmas, happy holidays, and I hope Santa brings you a lot of ghost stories this year!

Here is part two of this journey through Teruo Ishii’s Joys of Torture with Chris Haskell (from the They Live By Film and Punk Vacation podcasts). Part one covered Tokugawa: Women’s Genealogy (1968), Shogun’s Joy of Torture (1968), and Orgies of Edo (1969), and in this episode we packed in Shameless: Abnormal and Abusive Love (1969), Inferno of Torture (1969), Yakuza Law (1969), Love and Crime (1969), and Shogun’s Sadism aka Oxen Split Torturing (1976).
And just a reminder that if you want to watch along but are struggling with where to locate some of these, email me (at samm.deighan@gmail.com) and I can help you out! Several of them are on blu-ray from Arrow and they’re currently on sale, in beautiful editions with great special features from the GOATs Tom Mes and Jasper Sharp.

After a much needed break, I’m back! I have been DYING to do a few podcast episodes on underrated Japanese master Teruo Ishii and Chris Haskell (from the They Live By Film and Punk Vacation podcasts) was kind enough to agree to my insane demand that we cover all the films in Ishii’s Joys of Torture series. Ishii directed seven films in 1968 and 1969 for Toei that explore torture, sexual obsession, sadism, toxic relationships, crime, and debauchery in a series of movies that are only thematically connected (plus one loose “sequel” made by Yuji Makiguchi in 1976). Some of these are anthology films, others are standalone tales; most are period set, while a few are contemporary. I decided to split this in two parts because we had so much to say, so this first episode is an introduction to the series and Ishii, and covers Tokugawa: Women’s Genealogy (1968), Shogun’s Joy of Torture (1968), and Orgies of Edo (1969). If you want to watch along but are struggling with where to locate some of these, email me at samm.deighan@gmail.com and I can help you out.
Thanks as always to Cinepunx and please rate, review, follow, and share! And stay tuned for part 2 of this Ishii episode in just a few days.

For the latest Eros + Massacre episode, designer, writer, musician, and jack of all trades Christopher Norris joined me to talk about one of our mutual favorites, Alain Robbe-Grillet, a giant of modern French literature, a genius filmmaker, and an unabashed pervert. We focused on three of his classic films, each from a different decade: Trans-Europ-Express (1966), Le jeu avec le feu (Playing with Fire, 1975), and La belle captive (The Beautiful Prisoner, 1983). And of course the conversation includes everything from Jess Franco and Jacques Rivette to Marguerite Duras and White Chicks, among other things.
You can find Christopher at Steakmtn.com, on Instagram, and on Twitter. His fiction is here at Asterism Books.
Additional notes:
We talk a lot about Pete Tombs and Cathal Tohill’s extremely influential Immoral Tales book, which is out of print but absolutely worth hunting down. Read the Catherine Robbe-Grillet profile I mentioned here. Here’s some short evidence of Robbe-Grillet’s genius as a thinker and critic (on Hitchcock vs Antonioni, with subtitles).
Thanks as always to Cinepunx and please rate, review, follow, and share!

Andrew Nette, my co-editor on Revolution in 35mm, joined me for this rather intense episode about Gillo Pontecorvo’s The Battle of Algiers (1966). We talk a lot about the film’s powerful impact, the Algerian struggle for independence from French colonial occupation, the cost and effectiveness of violence, Pontecorvo’s time in the Italian resistance during WWII, his career more broadly, and the use of The Battle of Algiers as a training tool for political radicals.
We also discuss films made around the same time that addressed the war, particularly Youssef Chahine’s incredible Jamila, The Algerian (1958). In addition to being one of the only films in cinema history to focus on a female freedom fighter as central to a battle for independence, it was also one of the only film actually made during the Algerian War and from a North African country. And Jean-Luc Godard’s forgotten and neglected Le petit soldat (1960) also makes an appearance. 
You can find Andrew at @pulpcurry on social media and here on his website! And of course you can find our book here from PM Press. Thanks as always to Cinepunx and please rate, review, follow, and share!

Starting this September, the Criterion Channel is running a series on giallo films. It includes thirteen films from The Girl Who Knew Too Much (1963) through Tenebrae (1982), covering a lot of the greatest hits of the genre with a few added bonus in the mix as well. Criterion video editor, Channel programmer, and all around lovely person Clyde Folley was kind enough to join me to talk about this series, which he programmed. We discuss the challenges of programming a series like this, the genre as a whole, our favorite films in the series, the magic of Nieves Navarro, our mutual love for In the Folds of the Flesh, and a lot of other unexpected topics (like Thai made for TV horror).
In the episode, Clyde mentions that he’s programming a Brad Dourif series in October at Anthology: you can learn more about that here. I also mention that I wrote an essay on the giallo subgenre to go along with the series which is now up on the Criterion site.
Here’s an obligatory reminder that my upcoming book Revolution in 35mm through PM Press is on its way out in the world this September! Thanks as always to Cinepunx and please rate, review, follow, and share!

It broke my heart that the absolutely wonderful Donald Sutherland died this summer, even though he lived a long, extremely full life, so I knew I needed to do an episode on some aspect of his sprawling career. Robert Skvarla was kind enough to join me to talk about some of Sutherland’s thriller films from the 1970s and ’80s. We focused primarily on Alan Pakula’s Klute (1971), but also discussed Bob Clark’s Murder By Decree (1979), Richard Marquand’s Eye of the Needle (1981), and naturally brought up a host of other related films like Don’t Look Now and my new favorite, The Disappearance (1977).
One of my love languages is listening to Rob talk about conspiracy theories, so there is a lot of that in here, ranging from Sutherland’s own experience with radical politics and activism in the ’70s, as well as a broader history of FBI surveillance. You can find Rob here on Twitter (where he is famous) and here on Instagram.
And you can see us together for the Revolution in 35mm book launch in Philadelphia at PhilaMOCA later this month on September 25.
Here’s an obligatory reminder that my upcoming book Revolution in 35mm is up for preorder through PM Press and is on its way out in the world this September! Thanks as always to Cinepunx and please rate, review, follow, and share!

Over the years I’ve talked a lot about how Fulci’s City of the Living Dead (1980) changed my life as a young teenager and so it goes without saying that Fabio Frizzi’s music has also had a huge impact on me. This September, he’s taking a Zombie live score on an American tour and he was kind enough to speak with me ahead of that. We talk about his process composing, how he approaches films, and what it was like to work with Fulci, but it was also important to me to get in some questions about his incredible scores for with other directors like Aldo Lado, Bruno Corbucci, and Enzo Castellari. And YOU KNOW I had to ask about Superfantagenio.
At the end of the episode, I also monologued more about his career and tried to focus on some films he scored that I think are underrated or outright neglected. I also compiled an ultimate Fabio Frizzi playlist! 
Here’s an obligatory reminder that my upcoming book Revolution in 35mm is up for preorder through PM Press and will be out in the world next week (!!!), so please spread the word! Thanks as always to Cinepunx and since this is a brand new show and it needs all the help it can get, please rate, review, follow, and share!

I have been wanting to do an episode on American International Pictures’ beach party series with Frankie Avalon and Annette Funicello FOR YEARS. I absolutely love these films and I’m so grateful to my pal Keith Allison, a film and pop culture writer, for going on this long and very sandy journey with me. We talk about what I consider the main films in the series — Beach Party (1963), Muscle Beach Party (1964), Bikini Beach (1964), Beach Blanket Bingo (1965), How to Stuff a Wild Bikini (1965), and Ghost in the Invisible Bikini (1966) — and a lot of related topics like teen culture, surfer music, the innovations of American International Pictures, America in the ’60s, the ARKOFF formula, why Frankie and Annette do not remotely belong on a beach in California, and much much more.
Keith wrote a great book that you should check out, Cocktails and Capers: Cult Cinema, Cocktails, Crime, & Cool, and you can find him here on Instagram.
Here’s an obligatory reminder that my upcoming book Revolution in 35mm is up for preorder through PM Press and will be out in the world next week (!!!), so please spread the word! Thanks as always to Cinepunx and since this is a brand new show and it needs all the help it can get, please rate, review, follow, and share!

Happy belated birthday to Mario Bava, who was born on July 31 (much like me). This is a loaded episode: guest host Bill Ackerman, from Supporting Characters podcast and a number of commentaries and other blu-ray special features, shares my love of Bava and his final feature film, Shock (1977). We talk about: Shock and its relationship to Ovidio Assonitis’s Beyond the Door (1974), to which it is an unofficial sequel; Bava’s collaborations with his son, director Lamberto, in the late ’70s; the wonderful Dario Nicolodi and her performances in Shock and the television film Venus of Ille (1979), which Mario and Lamberto Bava co-directed; why Bava is the best; the evolution of gothic literary themes in Italian ’70s cinema; and a lot more!
Here’s an obligatory reminder that my upcoming book Revolution in 35mm is up for preorder through PM Press and available now as an ebook, so please spread the word. Thanks as always to Cinepunx and since this is a brand new show and it needs all the help it can get, please rate, review, follow, and share!

Learn more about what wild and obscure movies I’m watching by following me on Patreon to unlock this full episode and access the entire back catalogue of bonus episodes, video essays, written essays, and podcast series! This episode covers everything from Hong Kong action and horror to Stephen Chow movies, classical Japanese melodrama, Yaphet Kotto, and much more.