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Sarah Makes People Watch Things! @torsodapop.bsky.social · 26m

#31DaysofHorror DAY 4 DEMONOID (1981) Alfredo Zacarías A Frankenstein’s mummy of Mexican popular cinema, zombie zoological & cursed-object chaos in which archaeological terror becomes mobile—the past not merely excavated & appropriated but corruptively conjoined to the present.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 03/10/2026

#31DaysofHorror DAY 3 THE STRANGENESS (1985) Melanie Anne Phillips Bespoke subterranean slow cooker wherein explorers violate an angry earth & are consumed one glop at a time by an entity whose gloriously genital form is as resistant to stability as the mine they traverse.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 02/10/2026

#31DaysofHorror DAY 2 THE DREAMING (1988) Mario Andreacchio Fascinatingly hubristic attempt to dramatize the difference between preserving history & reckoning with it, artifacts expected to safely contain a violent past that production couldn’t even confront directly under censorship.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 01/10/2026

#31DaysofHorror DAY 1 THE PLAGUE OF THE ZOMBIES (1966) John Gilling An ingeniously nasty gothic boomerang where something culturally relegated to primitivism is imported back to Cornwall so the British aristocracy can weaponize it against local working class (aka dead labour).

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 02/10/2026

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 01/10/2026

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 28/09/2026

Sunday Share 📸 Share a black and white photo, if you'd like...

On a couch taking an arial selfie while wearing a black and white top and white jeans

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 27/09/2026

Takahashi's DOOR 2: TOKYO DIARY (1991) processes the collapse of bubble-era fantasy through desire, urban space & sex work, positing FSSW Ai at various thresholds—both literal & conceptual—to explore the unstable boundary of choice when entangled with the expectations of others.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 26/09/2026

Hung up on a man who didn't choose her yet never formally ended things, lovelorn Ai drifts through the commodified intimacy of Murakami's architecturally oppressive TOKYO DECADENCE (1992), conventional femininity & economics both failing to provide a viable route toward autonomy.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 25/09/2026

WINDOWS (1980) cannot—& perhaps should not—be separated from the unfortunate stereotyping that defined its reception, yet obscured what remains formally fascinating about Willis' film: it isn’t a Rear Window spectator problem mystery, but an experiment in how watching becomes a form of possession.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 22/09/2026

Jennifer Connelly’s Italian era = ❤️ ÉTOILE (1989), Peter Del Monte

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 19/09/2026

Folk horror becomes geological trauma in M.R. James goes Quatermass tv terror THE STONE TAPE (1972), Kneale running the haunted house through a laboratory as deeply embedded feminine suffering screams to be heard while modern technology—and men—fail to process or contain her.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 14/02/2025

Ambiguous mirage MACUMBA SEXUAL (1981), unlike its tonal cousins, surrenders completely to amorphous design, unreality set astride colonialist symbology & pleasure couched within pain which lingers like vague impressions in sand while gently droning chords promote cinematic slippage. #FrancoFriday

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 18/09/2026

would be a fantastic double feature with Jess Franco's MACUMBA SEXUAL 😉📽️

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 18/09/2026

George Moorse's West German telefilm VAMPIRA (1971) strings its folk horror vignettes in the style of silent film serials together with documentarian-like narration—seamed & soundscaped by Tangerine Dream—benumbing the senses like a timeless transmission from some bizarre alter-dimensional vortex.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 13/09/2026

Ishii's ANGEL GUTS: RED VERTIGO (1988) inverts the machinery that produces fantasy—unreal femininity, the gaze, violent eroticism—letting idealized images dissolve into the terrifying, messy unknowability of connection as strangers reach through damage toward something transient but real.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 12/09/2026

Giallo misnomer ANGEL GUTS: RED FLASH (1994) is more concerned with perception than thriller rudiments, turning the gaze into an Hitchcockian investigative mechanism—Ishii’s audience not only witnessing someone’s trauma, but watching them discover that as evidence even their own image is suspect.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 10/09/2026

Often regarding the camera's glance as an act of violence, Satô's LOVE OBSESSION (1989) equates this gaze & the equipment that produces it to a weapon—one that deceives by duplication, spreading infectious misperceptions capable of seduction to which even authorship isn't immune.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 10/10/2025

🍂🍁 manifesting 🍁🍂 All the Colors of the Dark (1972), Sergio Martino // Images (1972), Robert Altman // Symptoms (1974), José Ramón Larraz // The Devonsville Terror (1983), Ulli Lommel #filmsky #horrorsky #autumnalhorror #fallvibes

Edwige Fenech walks down a curved path pursued by someone as she crunches fallen leaves beneath her boots, the trees filled with yellowing greenery in All the Colors of the Dark (1972), directed by Sergio Martino

Susannah York wearing a fetching cream toned ensemble with a plaid lap throw crafts lines for her next children's book beneath a tall tree, the mountains full of changing autumnal hues in the background in Images (1972), directed by the goat Robert Altman

Lorna Heilbron wearing her best quizzical expression and her coziest umber chunky knits stands in front of fanned autumn leaves deep in the woods, backlit by blue and green light in Symptoms (1974), directed by José Ramón Larraz

Ultimate muse Suzanna Love wheels her bike in fall appropriate navy tartan through a field of safety orange foliage and evergreen trees in The Devonsville Terror (1983), directed by Ulli Lommel

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 06/09/2026

Procured by Nikkatsu in post, Banmei Takahashi's oddly feminist STRIP THE FEMALE TEACHER (1981) confronts a dowdy Jane with her own illicit desires—but far from being a sour puss(y) about it, she throws herself into erotic explorations of a previously internalized omanko omnibus.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 12/02/2025

If Scorsese’s After Hours time travelled through a busted boombox to a crazed bodily fluid smeared Viennese night in a Brundle telepod alongside Sayadian clutching a copy of Dante’s Inferno it might graze the basic anatomy of Schmidt’s brutalist electro punk odyssey THE GOLD OF LOVE (1983). “Might.”

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 22/03/2025

Rollin's THE GRAPES OF DEATH (1978) sends Romero's crazies into the ecological terror of Grau's Manchester Morgue, but twists this take on sumptuously gothic zombie pastoral with the tragic lunacy of Bava's I Wurdalak where the earliest compulsion of carnal anguish is to destroy those you love most.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 28/08/2026

Create a Vampire Film Festival seeded with your name: Scars of Dracula Alucarda Requiem for a Vampire A Chinese Ghost Story Habit

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 28/08/2026

Jess Franco's Son of Orloff EL SINIESTRO DR ORLOFF (1982) leers down the barrel of multidecade revision liquidity, throwing the brilliant boffin through a 7th story window & scraping him off the pavement to never quite rebound from the awful stain of gelatinous potentiality. #FrancoFriday

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AlTheColorsOfTheDark💀🦇🪦⚰️🎃🕸🖤 @afizgig.bsky.social · 26/08/2026

You know when people post... Which celebrity death hit you the most? Well, I've been dreading hearing this news, and I thought I'd be prepared but I wasn't! Not at all! 🥺 And I'm not ok! 💔😭💔😭💔😭💔 I adore you Tim and I always will! 🫶🏻 RIP you beautiful man 🙏🏼 Thank you for everything 🙏🏼🕊🕯❤️🫶🏻

A photo of Tim Curry in his 20s who has sad passed away. RIP.

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The Tennessee Holler @thetnholler.bsky.social · 25/08/2026

“By her example, we believed anything was possible… she will always love you.” ❤️ #RIPDolly From the family of Dolly Parton: www.facebook.com/share/v/1P2y...

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 25/08/2026

Pao Hsueh-Li’s Star Wars adjacent inventory of insanity THE BATTLE WIZARD (1977) adapts Jin Yong like Joey Campbell penning Hero with 1,000 Faces on bath salts while bringing new meaning to finger guns, slut-shaming & supersizing your McChicken. Also there’s a gorilla. #Shawgust

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 23/08/2026

Number one fictional character whose closet I would raid: Laura Gemser as Mae "Emanuelle" Jordan in Bitto Albertini's BLACK EMANUELLE (1975) 🔥

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 25/08/2026

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 23/08/2026

Number one fictional character whose closet I would raid: Laura Gemser as Mae "Emanuelle" Jordan in Bitto Albertini's BLACK EMANUELLE (1975) 🔥

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 22/08/2026

Borowczyk's Ovidian fantasy ARS AMANDI (1983) is structured around erotic echoes, female voyeurism & mythological transgression, placing reproduction of desire through performance over conventional mechanics—& ironically exposing production seams through its own inherent tonal rebelliousness.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 21/08/2026

THE SEXUAL STORY OF O (1983) teases Jaeckin but delivers Eugenie: a dreamy maze of mirrored bodies where voyeurism stirs desire yet participation entrapment—& Franco's favorite spell to cast is beauty intoxicating enough to keep us looking long after looking has become dangerous. #FrancoFriday

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 15/08/2026

Mia Kirshner as Elizabeth Short in Brian De Palma's THE BLACK DAHLIA (2006)

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 09/08/2026

GESTAPO'S LAST ORGY (1977) is grotesque but never empty, processing the past through spectacular displacement: war trauma becomes fetish, revenge fantasy sexploitation—while survival demands mastering the sadist's ego until the liberating act of agency becomes its own corruption.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 08/08/2026

This double feature was oddly very eye opening… Sudden Impact (1983) + Tightrope (1984) #filmsky #sleazyeastwood 🎥⛓️‍💥

Harry considers the width of a bullet or just a hole in general in the US theatrical poster for Clint Eastwood’s sole director shot at the dirty franchise Sudden Impact from 1983

French release poster for Richard Tuggle/Clint Eastwood’s 1984 sleazy in the big easy giallo style film Tightrope

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 08/08/2026

With its neon heart bruised by unrequited sincerity, Egoyan's EXOTICA (1994) devises a house of mirrors as the machinery for faulty observation where surveillance is mistaken for knowledge & ritual for desire—each gaze refracting the unspoken into a weight to be borne, not lifted.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 31/07/2026

Although a reluctant gun-for-hire, in 5 DOLLS FOR AN AUGUST MOON (1970) Mario Bava had the gall to deliver at the dawn of a new breed of giallo that gloried in beatific bloodshed an anti-thriller which served as an extemporaneous hyper stylish mirror for his own genre efforts. #BavaVive 🖤📽️

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 30/07/2026

Carroll Baker in Umberto Lenzi’s A QUIET PLACE TO KILL (1970) reminding you there's still time left in hot giallo July aka #gially to watch some awful bourgeoisie by the sea...⛵🥃📽️

Carroll Baker in Umberto Lenzi's 1970 giallo A Quiet place to Kill mugging for the camera, drinking whiskey, screaming in a race car and making uncomfortable discoveries in front of mirrors

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 30/07/2026

The most bananas neo-noir to emerge from erotic 90s gooey afterbirth, Avi Nesher’s DOPPELGÄNGER (1993) plays like De Palma fiddling with the Lament Configuration during a Scooby-Doo goes X-files skinemax special only to detonate with an ending beamed in by giallo-loving Martians.

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JAV Titles @jav.scd.lol · 27/07/2026

We Heard About This "Old Lady Rental" Service And Were Wondering How Far Can We Take It... When We Seriously Talked About Our Problems, She Took Us Seriously, And Let Us Have Creampie Sex With Her! 13

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 27/07/2026

This is a public service announcement informing you that Tales From The Crypt is available in its entirety on Tubi You're Welcome #ChristmasInJuly 🎁

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 22/07/2026

Nelo Risi's giallo cum curio / Jean Seberg showpiece DEAD OF SUMMER (1970) ultimately feels so singular because it strips away nearly every convention of the giallo except its most fundamental one: someone witnessed something they cannot fully understand. In Risi’s film, that someone is us.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 21/07/2026

Amadio's quasi-giallo SO YOUNG, SO LOVELY, SO VICIOUS (1975) is what happens when Bonjour Tristesse has a torrid one-nighter with sun-soaked Italian exploitation: sleazier, nastier, more melodramatic—yet Sagan's emotional core survives intact ensuring the tragedy hits just as hard.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 17/07/2026

Single White Female (1992) Barbet Schroeder 📺 In A Lonely Place (1950) Nicholas Ray // Femme Fatal (2002) Brian De Palma📺 Double Indemnity (1944) Billy Wilder #sidebyside #noirinnoir #mustseetv #filmsky 📽️

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 16/07/2026

A heatwave exacerbates overactive internal fantasy in Eloy de la Iglesia's masterful domestic giallo THE GLASS CEILING (1971)—a disciplined unraveling of Rear Window & Gaslight's inherent themes of visual spectatorship, sexual desire vs the desire to be known & faulty perception.

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Sarah Makes People Watch Things! @torsodapop.bsky.social · 14/07/2026

Larraz's EMMA DARK DOORS (1974) conjoins old dark giallo, moody slasher & anti-psychiatry road trip inside an intensely tidy boundary blurring brain melter genre orgy of tension that acts as a proximate dry run for the obsessively claustrophobic love trauma of his follow up Symptoms.

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