Sam McKinlay

Celluloid Horror explores Kier-La Janisse's tireless crusade to bring obscure cult horror film to the masses through her independently run international film festival.

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).

A choreography to cracked linear textural sound. Elements of classical and neoclassical ballet used to choreograph a dancer's movements to jagged lines of sound.

“Now, for the first time, a collection of murder scenes from all your favorite Giallo films. More gloved stalkers and sharp objects than you can shake a stick at. The collection features scenes from many unreleased Italian thrillers including DEATH CARRIES A CANE, WHAT ARE THOSE STRANGE DROPS OF BLOOD ON THE BODY OF JENNIFER, SO SWEET SO DEAD, SEVEN MURDERS FOR SCOTLAND YARD, MURDER IN PARIS, REFLECTIONS IN BLACK, DEATH WALKS IN HIGH HEELS and many more (too many to list!). A must-have for fans of the genre and all its eccentricities.”