June 23, 2016



A GAME OF CRIME marks the birth of the second variation of the Poisoned Past narrative. This variation can be defined as follows: the story of a man or woman whose personal safety is put in jeopardy due to the present actions of someone they are involved with romantically. This variation tends to produce the weakest films for several reasons, all of which are found in this film. To properly explain, I'm going to have to go into details so turn away now if you were ever planning on tracking down this giallo rarity.

A GAME OF CRIME begins with a man named Paolo being followed, chased and eventually beaten up by a couple of thugs. Turns out Paolo has a gambling problem and is in serious debt. When his nightclub performer girlfriend Christina can't bail him out of it, Paolo goes for Plan B. He steals a million lire from his employer, David. Naturally, David doesn't appreciate this, but the person most shocked by Paolo's actions is David's wife, Anna. She and Paolo have been having an affair, something David knows all about. So to punish both the crook and his cheating wife, David plans on calling the cops, only to fall ill when his heart condition flares up.

Bedridden and tended to by his doctor friend, Bowen, David tosses and turns, clearly in pain. And he isn't the only one. In an upstairs room of the house resides David's brother, Carlo, a man reduced to an incoherent mass of scar tissue after an automobile accident a few years back. Carlo is looked after by a live-in nurse named Elizabeth, mostly because Anna cannot tolerate Carlo's incessant, agonized wailing. When David's heart condition suddenly worsens, everyone rushes to his aid, including Paolo, who has been hiding in David and Anna's house for the past couple of days. Bowen asks him to retrieve David's heart medication from the bathroom and Paolo, slime that he is, suddenly finds a way out of this mess. He purposefully gives David the wrong medicine, killing him.

Only days after, Paolo and Anna are a couple. Christina has been pushed to the side by Paolo. He's angry that she won't abort their unborn child but she, for some indiscernible reason, still loves him. Anna love him too, even though Paolo doesn't treat her any better than her abusive, now-dead husband. But no matter. Paolo wants to live the good life, spending the money Anna received from David's life insurance policy on a brand new car. Carlo still resides in the upstairs bedroom, his ongoing care a condition placed upon Anna in the insurance agreement. Even Carlo's screams can't dampen Anna's mood.

But the police sure can. They've received an anonymous letter claiming that David's death was not a natural one. And so begins the long and torturous central narrative of A GAME OF CRIME.

The problems should be obvious. For starters, we have two main characters, one of whom is a greedy, good-for-nothing killer. The other is a widow fully aware of the circumstances of her husband's death. Or at least I think she is. The film never bothers to explicitly state how much Anna knows. In one scene, she's paranoid about the cops arresting her. In another, she's more or less just worried about the ramifications of being accused. Regardless, Anna is a weak, borderline pathetic character for the film to hang its hat on and Paolo is little more than a petulant, arrogant brat. Am I really supposed to care if they're arrested?

Dancing around the periphery of the film are two far more interesting and sympathetic characters, Elizabeth and Christina. Elizabeth is first presented to us as quiet and devoted to her work, but as the film goes on, her character is given sudden depth which goes completely unexplored. She's the one that sent the letter to the police and is later revealed to be not only Paolo's sister but David's lover as well. This provides the film with ample opportunities to explore a character torn between past greed and present moral torment over her actions. But because she presents a possible problem for everyone involved, it becomes imperative for her character to be killed off. And killed off she is, leaving us with the far less interesting cast of characters.

Then there's Christina. While completely removed from the central narrative, Christina is the only other character with any semblance of inner motivation for her actions. It's rare to see a film from 1964 deal with abortion as something integral to a character arc, but A GAME OF CRIME plays that card rather well. She is the only character I felt any sympathy for in the whole film. Unfortunately, she really is just a side character, only kept around for the sake of a misguided happy ending.

Gialli are not known for being strongly ordered, logical affairs, but the ending of A GAME OF CRIME rises to such a staggering degree of stupidity that I feel it's worth discussing. It is revealed late in the film that David did not die. With the help of Bowen, David faked his death. He killed his suffering brother, put on a custom-made Carlo mask and has been sitting upstairs in his brother's bedroom the entire time. How he pulled this off is beyond me. We're told by the police that David's autopsy came back clean. Someone would have had to put a body in a coffin for the burial and I'm fairly certain that no one would have confused the clean-cut David with his burnt-to-a-crisp brother. And what reason did David have to pull this all off? For money, of course. HIS money.

Let me repeat that. A wealthy man fakes his own death so he can steal his own money. Wow.

My guess is that I wasn't supposed to think about the twist ending logically. I was supposed to be blown away by it, shocked by it, confounded by it. Truth be told, I was, but it had the nasty side effect of completely jettisoning me out of a film I was barely orbiting in the first place. A GAME OF CRIME is a film about unlikable people doing unlikable things. BLOOD AND BLACK LACE did this same sort of thing, even giving us a late game murderess whose motivations we understood and sympathized with. But here all we have is Paolo, a brat, Anna, a cheating wife and accomplice, Elizabeth, reduced to a petty, duplicitous backstabber and David, a total prick. There is no place to hang your hat on here and that is what makes the ending so remarkably aggravating.

Because after this is all said and done, and David has been eaten alive by rats beneath the house, we are treated to a scene of the police having a drink with Paolo, Christina and Anna. It's like watching a group of friends discuss their day, laughing and making light of everything that just transpired. Paolo decides to stay with Christina and raise their child. Anna flirts with the police inspector. And me? I was screaming “you do remember that two of these people are guilty of attempted murder, right?!” at the top of my lungs. Normally, there would be some kind of comeuppance, some kind of emotional closure for the audience. Not here though. What we have here is a demonstration that the people who made the film have no real grasp on poetic justice or irony. They sacrificed all of that in favor of a cheap twist.

(Crimine a due)

Director: Romano Ferrara Writers: Marcello Coscia, Romano Ferrara
Starring: John Drew Barrymore, Lusia Rivelli, Lisa Gastoni, Jean Claudio
Italy; Eco Films
1964, 89 minutes

Narrative Variety: Poisoned Past, Var. 2
Murderer(s): Male
Murderer(s) Role: Husband
Murderer(s) Motive: Greed
Victims: 1 Female (shot), 1 Male (dies offscreen, cause undetermined)
Murderer(s) Death: Eaten by rats

June 19, 2016


Say what you will about slasher films being formulaic, but that underlying narrative formula kept most of these movies moving along at a brisk pace. Born from the “every ten minutes” rule codified by drive-in masters like Roger Corman, slasher movies were the ultimate in apologetic cinema. Sorry about the bits of story going on here, guys. Have a complimentary decapitation! We're really sorry about this bout of exposition. To make up for it, here's a scene of someone being eviscerated! You really have to try hard to mess up such an easy formula, but here we are. HELL NIGHT, a film that confuses spook show for freak show and takes way too long winding up for a pitch only to have it fly five feet then thud straight back to the ground.

What I'm trying to say is that this movie is so damn boring.

The film begins at a costume party thrown by the Alpha Sigma Rho fraternity. Despite being absolutely jam packed with people, I have to wonder just how popular this fraternity is as there appears to be only two pledges, Seth and Jeff. When Lambda Lambda Lambda has more pledges than you do, it might be time to close the doors. Anyway, as part of the hell night initiation ritual, the pledges will have to spend the night in Garth Manor, the obligatory haunted house of the film. Legend has it that Raymond Garth had a bit of a meltdown one night and murdered his entire family. But there may have been a survivor of that bloodshed, a son who is now a raving lunatic, killing anyone who sets foot in his home. Think THE HOUSE ON HAUNTED HILL except full of people who say “radical”.

So Jeff and Seth are locked in the property by Peter, head jerk of the fraternity, and to keep sexual tension high, they're partnered with two girls from a sorority, final girl Marti and Denise. Now I'm not entirely sure what college these people attend, but I wouldn't be surprised if it turned out to be Scooby Doo University as Peter and his friends begin tormenting the pledges using plastic skeletons on fishing wire, hidden speakers that play canned haunted house effects and two-way mirrors. A good portion of the film plays out like this: Peter plays a prank, spooking one of the girls. Enter one of the guys to carefully and meticulously explain how the prank was done. Rinse and repeat. It's like watching the worst episode of Ghost Hunters imaginable (which says a lot). Unfortunately, the TV show these pledges should have been recreating in their spare time was MythBusters because whadda ya know? Turns out the legend of Garth Manor is true and one-by-one they're all bumped off by a killer.

Which could have been fun if this movie wasn't so damn boring.

I have a few questions. If the Garth Family Massacre only happened about a decade ago, why does Garth Manor look like it was ripped out of a Hammer movie? There are candles everywhere. No electricity at all. Were they Amish? And most certainly Garth Jr. would have killed someone during the set-up for this little prank, right? I mean, it must have taken a full day for Peter and Co. to put all those fresh candles all over the house and set up the speakers and the mirrors and all the other pranks. They've clearly done this before too so why hasn't anyone else ever been killed before tonight? Do I even care? Not really.

But there's nothing else to focus my brain on because this movie is so damn boring.

I did appreciate the films willingness to kill off virtually everyone, sparing us a forced happy ending. If only it spared us the forced romance angle between Marti and Jeff. They're not terrible characters on their own, just thinly sketched, two white do-nothings bitter about their upbringings. Maybe if only one of the two was a self-important whiner, I would have been more engaged, but together they combine to form an unholy personality vacuum that just sucks all the fun out of everything. Seth and Denise on the other hand are so pumped full of hormones that I wouldn't be surprised if Denise's vagina had become sentient, screaming “feed me!” over and over again in the middle of the night. Seth does become the unlikely hero of the film later on, but Denise's sole character trait is that she likes her quaaludes and her Jack Daniels. I think I was supposed to be enamored by this early 80s drug and alcohol abuse, but I could see through the charade. It was just an excuse to get a lingerie-clad Suki Goodwin in bed and keep her there for the majority of her running time. In fact, a good portion of this film is devoted to people just lying in bed.

One of the many reasons why this film is so damn boring.

It's also too fucking long, clocking in just shy of two hours. That is far too long to spend with six or seven characters you wouldn't want to share a three minute elevator ride with. The film takes so long to get to the killings that I honestly started to wonder if this film was ever meant to have a killer in it at all. Maybe this was just a reworked spook show script? The killer is uninspired visually, but as the survival of these characters was the only thing standing between me and my ability to do something better with my time, I found myself rooting for him the entire film. I could see the light at the end of the tunnel. Faster, Ugly Guy in Overalls! Kill! Kill!

Once the film was over, I was noticeably happier. No more pranks. No more listening to people I don't care about talking about living lives I can't relate to. No more bad 80s humor. No more unironic uses of the word “radical”. No more overacting. No more Linda Blair running around in a corset… wait, that was something I liked about this movie.

Overall, HELL NIGHT is too damn boring to recommend. Watch something else instead. Like paint drying.

June 15, 2016


Unlike DARK PURPOSE, 24 HOURS OF TERROR is shot in glorious black and white. The film begins with the arrival of a man named Hughes in France. Who this man is is unknown to us. At this stage of the game, all we really know is the company he keeps, as we witness his driver shoot an armed thug to death in the airport bathroom. As Hughes and his driver make their way to a hotel meeting room, they discuss the plan. They aim to intercept a man named Tronche, a gun for hire on his way to do a job for a drug dealer named Jean. Hughes manages to subdue Tronche, knocking him out. He changes into Tronche's clothing and leaves the hotel, meeting another thug waiting for him in a car at the side of the road. Hughes gets in and the two men drive off.

Is Hughes a member of a rival drug gang? Is he an undercover cop? The answer is left until the very end, and that is massively unfortunate as that piece of the narrative is by far the strongest and most interesting story the film has to offer. The minute by minute narrative here is largely uninspired, carried out in fits and starts with only a few eye-catching set pieces to break the monotony.

The bulk of the story deals with the gang, a handful of lifeless individuals holed up in a French villa while they wait for the arrival of “the merchandise”. There's Jean, the kingpin with a penchant for playing the piano. There's Maria, his young sexpot of a girlfriend, and Danielle, a pretty blonde, low level thug who is the real center of Jean's attention. There's Pierre, the cook and look-out man, and Lafitte, a tough guy prick that takes an instant disliking to Hughes. Much of the film deals with their personal squabbles, whether it's Jean's desperate attempts to woo an uninterested Danielle or Lafitte's attempts to undermine (and at one point, even trying to murder) Hughes. The film does however take a sharp right turn at around the half hour mark when the other member of this gang, Theo, ends up dead with a knife in his back.

But as quickly and unexpectedly as that happens, the murder mystery angle is dropped in favor of more interpersonal squabbles and bickering. For a few moments after the discovery of the body, the film flirts with the Amateur Detective narrative, with Hughes anxious to find out who the killer really is. The film returns to this narrative several times over the next hour, but only briefly, only long enough to remind us – and the characters – that someone in their gang was murdered just a few hours ago. As the film winds on, it becomes more and more of a bog standard crime melodrama. The only scene with any measurable amount of tension is a three minute set piece of Hughes crossing a rickety suspension bridge, but that has more to do with the hand held photography than it does with any kind of purposeful construction on the part of the director.

When the film reaches the final half hour, the body count ramps up quickly but so does the campiness. The killer shows back up, knocking off Lafitte (the discovery of the body prefigures a very similar scene in Argento's THE BIRD WITH THE CRYSTAL PLUMAGE). In the films most unintentionally comedic moment, the killer terrorizes Jean, Danielle and Maria by turning off the lights and shining a flashlight at them. Jean fires pot shots around the room, aiming everywhere except for the flashlight, as the killer unloads canned, maniacal laughs on the soundtrack. This quick and sudden shift into horror territory is as unsuccessful as its attempts at crime drama. It's ridiculous and ham fisted, but after an hour of largely stoic melodrama, it's a nice change of pace.

Then the final reveal comes around and the film once again morphs into something more serious. The motive for the killings is one of revenge, murders carried out to avenge the painful overdose of a loved one. The way the finale plays out, with not one but two reveals after the unmasking of the murderer, is an indicator of just how good this film could have been had it decided to be a thriller rather than a lukewarm crime drama. The ending is a fast and furious bit of fisticuffs and gunshots with a delectable bit of irony tossed in for good measure. But is a good five minutes worth sitting through 81 minutes of forgettable mediocrity to get to? Not really.

(24 ore di terrore)

Director: Gastone Grandi Writers: Gastone Grandi, Tony Martinez
Starring: A.V. Belfast, Pino Colizzi, Paul Janning, Lauren Madison
Italy; Avis Film
1964, 86 minutes

Narrative Variety: Amateur Detective
Murderer(s): Male
Murderer(s) Role: Member of the gang.
Murderer(s) Motive: Revenge
Victims: Male (stabbed), Male (shot with an arrow), Female (strangled)
Murderer(s) Death: Shot

June 10, 2016


An inauspicious film that feels positively regressive after the self-aware, visually bombastic films of Mario Bava, DARK PURPOSE was an adaptation of a potboiler written by Doris Hume Kilburn. It is, in every way, matinee fare, an Italian-American-French co-production populated by two American stars soon destined for TV films and set in the picturesque city of Salerno, Italy (which we see precious little of). The film had two directors, only one of whom, George Marshall, was listed on my print. Most well known as a prolific director of comedies, Marshall had a few crime thrillers under his belt before he took on the film, most notably the excellent THE CRIME OF DR. FORBES from 1936. The other director on the film, Vittorio Sala, really seemed to contribute only exteriors shot in the streets of Italy with the rest of the film shot either on sets or in an American stand-in for Salerno.

It's a strange film. It feels completely disconnected from its setting and its underlying mystery narrative, offering up this weirdly shifting tone from polite comedy to dreary melodrama to full blown Hitchcockian thriller. It feels as though no one involved really wanted to go all in on any particular style or atmosphere. As a result, DARK PURPOSE feels like a mishmash of other, more accomplished works. There's a bit of Rebecca here, a bit of Wuthering Heights there, all wrapped up in the soppy wet clothing of a soap opera.

The film concerns Karen Williams, the pretty, young assistant to Raymond Fontaine, a smarmy British art appraiser. They arrive in Salerno to stay with Paolo Barbarelli, a reclusive, wealthy man who takes a liking to Karen. As the week goes on, Karen and Paolo grow closer, eventually becoming romantically involved. After Raymond leaves for Rome, Karen stays with Paolo, but grows suspicious of his intentions upon meeting Cora, a woman living in the Barbarelli villa. Paolo introduces her to Karen as his daughter. Cora is suffering from partial amnesia and paranoia, the result of an unfortunate accident. When Cora regains her memory, she claims to be Paolo's wife. Shortly after her recovery, Cora is found dead at the bottom of a seaside cliff. Her death is ruled an accident but Karen has her doubts. Maybe Cora was telling the truth. Maybe she really was being slowly poisoned by her husband so he can lay claim to her significant inheritance.

The death of Cora is the event which pushes this film into the land of the giallo. Before that event, the film dedicates its running time to a wholly unconvincing romance. The first hour of this film feels like an eternity with two barely interesting characters saying barely interesting things about barely interesting things. We learn a lot about Karen and Paolo during that time, but they're simply not very interesting people to learn about. Karen has a dead father. Paolo, according to him anyway, has a dead wife. He's twice her age and has twice her money. She's naive but outspoken. And behind all this driveling melodrama, there's Cora, the character that promises us a mystery, wafting through the story like a ghost in a classic British horror tale. The film largely ignores her character, only giving its attention to her long enough to spill the beans about Paolo. Then, having served her ten minutes of purpose, it tosses her off a cliff.

The final 30 minutes rises above the stifling mediocrity of the first hour. DARK PURPOSE is where we see the first variation of the Poisoned Past narrative come to life. In this film, it isn't someone in the protagonist's past that threatens their well being. It's their lover, compelled to murder or harm because of a buried secret in their past. We learn that Paolo caused the accident that robbed Cora of her memory, locking her away in the house, slowly killing her behind closed doors. Using her obvious mental issues as cover, he dismissed her claims of marriage, citing the now largely ignored Jungian idea of the Electra complex to explain her outbursts. Forced to act when Karen became too suspicious, he murdered his wife so that he and Karen could live happily (and wealthily) ever after.

I can't honestly recommend this film to anyone outside of the giallo faithful. It's only role in the evolution of the giallo was in introducing the first (of many) Poisoned Past variations, one that will become awfully familiar to you as we continue this journey. But apart from that, DARK PURPOSE is a total bore, wasting its appealing leads and lovely locations. It neglects a perfectly good mystery set-up in favor of diving into tired melodrama and as a result loses all momentum. It's a plodding, dull affair with only a lively Shirley Jones as a saving grace. 


Directors: George Marshall, Vittorio Sala; Writers: Massino D'Avak, David P. Harmon
Starring: Shirley Jones, Rossano Brazzi, George Sanders, Giorgia Moll
Italy, France, USA; Galatea Film, Societe Cinematographique Lyre, B.B.H. Productions
1964, 97 min

Narrative Variety: Poisoned Past, var. 1 

Murderer(s): Male 
Murderer(s) Role: Husband/Lover 
Murderer(s) Motive: Inheritance 
Victims: 1 female (falling)
Murderer(s) Death: Drowning

June 5, 2016


All films are listed by title / alternate title(s) / director / date (month/day/year) of Italian release.

* Note about release dates: Some films have release dates missing. This is largely due to the practice of films opening regionally instead of nationally. As a result, dates are all over the place. I'm still looking into getting first release dates for all titles missing them. However, don't expect accurate dates once we get into the 80s and 90s as many of the titles missing release dates were direct-to-video releases.

- 1963

The Girl Who Knew Too Much (Le Regazza Che Sapeva Troppo; The Evil Eye) Dir: Mario Bava, RD: 2/10/63

- 1964

Blood and Black Lace (Sei donna per l’assassino; Six Women for the Murderer) Dir: Mario Bava, RD: 3/14/64

Dark Purpose (L’intrigo) Dir: Vittorio Sala, RD: 4/3/64

24 Hours of Terror (24 ore di terrore) Dir: Gastone Grandi, RD: 4/23/64

A Game of Crime (Crimine a due) Dir: Romano Ferrara, RD: 9/27/64

Death on the Fourposter (Delitto allo specchio; Sexy Party) Dir: Jean Josipovici, Ambrogio Molteni, RD: specific date unknown

- 1965

Assassination in Rome (Il segreto del vestito rosso) Dir: Silvio Amadio, RD: 6/7/65

Lady of the Lake (La donna del lago) Dir: Luigi Bazzoni, Franco Rossellini, RD: 8/10/65

The Monster of Venice (Il mostro di Venezia; The Enbalmer) Dir: Dino Tavella, RD: 11/8/65

Night of Violence (La notti della violenza) Dir: Roberto Mauri, RD: 12/29/65

Libido Dir: Ernesto Gastaldi, Vittorio Salerno, RD: specific date unknown

- 1966

The Murder Clinic (La lama nel corpo; Knife in the Back) Dir: Elio Scardamaglia, RD: 3/7/66

Circus of Fear Dir: John Moxey, RD: 4/29/66

The Third Eye (Il terzo occhio) Dir: Mino Guerrini, RD: 6/11/66

A… Come Assassino Dir: Angelo Dorigo, RD: 7/8/66

- 1967

Date for a Murderer (Omicidio per appuntamento) Dir: Mino Guerrini, RD: 6/23/67

Deadly Sweet (Col cuore in gola; I Am What I Am) Dir: Tinto Brass, RD: 11/16/67

- 1968

Death Laid an Egg (La morte ha fatto l’uovo) Dir: Giulio Questi, RD: 1/9/68

Naked You Die (Nuda… si muore; School Girl Killer) Dir: Antonio Margheriti, RD: 2/20/68

The Sweet Body of Deborah (Il dolce corpo di Deborah) Dir: Romolo Guerrieri, RD: 3/20/68

Killer without a Face (Assassino senza Volto) Dir: Angelo Dorigo, RD: 7/20/68

A Hyena in the Safe (Una iena in cassaforte; Hybrid) Dir: Cesare Canevari, RD: 7/26/68

A Black Veil for Lisa (La morte non he sesso) Dir: Massimo Dallamano, RD: 8/11/68

A Complicated Girl (Una ragazza piuttosto complicate) Dir: Damiano Damiani, RD: specific date unknown

Deadly Inheritance (L’assassino ha le mane pulite) Dir: Vittorio Sindoni, RD: specific date unknown

Run, Psycho, Run (Piu tardi Claire, piu tarde…) Dir: Brunello Rondi, RD: specific date unknown

- 1969

Orgasmo (Paranoia) Dir: Umberto Lenzi, RD: 2/7/69

Shadow of Death (Viaje al vacio; Invisible Assassin; Macabre) Dir: Javier Seto, RD: 6/6/69

Satan’s Doll (La bambola di Satana) Dir: Ferruccio Casapinti, RD: 6/12/69

Double Face (A doppia faccia) Dir: Riccardo Freda, RD: 7/26/69

The Insatiables (Feminine insaziabili) Dir: Alberto De Martino, RD: 8/14/69

Perversion Story (Una sull’atra; One on Top of the Other) Dir: Lucio Fulci, RD: 8/15/69

Trumpets of the Apocalypse (Las trompetas del apocalipsis) Dir: Juilo Buchs, RD: 8/22/69

Yellow – le cugine Dir: Gianofranco Baldanello, RD: 10/7/69

So Sweet… So Perverse (Cosi dolce… cosi perversa; Kiss Me, Kill Me) Dir: Umberto Lenzi, RD: 10/31/69

Death Knocks Twice (Blonde koder fun der morder; The Blonde Connection) Dir: Harald Philipp, RD: 11/25/69

The Rage Within (Delitto al circolo del tennis) Dir: Franco Rossetti, RD: 12/29/69

Interrabang Dir: Giuliano Biagetti, RD: 12/31/69

Naked Violence (I ragazza del massacre) Dir: Fernando Di Leo, RD: specific date unknown

Psychout for Murder (Salvare la faccia) Dir: Rossano Brazzi, RD: specific date unknown

- 1970

Five Dolls for an August Moon (Cinque bambole per la luna d’agosto) Dir: Mario Bava, RD: 2/14/70

The Bird with the Crystal Plumage (L’uccello dale piume di cristallo; The Gallery Murders) Dir: Dario Argento, RD: 2/19/70

Paranoia (A Quiet Place to Kill) Dir: Umberto Lenzi, RD: 2/20/70

In the Folds of the Flesh (Nelle pieghe della carne) Dir: Sergio Bergonzelli, RD: 5/2/70

Hatchet for the Honeymoon (Il rosso segno fella follia) Dir: Mario Bava, RD: 6/2/70

Your Sweet Body for Killing (Il tuo dolce corpo da uccidere) Dir: Alfonso Brescia, RD: 6/27/70

May Morning in Oxford (Delitto a Oxford) Dir: Ugo Liberatore, RD: 8/3/70

Death Occurred Last Night (La morte risale a jeri sera) Dir: Duccio Tessari, RD: 9/5/70

The Weekend Murders (Concerto per pistol solista; Story of a Crime) Dir: Michele Lupo, RD: 10/15/70

Bali (Incontro d’amore) Dir: Paolo Heusch; Ugo Liberatore, RD: 10/29/70

Forbidden Photos of a Lady above Suspicion (Le foto proibite di una signora per bene) Dir: Luciano Ercoli, RD: 11/19/70

Kill the Fatted Calf (Uccidere il vitello grasso e arrostitelo) Dir: Salvatore Samperi, RD: specific date unknown

No Way Out (Senza via d’uscita) Dir: Piero Sciume, RD: specific date unknown

Your Hands on My Body (Le tue mani sul mio corpo) Dir: Brunello Rondi, RD: specific date unknown

- 1971

The Strange Vice of Mrs. Wardh (Lo strano vizio della signora Wardh; Next!) Dir: Sergio Martino, RD: 1/15/71

Cat O’ Nine Tails (Il gatto a nove code) Dir: Dario Argento, RD: 2/11/71

A Lizard in a Woman’s Skin (Una lucertola con la pelle di donna; Schizoid) Dir: Lucio Fulci, RD: 2/17/71

Cold Eyes of Fear (Gli occhi freddi della paura) Dir: Enzo G. Castellari, RD: 4/6/71

The Man with the Icy Eyes (L’uomo dagli occhi di ghiaccio) Dir: Alberto De Martino, RD: 4/10/71

Something is Crawling in the Dark (Qualcosa striscia nel buio) Dir: Mario Colucci, RD: 4/14/71

The Fourth Victim (La ultima senora Anderson; The Fourth Mrs. Anderson) Dir: Eugenio Martin, RD: 4/15/71

The Great Swindle (Historia de una traicion) Dir: Jose Antonio Nieves Conde, RD: 4/19/71

The Designated Victim (La vittima designate) Dir: Maurizio Lucidi, RD: 4/22/71

Asylum Erotica (La bestia uccide a sangue freddo; Slaughter Hotel; The Beast Kills in Cold Blood) Dir: Fernando Di Leo, RD: 8/2/71

Human Cobras (L’uomo piu velenoso del cobra) Dir: Bitto Albertini, RD: 8/5/71

The Black Belly of the Tarantula (La tarantola del ventre nero) Dir: Paolo Cavara, RD: 8/12/71

The Case of the Scorpion’s Tail (La coda dello scorpione) Dir: Sergio Martino, RD: 8/16/71

Dirty Pictures (Un posto ideale per uccidere; Oasis of Fear) Dir: Umberto Lenzi, RD: 8/18/71

The Night Evelyn Came Out of the Grave (La note che Evelyn uschi dalla tomba) Dir: Emilio Miraglia, RD: 8/18/71

Cross Current (Un omicidio perfetto a termine di legge) Dir: Tonino Ricci), RD: 8/21/71

The Iguana with the Tongue of Fire (L’iguana dall lingua di fucoc) Dir: Riccardo Freda), RD: 8/24/71

The Fifth Cord (Giornata near per l’ariete) Dir: Luigi Bazzoni), RD: 8/28/71

The Bloodstained Butterfly (Una farfalla con le ali insanguinata) Dir: Duccio Tessari, RD: 8/31/71

Bay of Blood (Ecologia del delitto; Twitch of the Death Nerve) Dir: Mario Bava, RD: 9/8/71

Web of Deception (Il sorriso del ragno) Dir: Massimo Castellani, RD: 10/12/71

Short Night of the Glass Dolls (Malastrana; Paralyzed) Dir: Aldo Lado, RD: 10/28/71

Death Walks on High Heels (La morte cammina con I tacchi alti) Dir: Luciano Ercoli, RD: 11/19/71

The Devil has 7 Faces (Il diavolo a sette face) Dir: Osvaldo Civirani, RD: 12/9/71

Four Flies on Grey Velvet (Quattro mosche di velluto grigio) Dir: Dario Argento, RD: 12/17/71

The Controversy (La controfigura; The Double) Dir: Romolo Guerrieri, RD: specific date unknown

Seven Murders for Scotland Yard (Jack el destripador de Londres; Jack the Ripper) Dir: Jose Luis Madrid, RD: specific date unknown

In the Eye of the Hurricane (El ojo del huracan; Cross Current) Dir: Jose Maria Forque, RD: specific date unknown

The Red Headed Corpse (La rossa dalla pelle che scotta) Dir: Renzo Russo, RD: specific date unknown

- 1972

An Open Tomb… An Empty Coffin (La casa de las muertas viventes) Dir: Alfonso Balcazar, RD: 1/7/72

My Dear Killer (Mio cara assassino) Dir: Tonino Valerii, RD: 2/3/72

Seven Blood Stained Orchids (Sette orchidee macchiate di rosso; Puzzle of the Silver Half Moons) Dir: Umberto Lenzi, RD: 2/24/72

All the Colors of the Dark (Tutti I colori del buio; They’re Coming to Get You; Day of the Maniac) Dir: Sergio Martino, RD: 2/28/72

Two Faces of Fear (Coartada en disco rojo) Dir: Tulio Demicheli, RD: 3/9/72

Smile Before Death (Il sorriso della iena; Smiles of Gena) Dir: Silvio Amadio, RD: 3/9/72

What Have You Done to Solange? (Cosa avete fatto a Solange?) Dir: Massimo Dallamano, RD: 3/9/72

Amuck (Alla ricerca del piacere) Dir: Silvio Amadio, RD: 3/21/72

Eye in the Labyrinth (L’occhio nel labirinto) Dir: Mario Caiano, RD: 3/24/72

Who Killed the Prosecutor and Why? (Terza ipotesi su un caso di perfetta strategia criminale) Dir: Giuseppe Vari, RD: 4/15/72

The Naked Girl Killed in the Park (Ragazza tutta nuda assassinate nel parco) Dir: Alfonso Brescia, RD: 5/30/72

The French Sex Murders (La casa d’appuntamento) Dir: Ferdinando Merighi, RD: 6/16/72

The Killer Strikes at Dawn (L’assassin frappe a l’aube; The Mushroom) Dir: Marc Simenon, RD: 6/21/72

Delirium (Delirio caldo) Dir: Renato Polselli, RD: 7/5/72

A.A.A. Masseuse, Good Looking, Offers Her Services (A.A.A. massaggiatrice bella presentza offresi) Dir: Demofilo Fidani, RD: 7/28/72

The Case of the Bloody Iris (Perche quelle strane gocce di sangue sul corpo di Jennifer?) Dir: Guiliano Carnimeo, RD: 8/4/72

Your Vice is a Locked Room and Only I Have the Key )Il tuo vizio e una stanza chiusa e solo lo ne ho la chiave; Excite Me) Dir: Sergio Martino, RD: 8/4/72

Maniac Mansion (La mansion de la niebla) Dir: Francisco Lara Polop; Pedro Lazaga, RD: 8/5/72

So Sweet, So Dead (Rivelazioni di un maniac sessuale al capo della squadra mobile; Penetration) Dir: Roberto Bianchi Montero, RD: 8/11/72

The Red Queen Kills 7 Times (La dama rossa uccide sette volte) Dir: Emilio Miraglia, RD: 8/18/72

Knife of Ice (Il coltello di ghiacchio; Silent Horror) Dir: Umberto Lenzi, RD: 8/24/72

Don’t Torture a Duckling (Non si sevezia un paperino) Dir: Lucio Fulci, RD: 9/29/72

Death in Haiti (Al tropici del Cancro; Tropic of Cancer) Dir: Giampaolo Lomi, Edoardo Mulargia, RD: 9/30/72

Slap the Monster on Page One (Sbatti il mostro in prima pagina) Dir: Marco Bellocchio, RD: 10/19/72

Death Walks at Midnight (La morte accarezza a mezzanotte) Dir: Luciano Ercoli, RD: 11/17/72

Spirits of Death (Un bianco vestitio per Mariale) Dir: Romano Scavolini, RD: 11/30/72

Love and Death in the Garden of the Gods (Amore e morte el giardino degli dei) Dir: Sauro Scavolini, RD: 12/4/72

The Dead Are Alive (I due volti della ancora; The Etruscan Kills Again) Dir: Armando Crispino, RD: 12/31/72

Death Falls Lightly (La morte scende leggera) Dir: Leopoldo Savona, RD: specific date unknown

Devil in the Brain (Il diavolo nel cervello) Dir: Sergio Sollima, RD: specific date unknown

La gatta en colore (The Cat in Heat) Dir: Nello Rossati, RD: specific date unknown

The Crimes of the Black Cat (Sette scialli di seta gialla) Dir: Sergio Pastore, RD: specific date unknown

The Killer is on the Phone (L’assassino e al telefono) Dir: Alberto De Martino, RD: specific date unknown

Who Saw Her Die? (Chi l’ha vista morire?; The Child) Dir: Aldo Lado, RD: specific date unknown

- 1973

Torso (I corpi presentano tracce di violenza carnale) Dir: Sergio Martino, RD: 1/4/73

Death Carries a Cane (Passi di danza su una lama di rasoio) Dir: Maurizio Pradeaux, RD: 1/5/73

My Wife, a Body for Love (Mia moglie, un corpo per l’amore) Dir: Mario Imperoli, RD: 1/26/73

Two Masks for Alexa (Fieras sin jaula) Dir: Riccardo Ghione, RD: 3/2/73

Love and Death on the Edge of a Razor (Giorni d’amore sul filo di una lama) Dir: Juan Loga, RD: 3/11/73

Seven Deaths in a Cat’s Eye (La morte negli occhi del gatto) Dir: Antonio Margheriti, RD: 4/12/73

The Corruption of Chris Miller (L’altra casa ai margini del bosco) Dir: Juan Antonio Bardem, RD: 4/17/73

Sexy Cat Dir: Julio Perez Tabernero, RD: 5/21/73

The Student Connection (Qualcuno l’ha vista uccidere; Witness to Murder) Dir: Rafael Romero Marchent, RD: 6/23/73

Death Smiles on a Murderer (La morte ha sorriso all’assassino) Dir: Joe D’Amato, RD: 7/11/73

The Flower with the Petals of Steel (Il fiore dai petali d’accaio; Flower with the Deadly Sting) Dir: Gianfranco Piccioli, RD: 11/13/73

The Deadly Triangle (El juego del adulterio) Dir: Joaquin Luis Romero Marchent, RD: 12/10/73

Afrika Dir: Alberto Cavallone, RD: 12/15/73

The Girl in Room 2A (La casa della paura) Dir: William Rose, RD: 12/22/73

The Crimes of Petoit (Los crimenes de Petiot) Dir: Jose Luis Madrid, RD: specific date unknown

The Woman, the Hour and the Motive (L’aram, l’ora, il movente) Dir: Francesco Mazzei, RD: specific date unknown

*Also to be considered is Dario Argento's Door Into Darkness, an Italian television series which contained short form giallo episodes including The Neighbor, The Tram, Eyewitness, and The Doll

- 1974

Spasmo Dir: Umberto Lenzi, RD: 2/16/74

The Body (Il corpo) Dir: Luigi Scattini, RD: 3/6/74

Sex of the Witch (Il sesso della strega) Dir: Angelo Pannaccio, RD: 3/20/74

The Perfume of the Lady in Black (Il profuma della signora in nero) Dir: Francesco Barilli, RD: 3/29/74

The Killer Reserved Nine Seats (L’assassino ha riservato nove poltrone) Dir: Guiseppe Bennati, RD: 5/21/74

What Have They Done to Your Daughters? (La polizia chiede auito; The Police Need Help) Dir: Massimo Dallamano, RD: 8/10/74

The Killer Wore Gloves (La muerte ilama a las diez) Dir: Juan Bosch, RD: 8/25/74

Red Light Girls (Prostituzione) Dir: Rino Di Silvestro, RD: 9/7/74

Orders Signed in White (Ordine firmaro in bianco) Dir: Gianni Manera, RD: 11/13/74

Five Women for the Killer (5 donne per l’assassino) Dir: Stelvio Massi, RD: 12/4/74

A Dragonfly for Each Corpse (Una libelula para cada muerto) Dir: Leon Klimovsky,
RD: specific date unknown

Clap, You’re Dead (Ciak si muore) Dir: Mario Moroni, RD: specific date unknown

Death Will Have Your Eyes (La moglie giovane; Savage City) Dir: Giovanni d’Eramo, RD: specific date unknown

Copyright Crime (Delitto d’autore) Dir: Mario Sabatini, RD: specific date unknown

The Silk Worm (Il baco de seta) Dir: Mario Sequi, RD: specific date unknown

Puzzle (L’uomo senza memoria) Dir: Duccio Tessari, RD: specific date unknown

The Killer with 1,000 Eyes (Los mil ojos del asesino) Dir: Juan Bosch, RD: specific date unknown

The Killers are Our Guests (Gli assassin sono nostril ospiti) Dir: Vincenzo Rigo, RD: specific date unknown

- 1975

Autopsy (Macchie solari; The Victim) Dir: Armando Crispino, RD: 1/18/75

Eyeball (Gatti rossi in un labirinto di vetro) Dir: Umberto Lenzi, RD: 1/24/75

Footprints (La orme; Primal Impulse) Dir: Luigi Bazzoni, RD: 2/1/75

Evil Eye (Eroticofollia) Dir: Mario Siciliano, RD: 2/6/75

Deep Red (Profondo rosso; The Hatchet Murders) Dir: Dario Argento, RD: 3/7/75

Night Train Murders (L’ultimo treno della note) Dir: Aldo Lado, RD: 4/8/75

Suspicious Death of a Minor (Milano, morte sospetta di una minorenne) Dir: Sergio Martino, RD: 8/12/75

The Maniac Responsible (…a tutte le auto della polizia) Dir: Mario Caiano, RD: 8/28/75

Strip Nude for Your Killer (Nude per l’assassino) Dir: Andrea Bianchi, RD: 9/25/75

Vice Wears Black Hose (Il vizio ha le calze nere; Reflections in Black) Dir: Tano Cimarosa, RD: 10/4/75

The Masters (Gente di rispetto; The Flower in His Mouth) Dir: Luigi Zampa, RD: 10/31/75

Thrilling Story (Giochi erotici di una famiglia perbene) Dir: Francesco Degli Espinosa, RD: 11/22/75

The Sunday Woman (La donna della domencia) Dir: Luigi Comencini, RD: 12/23/75

Snapshot of a Crime (Istantanea per un delitto) Dir: Mario Imperoli, RD: specific date unknown

So Young, So Lovely, So Vicious (Peccati di gioventu) Dir: Silvio Amadio, RD: specific date unknown

The Killer Must Kill Again (L’assassino e constretto ad uccidere ancora) Dir: Luigi Cozzi, RD: specific date unknown

The Murderer is Not Alone (El asesino no esta solo) Dir: Jesus Garcia de Duenas, RD: specific date unknown

The Bloodsucker Leads the Dance (La sanguisuga conduce la danza) Dir: Alfredo Rizzo, RD: specific date unknown

The Police are Blundering in the Dark (La polizia brancola nel buio) Dir: Helia Colombo, RD: specific date unknown

- 1976

Illustrious Corpses (Cadaveri eccellenti) Dir: Francesco Rosi, RD: 2/12/76

The House with the Laughing Windows (La casa dale finestre che ridono) Dir: Pupi Avati, RD: 8/16/76

Death Haunts Monica (La muerte ronda a Monica) Dir: Ramon Fernandez, RD: specific date unknown

Plot of Fear (…E tanta paura) Dir: Paolo Cavara, RD: specific date unknown

Death Kiss (Via Killer!; The Rape Killer) Dir: Kostas Karagiannis, RD: specific date unknown

- 1977

Nine Guests for a Crime (Nove ospiti per un delitto) Dir: Ferdinando Baldi, RD: 1/12/77

The Forbidden Room (Anime persa) Dir: Dino Risi, RD: 1/20/77

Death Steps in the Dark (Passi di morte perduti nel biuo) Dir: Maurizio Pradeaux, RD: 2/17/77

Crazy Desires of a Murderer (I vizi morbosi di una governante) Dir: Filippo Walter Ratti, RD: 4/2/77

Eyes Behind the Wall (L’occhio dietro la parete) Dir: Giuliano Petrelli, RD: 6/7/77

Watch Me When I Kill (Il gatto dagli occhi di giada; The Cat with the Jade Eyes) Dir: Antonio Bido, RD: 8/6/77

The Psychic (Sette note in nero; Seven Notes in Black) Dir: Lucio Fulci, RD: 8/10/77

The Monster (Il mostro; The Fiend) Dir: Luigi Zampa, RD: 10/1/77

Double Murder (Doppio delitto) Dir: Steno, RD: 12/23/77

The Pyjama Girl Case (La ragazza dal piagama giallo) Dir: Flavio Mogherini, RD: 12/31/77

- 1978

Red Rings of Fear (Enigma rosso; Trauma) Dir: Alberto Negrin, RD: 8/18/78

The Sister of Ursula (La sorella di Ursula) Dir: Enzo Milioni, RD: 10/18/78

Immorality (L’immoralita) Dir: Massimo Pirri, RD: 11/20/78

The Perfect Crime (Indagine su un delitto perfetto) Dir: Giuseppe Rosati, RD: 12/24/78

Neapolitan Thriller (Giallo Neapoletano) Dir: Sergio Corbucci, RD: specific date unknown

Closed Circuit (Circuito chiuso) Dir: Giuliano Montaldo, RD: specific date unknown

Hotel of Fear (Pensione paura) Dir: Francesco Barilli, RD: specific date unknown

The Blood Stained Shadow (Solemente nero) Dir: Antonio Bido, RD: specific date unknown

The Killer Nun (Suor omicidi) Dir: Guilio Berruti, RD: specific date unknown

- 1979

Mystery in Venice (Giallo a Venezia) Dir: Mario Landi, RD: 12/31/79

Play Motel (Alla ricera del piacere; Maniac Mansion; Amuck) Dir: Mario Gariazzo, RD: specific date unknown

- 1980

Macabre (Macabro) Dir: Lamberto Bava, RD: 4/17/80

Trauma (Il mister della casa maledetta) Dir: Gianni Martucci, RD: specific date unknown

- 1981

The Wailing (L’ossessione che uccide; Obsession with Murder; Murder Obsession) Dir: Riccardo Freda, RD: 2/24/81

The Secret of Seagull Island (L’isola del gabbiano) Dir: Nestore Ungaro, RD: 4/1/81

- 1982

The New York Ripper (Lo squartatore in New York) Dir: Lucio Fulci, RD: 3/4/82

Tenebrae (Tenebre; Unsane) Dir: Dario Argento, RD: 10/28/82

Blood Link Dir: Alberto De Martino, RD: specific date unknown

The Scorpion with Two Tails (Assassino al cimitero etrusco) Dir: Sergio Martino, RD: specific date unknown

- 1983

Copkiller (Order of Death) Dir: Roberto Faenza, RD: 3/15/83

Sensual Murder (Delitto carnale) Dir: Cesare Canevari, RD: 4/5/83

A Blade in the Dark (La casa con la scala nel buio) Dir: Lamberto Bava, RD: 8/6/83

Mystery (Mystere; Murder Near Perfect) Dir: Carlo Vanzina, RD: 11/28/83

House of the Yellow Carpet (La casa del tappet giallo) Dir: Carlo Lizzani, RD: specific date unknown

- 1984

Murder Rock (Uccide a passo di danza) Dir: Lucio Fulci, RD: 4/20/84

Blind Date Dir: Nico Mastorakis, RD: specific date unknown

- 1985

Phenomena (Creepers) Dir: Dario Argento, RD: 1/31/85

Formula for a Murder (7 Hyden Park – La casa maledetta) Dir: Alberto De Martino, RD: 8/10/85

Nothing Underneath (Sotto il vestito niente) Dir: Carlo Vanzina, RD: 11/7/85

- 1986

The Killer is Still Among Us (L’assassino e ancora tra noi) Dir: Camillo Teti, RD: 2/7/86

The Monster of Florence (Il mostro di Firenza) Dir: Cesare Ferrario, RD: 4/9/86

The Midnight Killer (Morirala mezzanote; You’ll Die at Midnight) Dir: Lamberto Bava, RD: 4/24/86

Blood Link (Extrasensorial) Dir: Alberto De Martino, RD: 7/25/86

Evil Senses (Sensi) Dir: Gabriele Lavia, RD: specific date unknown

La casa del buon ritorno Dir: Beppe Cino, RD: specific date unknown

- 1987

Bizarre (Profumo) Dir: Giulana Gamba, RD: 1/16/87

Delirium: Photo of Giora (Le foto di Giora) Dir: Lamberto Bava, RD: 4/3/87

Body Count (Camping del terrore) Dir: Ruggero Deodato, RD: 5/14/87

Stage Fright (Deliria) Dir: Lamberto Bava, RD: 7/27/87

Opera (Terror at the Opera) Dir: Dario Argento, RD: 12/19/87

Sweets from a Stranger (Caramelle da uno sconosciuto) Dir: Franco Ferrini, RD: specific date unknown

- 1988

Phantom of Death (Un delitto poco commune) Dir: Ruggero Deodato, RD: 3/11/88

Dial Help (Ragno gelido) Dir: Ruggero Deodato, RD: 11/10/88

They Only Come Out at Night (Sotto il vestito niente 2: Too Beautiful to Die) Dir: Dario Piana, RD: 11/24/88

Obsession – A Taste of Fear (Pathos – segreta inquettudine; Un sapore di paura) Dir: Piccio Raffanini, RD: 12/9/88

Dark Bar Dir: Stelio Fiorenza, RD: specific date unknown

Delitti e profumi Dir: Vittorio De Sisti, RD: specific date unknown

Nightmare Beach (Welcome to Spring Break) Dir: Umberto Lenzi, RD: specific date unknown

Rorret Dir: Fulvio Wetzl, RD: specific date unknown

- 1989

Angel: Black Death (Arabelle l’angelo nero) Dir: Stelvio Massi, RD: 9/8/89

Fashion Crimes (La morte e di moda) Dir: Bruno Gaburro, RD: specific date unknown

- 1990

Eyewitness (Alta tensione – Testimone oculare) Dir: Lamberto Bava, RD: specific date unknown

Scandal in Black (Appuntamento in nero; Naked Rage) Dir: Antonio Bonifacio, RD: specific date unknown

- 1991

Homicide in Blue Light (Omicidio a luci blu) Dir: Alfonso Brescia, RD: specific date unknown

- 1992

Body Puzzle Dir: Lamberto Bava, RD: 3/20/92

Foxy Lady (Spaindo marina; The Smile of the Fox) Dir: Sergio Martino, RD: 5/21/92

Circle of Fear (Alibi perfetto; Perfect Alibi) Dir: Aldo Lado, RD: 8/27/92

Bella da morire (Prettykill) Dir: George Kaczender, RD: specific date unknown

- 1993

Trauma Dir: Dario Argento, RD: 3/12/93

Attrazione pericolosa (Dangerous Attraction) Dir: Bruno Mattei, RD: specific date unknown

Bugie rosse Dir: Pierfrancesco Campanella, RD: specific date unknown

Talent Agency (Agenzia cinematografica) Dir: Nini Grassia, RD: specific date unknown

The Washing Machine (Vortice mortale) Dir: Sergio Martino, RD: specific date unknown

- 1994

The Girl from Cortina (La ragazza di Cortina) Dir: Giancarlo Ferrando, RD: 11/29/94

Delitto passionale (Dangerous Attraction) Dir: Flavio Mogherini, RD: specific date unknown

Eyes without a Face (Gli occhio dentro; Madness) Dir: Bruno Mattei, RD: specific date unknown

The Telephone Murder (Omicidio al telefono) Dir: Bruno Mattei, RD: specific date unknown

- 1995

The Killer Wore Yellow Shoes (L’assassino e quallo con le scarpe gialle) Dir: Filippo Ottoni, RD: specific date unknown

The Strange Story of Olga O. (La strana stroia di Olga O) Dir: Antonio Bonifacio, RD: specific date unknown

- 1996

The Stendhal Syndrome (La sinfrome di Stendhal) Dir: Dario Argento, RD: 1/26/96

Fatal Frames (Fotogrammi mortali) Dir: Al Festa, RD: 6/14/96

Squillio Dir: Carlo Vanzina, RD: 10/25/96

La casa dove abitava Corinne Dir: Maurizio Lucidi, RD: 11/28/96

Il delitto a Luce Rossa (Intimate Crimes) Dir: Emanuele Glisenti, RD: specific date unknown

- 1998

Il delitto di Via Monti Parioli Dir: Antonio Bonifacio, RD: specific date unknown

- 2000

Almost Blue Dir: Alex Infascelli, RD: specific date unknown

- 2001

Sleepless (Nonhosonno; I Can’t Sleep) Dir: Dario Argento, RD: 1/5/01

- 2003

Bad Inclination (Cattive inclinazion) Dir: Roman Prygunov, RD: specific date unknown

- 2004

The Card Player (Il cartaio) Dir: Dario Argento, RD: 1/2/04

Eyes of Crystal (Occhi di cristallo) Dir: Eros Puglielli, RD: 11/26/04

- 2005

Do You Like Hitchcock? (Ti piace Hitchcock?) Dir: Dario Argento, RD: 12/1/25

The Torturer Dir: Lamberto Bava, RD: specific date unknown

- 2009

Giallo Dir: Dario Argento, RD: was not screened in Italy until 2010 with a proper release in 2011