But perhaps the included images might speak a little more than words.
1) The Forbidden Photos of a Lady above Suspicion (1973): Colorful liquor bar carts, ‘70s giallo glamor, Euro-nightclubs, Technicolor, small cars, cigarettes, Edda Dell’Orso, Ennio Morricone – So these features could describe a lot of movies, but this one has one of my favorite titles and Nieves Navarro in a black high split open side dress. I thought that Navarro’s proud and confident sexually liberated character Dominique felt like a proto-Samantha from Sex and the City.
2) Succubus (1968): Provocative muses, looming castle destinations, mannequins, inner personality conflicts, nightclub faux torture scenes, dream sequences, trippy acid parties – The hazy soft-focused sequence when Janine Reynaud’s Lorna Green drifts out of bed and ventures to the limestone river castle in Lisbon and the questionable perspective of dream or reality remains a gold standard for surreal film experiences for me. Is she mad, or just not of this world?
3) The Reincarnation of Isabel (1973): Erotic madness, mountainous terrain, spaced out looking actors standing around the Castle Balsorano, Eastmancolor, expressive sadomasochism, comical sex scenes, day and night merging, excessive use of grandiose set pieces – This movie’s a chaotic mess, but it’s also an expressionistic masterpiece that thrives on account of its aesthetic and not its narrative.
4) The Blood Spattered Bride (1972): Ancestral mansions, sapphic vampires, Carmilla influenced, bloody daggers, blurred line between dream and reality, bloody mariticide, gothic candle lit dinner scenes, sylvan settings – Beautiful but disturbing with several uncomfortable parts, The Blood spattered Bride still works as a great Spanish horror film despite being pretty heavy with its tones of misogyny and misandry.
5) The Spider Labyrinth (1988): Conspiracy theory – How can conspiracy theory be an aesthetic? Well, have a look at the included screen grab below. That realization that you were in the lion’s den the entire time makes for a uneasy experience in denouements to films such as The Perfume of the Lady in Black, Short Night of Glass Dolls, and Rosemary’s Baby.
6) Pinocchio and the Emperor of the Night (1987): ‘80s Filmation nostalgia, inappropriately scary for intended kid audience, creepy carnivals – This unofficial sequel to Carlo Collodi’s Pinocchio did give me nightmares, particularly on account of one scene with Pinocchio at The Neon Cabaret, some sort of kid disco (the Playland counterpart), where the kids' faces start to horrifically distort after he drinks the sparkly green liquid, which I like to think is carbonated Ecto Cooler spiked with absinthe.
7) All the Colors of the Dark (1972): Black Masses, Edwige fenech (yes, she counts as an aesthetic), looming mansion destinations, Bruno Nicolai, staying classy and fashionable (like something out of a JCPenny’s catalogue) while being stalked by your killer. I love black mass scenes and All the Colors of the Dark easily has my favorites.
8) The Werewolf vs. the Vampire Woman (1971): Vampires moving through space in slow motion, classic monster mashups, Paul Naschy, gothic ambiance – With the right amount of fog and dread, slow motion framing can make your monsters seem to exist outside of space and time, and the effect is quite startling, so much so that Amando di Ossorio would mimic it for his Blind Dead Templars.
9) Queens of Evil (1970): Horror movies with a fairytale exterior, provocative situations that aren’t what they seem, ancient witches in touch with modern ‘70s fashions, Snow White, free spirited hippies with a lot of crazy ideas about free love – Queens of Evil is a fantastic horror film with a biting social message.
10) Who Framed Roger Rabbit (1988): Classic cel animation juxtaposed with reality, nourish style set in 1940s LA, inappropriate for kids despite being one of my favorite movies as a kid – There couldn’t be anything more awesome than cartoons being real and the existence of a place like Toontown and not to mention a chance to meet Betty Boop.