Box sets are as much conversation pieces as they are collections of films, the coffee table book equivalent for physical media fanatics. They represent themes, either of a person or a genre that are meant to inspire discussion and discourse while also looking great on a shelf. They are also time capsules that curate titles that can define a genre or body of works in relation and the time it was released, offering up a historical perspective that is only limited by what has yet to come. With a genre like Folk Horror being as broad as it is, setting out to establish a foundation of films that define such a vast body of work is not just difficult, it is highly subjective. Thankfully, Severin Films and box set curator Kier-La Janisse are adept at identifying important works that can used in such an arduous task and it led to the most successful box set in Severin’s history, “All The Haunts Be Ours Volume 1.” Now, with a second volume released offering a more holistic and Global view of the genre, we take a deep dive into the 22 films that expand upon this already stellar collection.

WHAT’S IT ABOUT?

ALL THE HAUNTS BE OURS: A COMPENDIUM OF FOLK HORROR VOLUME TWO brings together 24 films representing 18 countries for more of the best-loved, rarely seen, thought-lost, and brand-new classics of folk horror, most making their disc debuts. The set also features 55+ combined hours of new and archival Special Features including trailers, interviews, audio commentaries, short films, video essays, historical analyses and bonus feature-length films; a 252-page hardcover of newly commissioned folk horror fiction by luminaries that include Ramsey Campbell, Cassandra Khaw and Eden Royce with illustrations by Drazen Kozjan, and much more, all curated and produced by WOODLANDS DARK AND DAYS BEWITCHED creator Kier-La Janisse.

HOW IS IT?

***Reviewers Note: Given the size of the box set, each review will be shorter than a typical Collector’s Crypt review ***

Disc 1: To Fire You Come At Last (UK/USA, 2023)

The first film, “To Fire You Come At Last”, was produced and commissioned by Severin Films and written as well as directed by Sean Hogan. This is a quaint, black-and-white shot film that dabbles in the horror of the unseen and learning about the company you keep. A group of men at the behest of The Squire are hauling his dead son’s body through a particularly infamous part of the woods. As the group of four go about their journey, they learn more about one another in ways that may alter their perceptions while something is stalking them in the dark. The premise is intriguing enough and the use of light, dark, and the monochromatic look gives this a sharper visual look that is technically impressive and alluring.

On the other hand, this is a very dialogue-heavy affair and the horror comes in less the form of literal monsters and more in the sense of dread and paranoia that builds as the characters and their histories unfold. To be sure, the finale does offer up something a bit more exciting akin to what horror fans are likely looking for, but those who aren’t willing to be patient with the delivery may find it hard to hold their attention.

Disc 1: Psychomania (UK, 1973)

A film that was a first-time watch for us, but not one that we hadn’t heard of before. Its inclusion is as curious as the film itself, which feels like a post-hippie horror film mixing psychedelic rock with shades of horror to create something wildly singular. The story of Tom, leader of the aptly named “Living Dead” motorcycle gang who is hellbent on resurrecting himself so he can return immortal, with a psychic mother who is all too keen to help him out. Tom’s girlfriend, Abby, is hesitant as Tom and more of the gang start to commit suicide so they can come back and reign terror without consequence. The culmination of which feels just as appropriate in a hipster cinema as it does in a horror fan’s collection with its British counter-culture on display.

“Psychomania” is such an odd film in so many ways. Tonally, it never feels like a horror movie despite dealing with horror tropes like zombies and mysticism. The early 70s post-hippie rock soundtrack also creates an odd atmosphere that never adds any tension or dread to the film. In some ways, it almost works as rock opera with allusions to horror sprinkled in. There’s likely some cultural context that flies over our American heads about the role of class in the film and the seemingly high-level acceptance of the supernatural. Still, as a curio piece of the 70s, it is unique and sure to find some fans along the way, especially with a well-curated list of special features!

Disc 2: The Enchanted (USA, 1984)

If we are picking up on a trend with this second volume, it’s that the definition of folk horror is and can be quite broad. Eyes turn towards the southern part of the US for “The Enchanted” and the next feature in the set, and while these aren’t the most horrific stories, they offer a unique perspective of folk horror that feels foreign even to someone born in the United States. “The Enchanted” focuses on a man, Royce, who returns to his family's deserted farm to spruce things up and go back to his roots. In doing so, his old family friend, Booker warns him of the family (The Purdrys) living on their land who are keen to offer their help tending to chores with little to no payment being asked in return. Booker warns Royce to not get too close to them as Royce takes to one of the older daughters, Twila. Twila and Royce elope, only for Royce to discover that Twila and her family are more than they seem.

Based on the description above, one would think that this story would end in betrayal and bloodshed, but the climax is surprisingly anti-climactic as the emphasis here isn’t as much of telling a straight story as it is combining the mythical and the rural into something akin to a Southern Canturberry Tale awash with both moral and environmental subtext. There is a dreamlike quality to “The Enchanted” that is both unsettling and captivating, part of which is due to the beautiful forested landscapes and the sparseness of people amongst the vastness of the panhandle’s scenery, as well as a synth score that sometimes feels out of place while also feeling just right. That sense of unease permeates the whole film as the viewer feels almost dropped into a world similar to their own, but also surprisingly unrecognizable for those who are used to the adornments of city life. “The Enchanted” is so singular it is hard to compare it to anything else save for a Floridian’s version of a fairy tale that is light on horror, but high on mystery in a world where the rift between the world of magic and reality creating a unique viewing experience that is hard to define. This won’t be everyone’s cup of tea, but it does demonstrate just how broad the folk horror genre can be.

Disc 2: Who Fears The Devil (USA, 1972)

Much like “The Enchanted”, “Who Fears The Devil” is another Southern-fried version of folk horror this time coming from the Appalachians. “Who Fears The Devil” tells the story of John, a traveling folk singer who swears to challenge the devil after his grandpa perishes doing the same. To find “true silver” in the mountains, John goes on a journey to find his silver and use them to make silver guitar strings so he can take on the devil and avenge his grandpa. “Who Fears The Devil” plays out a lot like Homer’s “The Odyssey” or even more so like a post-hippie version of “O’ Brother Where Art Thou” as John travels the mountains with the help of some eccentric folks along the way. For those familiar with the “Billy Jack” series of films, this feels like a kindred spirit in that they both feature a protagonist who represents the counterculture movement of the time, albeit with different intentions. John isn’t a “violence-first” kinda guy like Billy Jack and instead differs to his six strings as his source of strength. The story sees John beat down an “ugly bird” in a retro stop-motion sequence, as well as taking on plantation owners making the “horror” more attuned to our history rather than imagination.

“Who Fears The Devil” is an odd-duck of a film in so many ways, even amongst the films in this box set (so far). Unlike “The Enchanted”, “Who Fears The Devil” never feels grounded in our reality. Instead, it feels more like you’re watching someone living in Disney’s version of the South mixed with the folk-hippie stylings of the late 60s/early 70s. John is based on a character from writer Manly Wade Williams and he’s almost like an Appalachian non-violent version of Geralt from “The Witcher” with less womanizing. So much of “Who Fears The Devil” feels like you’re stuck in the Splash Mountain ride with fewer talking animals in place of talking people who are as eccentric and mysterious as a talking animal would be. It does feel like there is some cultural understanding required to place what is going on and why into its proper context unless you grew up in an area where Appalachian myths and legends were normal conversation, and thankfully some of the special features on this disc provide some foundational information about the history of Appalachian stories. Similar to “The Enchanted”, this isn’t going to be for everyone, but it is worth a watch simply to gain an appreciation for the diversity of folk horror on offer and challenge the conceptions of what we think the genre is.

Disc 3: The White Reindeer (Finland, 1952)

Eclectic is one way to describe the selections in this box set, and “The White Reindeer” is certainly a fine example of the range of films included in this second volume. This Finnish folk horror film focuses on a woman, Pirita, who seeks the affection of the local reindeer herders, in particular Aslak. She visits a local wizard who promises to make her “desirable to all reindeer herders”, and if you know a thing or two about the ole monkey’s paw legend then you know that words and promises can be deceiving. Pirita’s wish certainly seems to have worked as so many herders fawn over her, especially when she turns into a white reindeer and inflicts terror upon the local herders leading to them rooting her out and exposing Pirita’s witchy secret. “The White Reindeer” touches on tropes found in films like “The Wolf Man” as Pirita doesn’t seem to have complete agency over her transformation, even though there are times she uses it to her advantage. A creature as benign as a reindeer seems like an interesting choice to strike fear in the hearts of the locals, but it symbolizes a fear of witchcraft more than a fear of nature.

“The White Reindeer” is gorgeous, and starts out more like a family Christmas movie with beautiful snow-filled landscapes and the most reindeer you’ve probably ever seen on screen. The immersion into this unfamiliar world feels almost fairytale-like as we see the local folks racing reindeer, traveling by sled, and wearing winter outfits that look like they belong in the North Pole. The emphasis on Finnish, particularly rural populations here is a welcome departure from the traditional kinds of European folklore we get from the UK and Ireland. “The White Reindeer” doesn’t feel like it takes place in our world, even though it is mostly grounded in our reality albeit with an emphasis on magic. The conclusion of the film is as much a morality tale as it is folk horror reminding people that you must be careful what you wish for, as you never know exactly how things are going to turn out. If you’re not intoxicated by the lush scenery, you’ll surely be drawn in by the novel take on a familiar transformation-laden folk horror trope.

Disc 3: Edge of the Knife (Canada, 2018)

“Edge of the Knife” has the claim of being the first film shot completely in the Haidan language, which is an endangered language spoken fluently by only a couple dozen people. The story centers around a group of Haidan family and friends who go to prepare food at the end of the summer before the coming of the winter, and the intersection between two friends, Kwa and Adiits’ii, and Kwa’s son, Gaas who looks up to Adiits’ii. One day, Adiits’ii takes Gaas to fish for black cod only for Kwa and his wife to find Gaas dead on the shores and Adiits’ii is nowhere to be found. As the group prepares to leave, mourning Gaas and leaving the still-lost Adiits’ii behind. Unbeknownst to the group, Adiits’ii has been afflicted by spirits turning him into the Gaagiixid, a legendary Haidan wildman and he pillages the camp of the group until they capture him in the hopes of exorcising the spirits and saving Adiits’ii despite what happened to Gaas.

“Edge of the Knife” shares a lot in common with “Apocolyptica” in the sense that they both feature lost or endangered language that completely immerses the viewer in the culture of the people on screen. It is jarring at first, especially since the dialogue is sparse, but as you settle into the film so do you become comfortable with the traditions and Haidan ways of living. The horror here is far more subtle as the only death occurs not by the hands of evil, but by nature. Adiits’ii’s transformation into Gaagiixid isn’t grotesque body horror, but more a superficial change to his demeanor (scratches, curated blood, and some strange spikes emerging from his mouth). The core themes of grief and forgiveness are the stars here as Kwa grapples with forgiving Adiits’ii rather than wanting to exact revenge, and demonstrates the importance of community that is so often lost in modern culture and society. The process of trying to separate the spirit from the person is easily the most horrific thing shown and is overwhelmed by the breathtaking location photography that showcases the beauty of rural Canada of which only 80% is habitable. This is a truly unique and captivating story that is driven more by the visuals than the dialogue and carries an important reminder to us all that we shall not forsake those unjustly if we seek to maintain our sense of self and togetherness.

Disc 4: Born of Fire (UK, 1987)

Mark “Born of Fire” as one of the movies not to watch if you’re tripping, because this whole movie is like a Turkish psilocybin mushroom. A British flutist and an astronomer have a serendipitous meet as they both hear the eerie sounds of a wooden flute that leads to the discovery that the flutist’s father traveled to Turkey to seek out the Master Musician, only to return to never play music again before going insane. The couple go to Turkey to learn more, and upon arriving become embroiled in a series of Turkish and Muslim mysticism originating from a Diijn who the flutist’s father had visited. From there, things get a little abstract. The woman is captured by the Diijn, and the flutist is tasked with defeating him the best way he knows how through his music. From the midway point onward, “Born of Fire” becomes an obtuse and enchanting mix of hyper-stylized visuals and nightmarish images of the Diijn and his fiery abode. The lack of narrative through lines and linearity may make it hard for some to keep their attention, but not too hard as the visuals are intensely alluring even if you aren’t entirely sure what is going on.

“Born of Fire” is the first film in this set that has a Middle Eastern focus, and introduces a lot of mythology that most Western audiences are only adjacently familiar with. What will draw most viewers in is the color palette which resembles the same reds, oranges, and yellows of a desert sunset to pair nicely with the fire-brimmed dwellings of the Diijn. What is also on display is the beauty of the Turkish country, from clear blue pools of water to dusty beige sand-covered hills the location is as much a character in the film as the performers are. Those who require a solid foundation of storytelling to engage may be frustrated by the back half of the film as it veers more into avant-garde folk horror, but the imagery will stick with you long after in ways that are both fear-inducing and awe-inspiring. The use of camera tricks to superimpose skulls and other imagery in the landscape enhances the feeling of mystery, and the Middle Eastern score provides the perfect backing soundtrack to this fiery tale that feels like the cousin of our Southern fables about the devil going down to Georgia.

Disc 5: IO Island (South Korea, 1977)

IO Island, or “Ieoh” as it is referred to in the film is easily the strangest of the films in this box set so far. The story centers around a group of hotel financiers aiming to build a hotel on the mysterious and mythical Ieoh Island. Upon hearing of this news, one of the men, Cheon Nam-seok gets drunk and mysteriously disappears off the ship they are on. The man accused of possibly pushing him off the boat aims to clear his name by visiting Nam-seok’s home village, which is an Indigenous group of mostly women who live on the island. What transpires afterward is a series of startling time jumps that tell us more about Cheon Nam-seok, as well as unraveling the mysteries of the island and its lack of male presence. It’s a strange film that is hard to follow and in true South Korean fashion, a bit long as well.

“IO Island” is best described as David Lynch’s “Twin Peaks” by way of South Korea as the film and its characters all feel like they are reflections of reality portrayed to an extreme. There are love triangles, betrayals, and even early commentary are the polluting of oceans and the displacement of indigenous people. It would be near impossible to miss some of the patriarchal undertones of the film, but it isn’t clear what message is being sent. Part of that may have to do with the film being almost 50 years old and taking into account the location, cultural, and historical context may help improve the thematic viewing experience. Still, there are plenty of odd and strange moments to keep the most adventurous engaged, but this one definitely tested our patience more than any other film in the set thus far.

Disc 5: Scales (Saudi Arabia, 2019)

This box set is full of interesting surprises, and “Scales” is a prime example of this. The Saudi Arabian film takes place on a remote island where the locals must sacrifice one of their daughters to the sea maidens so they can eventually hunt them down to use as food. Hayat, who was meant to be sacrificed was saved by her father, and she grows up in the village as an outcast who is blamed for the persisting drought due to her and her father’s lack of adherence to the ritual. This pushes Hayat to join the village fishers, all men, as she fights back against their constant blaming and discouragement, she is also the only one who seems to be able to catch any of the sea maidens thus elevating her status amongst the group and the village. The conclusion is something you’ll have to watch for, but there is a powerful statement here about gender roles, breaking away from traditions that don’t serve us, and ultimately the possibility that some things may be inevitable, but not always.

“Scales” is beautifully shot in Black & White and captures the beauty and brutality of living on and near the Red Sea. There are a lot of quiet moments in the film that carry a lot of weight showing how Hayat is ostracized from those around her, and also her unique connection to the Sea Maidens and their stories. The look of the sea maidens is outstanding, and easily the most unique interpretation of a “mermaid” we’ve seen next to the Merman from “Cabin In The Woods.” At a brisk 76 minutes, “Scales” doesn’t waste any time, but doesn’t move at a breakneck pace either. It gives space for the more emotional moments to breathe, like the realization that the lead fisherman had to kill his daughter, a sea maiden, and the darkness that looms over their reality that they must sacrifice their daughters only to hunt them down and devour them. If that doesn’t hit you with a wallop, you may need to make sure you still have a heartbeat.

Disc 6: Bakeneko: A Vengeful Spirit (Japan, 1968)

For the next film, we take a trip to Japan for “Bakeneko: A Vengeful Spirit” which is easily one of the favorites in the set thus far with a tale of love, deceit, and why you don’t want to piss off a stray cat. “Bakeneko” tells the story of two lovers, Jonosuke and Yukigi, who are destined for each other if it weren’t for the Lord getting in the way and trying to take Yukigi for his own. Through a series of captures, escapes, and ultimate deaths the couple of ill-fated lovers get their bloody revenge on the Lord and those around him in one of the most blood-filled and bonkers endings we’ve seen thus far.

“Bakeneko” is deceiving because it starts so docile. The lush production design plays a backdrop to what feels like a lot of melodrama and class power dynamics. By the midway point, “Bakeneko” starts to lean into the horror elements and by the third act delivers some of the most outrageously fun and phantasmagoric scenes captured on film. There is so much red blood spray and decapitated heads, with one scene near the end taking that to the extreme in the best way possible. Where it starts and where it goes feels like two different movies, and discovering gems like these is so endearing because they’re so unassuming and surprising.

Disc 6: Nang Nak (Thailand, 1999)

Of all the films so far, “Nang Nak” is the first one that stretches the traditional definition of “horror.” Mostly a romantic art-house drama, “Nang Nak” tells the story of Nak and Mak, a couple who are unfortunately separated when Mak is called off to war while Nak is carrying their child. When Mak returns home, things are not how they were left as Mak tries to piece together what is going on as villagers start to die off and fingers are pointing at Mak. We can’t go much further without going into spoiler territory, and what makes “Nang Nak” such a strange film is how unevenly the story is told. Through a series of unprompted time jumps and lack of clarity on what is and isn’t real, the reveal at the end of “Nang Nak” isn’t as surprising as it likely was back in 99, but it does pack an emotional wallop as it deals with issues that are still prevalent today around loss and grief.

“Nang Nak” is a beautiful film that captures a part of the world that most Western audiences are probably not familiar with. Being dropped into this culture and world is jarring at first, but the themes that permeate throughout are universally human which makes the cultural nuances more curiosity-inducing than required context. The horror does come in the back half, and there are some stellar scenes involving ghosts and violence, but they feel very out of place with the broader story that “Nang Nak” is telling about Mak and Nak. It works by the end, and it does reward patience, but some viewers may have a hard time latching onto the mysteriously obtuse plot and jarring time jumps throughout.

Disc 7: Sundelbolong (Indonesia, 1981)

For those uninitiated to the strangeness and lunacy of Indonesian horror, “Sundelbolong” may be the best place to start if you’re just getting acquainted. The story centers around an ex-sex worker, Alisa whose newlywed matrimony with a sailor, Hendarto is upended when he is called out to sea, and her ex-employers forcefully try to get her to return to the business. Despite her refusal, they gang rape Alisa causing an unwanted pregnancy which ends in Alisa ending her life out of shame for what Hendarto may think. Upon his return, he is shocked by the news and Alisa’s ghost terrorizes those who attacked her in shockingly brutal and bloody ways. There is A LOT to unpack with “Sundelbolong” with themes of abortion, bodily autonomy, sex work, and how society treats those who have been impacted by sexual assault all under the guise of a bonkers horror movie.

“Sundelbolong” is a star vehicle for the lead, Suzzanna, and she is as captivating as can be here as Alisa. She is both sympathetic and strong, demonstrating that it takes more than just a voice to push back against the patriarchy when you’ve been scorned and left without justice. The music may sound out of place, but it oddly fits amongst the strange, fever-like aspects of the production like the frenetic editing and the Italian-style rough jump-cut. The horror goes hard in this one, even if it does take some time to get going, with plenty of moments that will have you audibly saying “What the fuck?” while others will have you feeling melancholy for the seemingly endless run of bad luck that has befallen Alisa and the nicest guy in all of the horror, Hendarto. “Sundelbolong” does drag as it rounds out to a close, but overall a worthwhile trip for those unfamiliar or those returning to the roots of Indonesian Horror.

Disc 7: Suzzanna: The Queen of Black Magic (USA, 2024)

Severin hasn’t just made a name for itself as a premier source for boutique physical media, they have also become a destination for some of the most in-depth genre documentaries out there. In what is becoming a tradition of sorts for this box set, like the first volume accompanying and exhaustive Folk Horror Documentary “Woodlands Dark and Days Bewitched” this second volume includes a documentary focused on Indonesian actor and genre star, Suzzanna (Suzanna Martha Frederika van Osch) directed by Severin’s head honcho, David Gregory. Gregory has a knack for efficient and densely packed documentary filmmaking that gives his work a very evergreen quality. It’s so rich with information that you’re likely to miss it all in the first few go-rounds, so there is always something worth revisiting as you may have missed or not picked up on it in previous viewings. Here, Gregory devotes a lot of time to giving Indonesian filmmakers, academics, critics, and family members the chance to paint the story of Suzzanna’s life given she has been deceased for some time. Gregory appreciates that many Western viewers will lack familiarity with both the actor as well as the region’s history and film output, so it is nice to see so much time devoted to providing that necessary context.

The film is just sliver about 90 minutes, and in such a short time a lot of ground is covered spending a significant chunk with Suzzanna’s 2nd husband who was with her when she passed. There is so much about Suzzanna and her impact that likely won’t register to those unfamiliar, so in a way the documentary acts as both a primer for those uninitiated as well as a deep exploration of the person and appreciation of their works. Even more interesting is the personal side of Suzzanna’s life, which is almost as supernaturally laced as the films she starred in, and ends almost bitter-sweetly with the death of both Suzzanna as well as the Indonesian film industry at the time. Not only does this give a greater appreciation of Suzzanna as a person, but it also is an important cultural touchstone for genre fans who are keen to explore the world of genre film around them from the people who it impacted the most. The emphasis on the Indonesian experience and voice here is just another reason why Severin is unmatched when it comes to producing high-quality documentaries that are devilishly entertaining to boot.

Disc 8: Beauty and the Beast (Czechoslovakia, 1978)

One of the challenges of watching so many of these folk horror movies back to back is giving them time to breath and settle before putting thoughts to paper. The moment for ideas and themes to marinate can be crucial in developing a more authentic respone to a film as opposed to one’s knee-jerk reaction. “Beauty and the Beast” is one of the most challenging films thus far in the set, but not for the reasons one might think. A dark retelling of the famous story sees a woman offering herself as tribute to help settle her father’s debts, which means she must go and attempt to marry the monster that hides in the woods and harms the locals. As the story goes, the longer these two spend together, the closer their relationship becomes as the truth behind the beast’s proposal is revealed. While not following the exact story beats of the Disney version so many of us are familiar with, this “Beauty and the Beast” is far darker in both look and tone than any prior version you’re likely to have seen. This works both in favor of the film, mostly.

The dark Gothic undertones make for some truly magnificent production design and costume work that truly makes this feel like a dark fairy tale and less of a children’s story. The birdlike look of the creature this time around is jarring at first, but doesn’t hold the film back significantly especially when it uses it to lean more into the horror elements. Despite the beautiful look of the film and its more adult-take on the narrative, it does feel substantially slower than the previous films. Perhaps after watching some truly outrageous East Asian films prior to this spoilt the palette some, but we had a hard time paying attention to this one, especially in the middle when it is easiest to disengage. It is not a bad film by any means, just one that requires more patience than perhaps we had for it at the time.

Disc 8: The Ninth Heart (Czechoslovakia, 1979)

Supposedly, “The Ninth Heart” was made right after “Beauty and the Beast” and while there is some noticeable sharing of aesthetics, the two films couldn’t be more different. Where “Beauty and the Beast” is more a slow, methodical mood piece, “The Ninth Heart” is a vividly realized dark fantasy world where magic and reality are almost indistinguishable from each other. “The Ninth Heart” follows Martin, a poor student who attempts to impress the daughter in a traveling caravan of performers, only to then fall for the Princess after accepting a dubious mission to rescue her from the clutches of a crazed astrologer, Aldobrandini. Armed with an invisible cloak and his wits, Martin sets off to rescue the Princess while also realizing by the end that perhaps their fates were not meant for more. A whimsical tone that is reminiscent of Ridley Scott’s “Legend” with its dream-like aesthetics.

“The Ninth Heart” is an engulfing film that will wrap you around its finger as soon as you hit “play.” While it is disorienting at the start, once you get your bearings in the world on display and the different limitations, there is so much richness to enjoy from the music to the production design and the strange foggy hues of the camera work. The horror elements here are blended perfectly with fantasy, with one not feeling more deployed than the other, and while the context setting in the first half isn’t as action-packed or interesting as the back half, it does provide the necessary time for immersion into this world and it’s rules. Director Juraj Herz has crafted something so singular and different that it feels criminal to only be finding out about it now, but as they say, better late than never.

Disc 9: Demon (Poland, 2015)

“Demon” is a film that has been in our figurative “to watch” pile since it was released, and to see it included in this second volume piqued our interest in this Polish film with a dark history. Following a bridegroom Piotr as his to-be wife Zaneta on their wedding day at Zaneta’s grandfather’s old farmland. Piotr discovers the remains of a human body, but they mysteriously disappear as Piotr starts to descend further into madness as the wedding progresses and it isn’t clear if Piotr is sick, or possibly possessed. “Demon” offers up a new entrant to the folk horror characters on the film list, this time with the Jewish folk legend of the Dybbuk, with some allusions to the history of antisemitism in Poland. The film’s writer and director, Marcin Wrona, sadly committed suicide on the day of the film’s premiere which does hand darkly over the film even today.

“Demon” is a horror film in concept, but not entirely in execution even though it does borrow many tropes to deliver the narrative. Working in weird unison, as Piotr spirals further throughout the night the wedding tone and tenor also seem to become more chaotic and unhinged. Near the end, the tension is as high as a Safdie Brothers film feeling as if one more twist in this knot will somehow end in a giant release. Alas, no release is given here as “Demon” devolves more into the supernatural and the wedding becomes more reflective of purgatory than a party despite the horror being so restrained and grounded. It is hard to know what “Demon” is trying to say by the end, especially with some interesting tonal shifts from darkly funny to depressing, but it does warrant a watch as one of the more non-traditional approaches to folk horror in this set.

Disc 9: November (Estonia/Poland/Netherlands, 2017)

Hands down the best part about diving headfirst into a box set like this is coming across a film that reminds you of that feeling of discovery from the old video store days. “November” may just be that film in this box set. A deeply weird, oddly human, and bitter-sweetly tender fairy tale that is almost too strange to describe as the viewer is plopped into a world where local towns people are able to hire dead souls, called Kratts, to do their petty bidding. Amongst this backdrop of a poverty-stricken town with magical indentured servitude, Liina is falling for Hans, but Hans has eyes for the Baroness. Liina’s pursuit of Hans takes her to a witch, whom she hopes can help rid Hans of his love for the Baroness so she can have him all for herself. As the story progresses, forbidden love clashes headfirst with our inescapable intrinsic desires as the question of love and sacrifice flirt with each other through the ups and downs of Liina and Hans’ engagement.

“November” is dense with lore that is hardly explained, but brought to life in ways that require no real explanation. At one point, a Kratt talks back and explains that their whole purpose is to work, while other Kratts seem more inclined to provide more philosophical support to the people they are given to. Perhaps this has something to say about the way we treat the dead, as something of a burden rather than something to memorialize and celebrate. Then again, “November” has so much to say about so many things that it can be hard to know exactly what it is getting at sometimes. Like the inclusion of a “plague” which isn’t well-explained, but oddly doesn’t need to be given how non-linear and dreamlike “November” is. Similar to other films in this set, “November” is best enjoyed when you fully surrender to it and don’t try to understand the “why” as much as the “what.” Liina’s hate for the Baroness, but her empathy with knowing that the “heart wants what the heart wants” is demonstrated through not just her own struggles with Hans, but the ways in which her father tries to sell her off to another man simply for profit. It asks the question, one of many to be sure, can you force love, or should you?

Disc 10: Litan (France, 1982)

The words “weird” and “strange” have been used a lot in these reviews, but it feels unfair to apply those same words to something as befuddling as “Litan.” The plot, or at least what can be discerned as such, follows Nora and Jock, a couple who are stuck in the town of Litan on Litan’s Day. What is Litan’s Day you ask? No fucking clue, but it resembles something akin to Dia de los Muertos or Day of the Dead, except in Litan where the way to celebrate the dead is to dress up in weird masks and terrorize your neighbors! Nora and Jock know this all too well as they are chased literally throughout the entire town for the full 88-minute runtime. “Litan” has the opposite of a plot, which is just pure chaos with the thinnest of through lines connecting scenes together. “Litan” feels like the movie that Harmony Korine watched and decided he wanted to become a filmmaker as it carries many of the hallmarks of his style; no clear plot, unexplained cultures and behaviors, and violence juxtaposed with comedy in off-putting ways. This makes “Litan” one of the most difficult watches in the set, not because of the content, but because of how antagonistic the delivery of it is.

It is fair to say that “Litan” is like the French version of “The Purge” with a heavy dose of mad scientist thrown in for good measure. Confusion is the only language one needs to be fluent in to watch “Litan” as it hops from scene to scene without the faintest of introduction or buffering, like being dropped into an ice bath with your clothes on, “Litan” feels like watching madness made manifest. This hallucinogenic folk horror styling veer on “The Wicker Man” with less of an emphasis on a culty religion and more doubling down on people being weird for weird sake. The only thing cohesive about “Litan” is the constant stream of insanity that flashes on the screen which offers up two extremes, that of comedy and that of horror, but in ways that feel oddly conflicted and confused. “Litan” is a rare film in that it isn’t just transgressive at the narrative level, but also the production itself seems to be transgressive while eschewing some of the comforts of filmmaking techniques for the sake of curating insanity on screen.

Disc 10: Blood Tea and Red String (USA, 2006)

“Blood Tea and Red String” is easily the most fantastical of all the films in this set, with the horror being so faint it is only visible in the cracks of the film’s stop-motion animation-filled world. With no dialogue, only animal sounds and music, “Blood Tea and Red String” is more art than entertainment as it follows a group of fox-bird-like creatures who are commissioned by some affluent mice to create a doll. After the creatures create the doll, they decide to keep it and refund the mice their money so they can worship the doll-like an idol. The mice are not happy about this and proceed to stage a heist thus robbing the doll from the creatures, and returning to what these mice do best, which is drink blood tea, play cards, and dance around with the doll. The creatures seek to return the doll and come across a series of things along the way like a shaman frog and a red-web spinning spider with a person’s head all in gloriously detailed stop-motion animation.

“Blood Tea and Red String” plays out like a weird, pagan version of a Sylvanian Families brought to life. The animation is cutesy enough to obscure the darker parts of the story, making this a film that can oddly be enjoyed by both kids and adults, albeit for different reasons. At 70 minutes, it does feel like it wears out its welcome around the midway point, especially with the lack of any dialogue whatsoever. Some scenes, like the blood tea-drinking and card-playing mice, seem to go on forever redundantly further making it hard to maintain focus on the film. It’s easily the most mellow of the films in the set, which may deter some but is worth a watch for those intrigued by the use of stop motion as it is an impressive feat for just one person, Christiane Cegavske.

Disc 11: Nazareno Cruz and the Wolf (Argentina, 1975)

“Nazareno Cruz and the Wolf” is a surreal, Argentinian folk horror film that offers a deceptively simple story that packs in a lot of ideas about love, choice, and destiny. The movie opens explaining the ill-fated omen of a woman and her husband who bear six children, only to be told that if they have a 7th they will be born a werewolf. The husband and six children die, leaving the then-pregnant woman to bear her 7th child, Nazareno Cruz, the boy who would become a wolf. As Nazareno grows up he becomes well-liked in the town having never changed into a wolf, that is until he meets the beautiful Griselda who he forms an immediate bond with. The devil finds Nazareno and offers him a deal; walk away from his romance with Griselda so he doesn’t fulfill his prophecy of becoming a werewolf and he will reward Nazareno with riches beyond his wildest dreams. Nazareno refuses, and thus the town hunts him down as he succumbs to his lycanthropic fate and the town suffers even more tragedy on account of their pursuit for Nazareno.

“Nazareno Cruz and the Wolf” is a wildly imaginative film that feels like it takes place in a fairy tale, not in our actual reality. This is a world where witches are treated with respect and feared for their magical capacity not because of any antagonistic reasons. Here, evil isn’t the fiery brimstones of hell, but rather having to choose between love and money and the consequences of each. The horror beats are minimal, but that doesn’t impact the overall tone of the film which has a technicolor darkness surrounding it. The kind where you know something sinister lurks beneath the quaintness of the location breeding something more malevolent. In this case, however, the real enemies are our neighbors as they seek to turn against their own solely for their assumed survival. This comes to a head with a poignant ending between Nazareno and the Devil, where the latter’s true intentions are revealed and his soul made bare. It asks the question, is evil something we choose or something that is natural, and offers up a unique hypothesis that is as rich as the lush music and flowing green fields in the film.

Disc 11: Akelarre (Spain, 1984)

The second Spanish language film, “Akelarre” in the set hails from Spain and may feel familiar to those of us with a taste for the more macabre side of our own history with witches and religion. Here, the lens is turned to 17th-century Spain in Navarre, where it was also filmed as an Inquisitor is called in on an increased amount of confessions attesting to villagers being witches. The film opens with a punch as a young girl, no older than 8 confesses to being one herself as we that we share much in common with our Spanish kin in matters regarding the treatment of women and religious persecution. The focus of the story is Garazi, a young woman who the heir to the Lordship has an eye for and for which she does not return the favor. After being accused of being a witch by some fellow villagers, we see her and others tortured into confessing crimes that have no victim or merit save for dominance. To make matters worse, the heir, Íñigo rapes Garazi at night taking her when she has no will or strength to fight back. It is a brutal film that doesn’t traffic in gore as much as uncomfortable suggestions and venomous hypocrisy.

The target of the film’s ire is squarely placed on religion, specifically Catholicism’s violent history of oppression, torture, and persecution to coerce submission to one religion. This rings true for those of us in the US who also share a history of violently oppressing women for the sheer sake of scapegoating and religious zealotry. “Akelarre” pulls no punches on where it stands regarding organized religion, but it also plays as a parallel to the context of the time it was made, the post-Franco era in Spain. The ending of the film does offer a message more focused on hope, albeit bittersweet, that the will of the people can only be crushed if people do not use their will at all. The importance of community and finding a place where you can exist regardless, especially if your existence is a bother to absolutely no one. These themes feel strangely pertinent in our current moment, largely on account of the recent bias of the 2024 US election, but if nothing else “Akelarre” is a reminder that these struggles are not new and the fight to improve the world is never done.

Disc 12: From the Old Earth (Wales, 1981)

“From the Old Earth” or “ O’r Ddear Hen’” lays claim to being the first Welsh horror film and at a brisk 46 minutes it is also one of the shortest films in this set. The mood gives vibes like a Celtic “Tales From The Crypt” episode and it delivers in pretty much every way possible while still being somewhat accessible to younger audiences, maybe. The plot is simply about an old stone head found near a dig site that causes the women near it to suffer terrifying images of a half-man, half-animal being that doesn’t seem up to much good. Once it is discovered the stone is the culprit to one family’s shared nightmare they attempt to rid themselves of it before it does any more harm.

This is a fun and fast little story that feels like a palette cleanser from some dense, thematic material in the prior films. The quickness of the delivery makes for a playful folk horror story that does dabble in some mature themes like human sacrifice with dashes of blood, but it never veers into full-blown exploitation territory staying close to parameters that by today’s modern TV standards would feel mild. That shouldn’t detract from the fun, albeit uninspired creature design and lore that invites more curiosity around Celtic legends and all the oddly adjacent ways they show up in other religious contexts. The ending in particular drives home the point that we all share a fear of some universal evils, we just have different names we use for them.

Disc 13: The City of the Dead (UK, 1960)

Oddly enough, of all the films in this volume “The City of the Dead” is one of two which we have seen before. As a pre-Amicus offering, “The City of the Dead” is about as perfect as an English folk horror film from the 60s can get including a witch burned at the stake, human sacrifice rituals, and an ending where a headstone cross is used to set flame to menacing cult members, what else could one ask for? The story is standard fare as we open with a supposed with, Elizabeth Selwyn being burned at the stake for her crimes while vowing retribution through a pact with Lucifer. Fast-forward and a group of college students in a witchcraft class, taught by Sir Christopher Lee himself, and one of them disappears as she ventures off to research the town where Selwyn died, Whitewood, MA. From there, all the usual hi-jinks are included like a mysterious town with odd inhabitants that have their plans foiled by a group of meddling kids!

“The City of the Dead” may sound very “paint by numbers” at this stage, but that doesn’t detract from how well those traditional elements are deployed here. At a breezy 78 minutes, no time is wasted getting the pieces in place and moving the story along so that no scenes drag and momentum from the story doesn’t evaporate. The performances are all stellar, as is the production design which is astoundingly all done on a sound stage replicating the foggy northeastern US. What helps “The City of the Dead” stay relevant is how evergreen the idea is and how it doesn’t just apply to witches, but really any kind of folk or cult-like horror setup. It may not feel new today, but “The City of the Dead” perfected this format long before it became so ubiquitous, and still works today as a prime example of simple horror done extremely well.

Disc 13: The Rites of May (Philippines, 1976)

The last film in the set is “The Rites of May” or “Itim” as it is referred to in the Philippines. “Itim” is the story of a photojournalist, Jun, who returns to his hometown to photograph a Holy Week procession and visit his now wheelchair-bound father who doesn’t speak. When Jun meets Teresa, he is perplexed by her and comes to realize that she is actually possessed by her dead sister, Rosa. As the story continues, we learn about Rosa’s history and the malevolent connection that Jun and his family have to Rosa’s death. If this all sounds familiar, it’s because you’ve definitely seen plenty of supernatural films like this before, but not as many from this part of the world perhaps.

“The Rites of May” feels a lot like deja vu at this point, and it’s hard to view it objectively and in context when the core premise is something that today is done ad nauseam. What works for “The Rites of May” is the somber and sober look at the supernatural which is far more grounded than some of the story’s contemporaries, but that also works against the film as it always feels like it’s on a simmer never actually getting to boil. The most impactful parts of the narrative are easy to see coming, which does diminish from the ending reveal since it’s quite obvious, but then again this was 1976 so it is hard to discern how this resonated then versus how it does now with the concept being so prevalent. A tighter film could’ve delivered a bigger impact, and at 107 minutes “The Rites of May” isn’t demanding a lot of time, but how it manages what it offers can lead to some losing interest throughout.

HOW DOES IT LOOK?

Severin has a pedigree and track record of being one of the better boutique labels in the game, and for good reason as they tend to deliver some of the best quality transfers of usually hard-to-find source prints and materials. This set is yet another testament to their work as they’ve pulled together some impressive quality scans even when the materials they were given to work with were not in the best condition. Most if not all of the films maintain their original aspect ratios with 1080p HD transfers. Some of the scans are new, like the 4K one for “Born of Fire” which upgrades the previous Indicator release in the UK. Many of the films had their original negatives for reference, save for a few which are just 1080p scans of likqely HD sources like “Beauty and the Beast” and “The Ninth Heart.” The print for “Nazareno Cruz and the Wolf” is the lowest quality, but it is also a scan of the only existing print, so it is the best it will ever look. Images from each release are used in the above sections and throughout this review.

HOW DOES IT SOUND?

Much like the visual elements, the sound quality, and options are a bit of a mixed bag. Most of the films where the original camera negative was used for the transfer include the original source mixes which are predominantly mono or stereo, with a handful of more recent films like “Nang Nak” and “Demon” having 5.1 audio tracks included. Overall, the sound quality is pretty consistently good considering the source materials and circumstances. Few of the films would benefit from more immersive sound options, so no missed opportunities to elevate the materials here even further. All of the films come with some form of closed captioning, all in English regardless of the language used in the film.

ANYTHING SPECIAL?

This is already the longest physical media review we’ve ever done for this site, and while we often attempt to cover a percentage of the supplemental features included, for a release this massive it simply isn’t possible to cover it all. That said, we do make mention of a handful of features in our reviews above, and want to dedicate this space to the accompanying 252-page hardcover book of short stories included in this volume. With assistance from Grady Hendrix, Kier-La Janisse and the team have commissioned 12 authors to write short stories about the minutiae of folk horror and various traditions. These stories range from the mundane, like the one from Eden Royce to the hilarious like the groundhog-worshiping tale from Sarah Gailey. The stories offer another, unique way of engaging with folk horror beyond what we see on screen, and at the same time does a great job of pointing out how some of our seemingly mundane rituals could be perceived as something different and more mystical. We would love to see Severin continue down this path of commissioning short story accompaniments to box sets like these, or even as a stand-alone to purchase. A full list of all the special features on the discs is included below, and we would be remiss if we didn’t mention the sheer volume of short films included here as well, many of which we have yet to take in!

Special Features For TO FIRE YOU COME AT LAST

Audio Commentary With Director Sean Hogan And Co-Producers Paul Goodwin And Nicholas Harwood
On The Lych Way – Corpse Road Chronicler Dr. Stuart Dunn Discusses The Pathways Of The Dead
Trailer

Short Films

WE ALWAYS FIND OURSELVES IN THE SEA
Audio Commentary For WE ALWAYS FIND OURSELVES IN THE SEA With Director Sean Hogan And Co-Producers Paul Goodwin And Nicholas Harwood
EPK For WE ALWAYS FIND OURSELVES IN THE SEA
OUR SELVES UNKNOWN

Special Features For PSYCHOMANIA

Introduction By Film Historian Chris Alexander
Audio Commentary With Maria J. Pérez Cuervo, Founding Editor Of Hellebore Magazine
Stone Warnings – Dr. Diane A. Rodgers On Stone Circles And Standing Stones In Film And Television
Return Of The Living Dead – Interviews With Actors Nicky Henson, Mary Larkin, Denis Gilmore, Roy Holder And Rocky Taylor
The Sound Of PSYCHOMANIA – Interview With Soundtrack Composer John Cameron
Riding Free – Interview With "Riding Free" Singer Harvey Andrews
Theatrical Trailer

Special Features For THE ENCHANTED

Audio Commentary With Director Carter Lord And Camera Assistant Richard Grange, Moderated By Filmmaker/Author Kier-La Janisse
Audio Commentary With Chesya Burke, Author Of Let's Play White, And Sheree Renée Thomas, Author Of Nine Bar Blues
A Magical Place – Interview With Composer Phil Sawyer
Hole In The Wall – Character Notes By Screenwriter Charné Porter
Trailer

Short Film

SWIMMER

Special Features For WHO FEARS THE DEVIL

THE LEGEND OF HILLBILLY JOHN Alternate Opening Introduced By Actor Severn Darden
Audio Commentary With Television Historian Amanda Reyes
Crumble Will The Feet Of Clay – Interview With Producer Barney Rosenzweig
Silver Strings – Interview With Actor/Musician Hedges Capers
Manly Of The Mountains – Author David Drake Remembers Manly Wade Wellman
Occult Appalachia – Occult Historian Mitch Horowitz On The Arcane Texts Of Wellman's John The Balladeer Stories
Theatrical Trailer

Special Features For THE WHITE REINDEER

The Projection Booth Episode On THE WHITE REINDEER Hosted By Mike White And Featuring Kat Ellinger, Author of Daughters Of Darkness, And Talk Without Rhythm's El Goro

Short Films

A WITCH DRUM
THE NIGHTSIDE OF THE SKY
WITH THE REINDEER

Special Features For EDGE OF THE KNIFE

Audio Commentary With Directors Gwaai Edenshaw And Helen Haig-Brown
RETAKE – Making The World's First Haida-Language Feature Film

Short Films

HAIDA CARVER
NALUJUK NIGHT

Special Features For BORN OF FIRE

Igniting The Fire – Interview With Director Jamil Dehlavi
The Silent One Speaks – Archival Interview With Actor Nabil Shaban
Between The Sacred And The Profane – Archival Lecture On The Cinematic World Of Jamil Dehlavi By Dr. Ali Nobil Ahmad
The Djinn Revisited – Director Dalia Al Kury Examines The Role Of The Djinn In Contemporary Arab Culture
BORN OF FIRE And The Roots Of Pakistani Horror – Interview With Scholar Syeda Momina Masood
Trailer

Short Films

TOWERS OF SILENCE
QÂF

Special Features For IO ISLAND

Audio Commentary With Archivist And Korean Film Historian Ariel Schudson
Shaman's Eyes – Dr. Hyunseon Lee On Shamanism In Korean Visual Culture

Short Film

THE PRESENT

Special Features For SCALES

Telling Our Stories – A Conversation With Director Shahad Ameen And Producer Rula Nasser, Moderated By Filmmaker/Author Kier-La Janisse
Trailer

Short Film

KINDIL

Special Features For BAKENEKO: A VENGEFUL SPIRIT

Audio Commentary With Jasper Sharp, Author Of Behind The Pink Curtain: The Complete History Of Japanese Sex Cinema
Scratched – A History Of The Japanese Ghost Cat
The Vampire Cat – The Classic Folk Tale Read By Tomoko Komura With Original Music By Timothy Fife
Trailer

Short Film

MAN-EATER MOUNTAIN

Special Features For NANG NAK

Audio Commentary With Mattie Do, Director Of THE LONG WALK, And Asian Gothic Scholar Katarzyna Ancuta
Love And Impermanence: NANG NAK And The Rebirth Of Thai Cinema – Interview With Director Nonzee Nimibutr
Trailer

Special Features For SUNDELBOLONG

Hantu Retribution – Female Ghosts Of The Malay Archipelago

Short Film

WHITE SONG

Special Features For SUZZANNA: THE QUEEN OF BLACK MAGIC

A Conversation With Director/Co-Producer David Gregory And Co-Producer Ekky Imanjaya
Trailer

Special Features For BEAUTY AND THE BEAST

Audio Commentary With Film Historian Michael Brooke
Archival Interviews With Director Juraj Herz And Actors Vlastimil Harapes And Zdena Studenková

Short Film

FRANTIŠEK HRUBÍN

Special Features For THE NINTH HEART

Audio Commentary With Kat Ellinger, Author Of Daughters Of Darkness
The Uncanny Valley Of The Dolls – The History And Liminality Of Dolls, Puppets And Mannequins
The Curious Case Of Juraj Herz And The Švankmajers – Video Essay By Czech Film Programmer Cerise Howard

Special Features For DEMON

Introduction By Slavic Horror Scholar Dr. Agnieszka Jeżyk
Audio Commentary With Film Historian Daniel Bird And Film Critic/Actress Manuela Lazić
In The Shadow Of The Dybbuk – Video Essay By Peter Bebergal, Author Of Strange Frequencies: The Extraordinary Story Of The Technological Quest For The Supernatural, And Filmmaker Stephen Broomer
Trailer

Short Film

DIBBUK

Special Features For NOVEMBER

The Supernatural Lore Of NOVEMBER – Archival Video Essay With Film Critic John DeFore
Kratt Test Footage
Theatrical Trailer

Short Films

BOUNDARY
JOURNEY THROUGH SETOMAA
MIDVINTERBLOT

Special Features For LITAN

Audio Commentary With Film Historian Frank Lafond
Un Tournage LITAN – Archival Making-Of Made For Antenne 2
Jean-Pierre Mocky, Un Drôle D'Oiseau – 1982 Episode Of Temps X

Special Features For BLOOD TEA AND RED STRING

Introduction By Director Christiane Cegavske
2021 Indie Scream Online Film Festival Q&A With Christiane Cegavske
Production Stills And Concept Illustrations
Trailer
Trailer For SEED IN THE SAND, Cegavske’s Work-In-Progress

Special Features For NAZARENO CRUZ AND THE WOLF

Audio Commentary With Adrian Garcia Bogliano, Director Of HERE COMES THE DEVIL, And Nicanor Loreti, Director Of PUNTO ROJO

Short Film

LOVE FROM MOTHER ONLY
Audio Commentary For LOVE FROM MOTHER ONLY With Director Dennison Ramalho

Special Features For AKELARRE

The Realistic Inquisition – Interview With Director Pedro Olea
Empowered Woman – Interview With Actress Silvia Munt
Playing The Villain – Interview With Actor Iñaki Miramón
Invoking The Akelarre – Dr. Antonio Lázaro-Reboll, Author Of Spanish Horror Film, On The Basque Witch Trials

Special Features For FROM THE OLD EARTH

Introduction To FROM THE OLD EARTH By Musician Gruff Rhys
Getting A Head In North Wales – Interview With Director Wil Aaron
FROM THE OLD EARTH By The Book – Welsh Folklore And O'R DDAEAR HEN
A Sword In The Battle Of Language – Welsh Film Scholar Dr. Kate Woodward On The Welsh Film Board

Short Films

Introduction To BLOOD ON THE STARS By Gruff Rhys
BLOOD ON THE STARS
Reunion Hotel – BLOOD ON THE STARS Cast Reunion From Gwesty Aduniad
THE WYRM OF BWLCH PEN BARRAS

Special Features For THE CITY OF THE DEAD

Introduction By Kay Lynch, Director Of The Salem Horror Fest
Audio Commentary With Film Historians Kim Newman And Barry Forshaw
Archival Audio Commentary With Film Historian Jonathan Rigby
Archival Audio Commentary With Actor Christopher Lee
Archival Audio Commentary With Director John Llewellyn Moxey
Sir Christopher Lee Remembers THE CITY OF THE DEAD
Archival Interview With John Llewellyn Moxey
Archival Interview With Actress Venetia Stevenson
Burn Witch, Burn! A Tribute To John Llewellyn Moxey – Video Essay By TV Historian Amanda Reyes And Filmmaker Chris O'Neill
Trailer

Special Features For THE RITES OF MAY

Audio Commentary With Filipino Film Historian Andrew Leavold
ITIM: AN EXPLORATION IN CINEMA – Archival Documentary
Portrayal Of Guilt – Filipino Film Scholar Anne Frances N. Sangil On The Darkness Of THE RITES OF MAY

LAST RITES

“All The Haunts Be Ours Volume 2” is an essential addition to every genre fans collection. Building off the amazing first volume, this second collection expands to cover folk horror’s influence more globally, while including an embarrassment of riches when it comes to supplemental features and additional short films. Another triumph from the team at Severin Films!

THE GORY DETAILS

Thank you to the fine fiends over at Severin for providing a review copy for the crypt! All The Haunts Be Ours Volume 2 is available NOW and can be purchased via Severin Direct!

Stay up to date with “The Dark Side Of Pop Culture” by following Macabre Daily on Instagram, Facebook, and Twitter.

Featured

Nov 4, 2020

Matthew Orozco

Nov 4, 2020

Elder-millennial horror guy with an unhealthy habit of collecting all flavors of physical media. From Blu-Ray, Records, and Art Prints (oh my!) you can find my wallet empty and collections growing.