The Genre Terrorist: Lucio Fulci

The Genre Terrorist: Lucio Fulci

Courtesy Anthology Film Archives The Beyond (1981)


Fri., Oct. 21, 7 & 9 p.m., Sat., Oct. 22, 5, 7 & 9:15 p.m., Sun., Oct. 23, 5, 7 & 9 p.m., Mon., Oct. 24, 6:45 & 9:15 p.m., Tue., Oct. 25, 7 & 9:15 p.m., Thu., Oct. 27, 7 & 9:15 p.m., Fri., Oct. 28, 7:15 & 9:15 p.m., Sat., Oct. 29, 3, 5, 7:15 & 9:30 p.m., Sun., Oct. 30, 4:30, 6:45 & 9 p.m. and Mon., Oct. 31, 6:30, 8:30 & 10:30 p.m. 2016

Location Info:

Anthology Film Archives
32 Second Ave.
New York, NY  10003
Like many great Italian horror filmmakers of the Seventies and Eighties, Lucio Fulci dabbled in multiple genres. Anthology's thoughtful retrospective of the director's work shows off his range by highlighting such disparate curios as the winningly eccentric sex comedy My Sister In Law (1976) and the pleasantly cheesy Jack London adaptation White Fang (1974). But Fulci, an id-fueled surrealist, generally excelled above all else at making horror films. While technically amateurish, Zombie (1979) — a cheapy Romero clone featuring ocular torture and an indelible zombie-vs.-shark fight — has rightly earned its status as the cornerstone of Fulci's oeuvre. And supernatural mood piece The Beyond (1981), the best entry in his "Gates of Hell" trilogy, is an overstuffed collection of Fulci's most unsettling set pieces: Highlights include tarantulas, zombies, and hydrochloric acid. Fans of seedy "gialli"/detective thrillers should also check out The New York Ripper (1982), a murder-mystery that follows a trench-coat-clad, razor-blade-wielding serial killer who stalks Manhattan porno theaters and talks like Donald Duck. And don't sleep on batshit sword-and-sorcery adventure Conquest (1983), a gory Conan knockoff featuring a naked sorceress, flesh-eating wolfmen, and undead swamp-men.

"The Genre Terrorist: Lucio Fulci" runs through October 31 at Anthology. Click here for the screening schedule.


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