That’s the basic plot.

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As with Terrifying Girls’ High School (part of the Girl Gang’s sister series), beneath the exploitable elements there is an underlying theme of female competition being manipulated by corrupt males for their pleasure or gain – defeated Nami is just as resentful of the Tsutsui bid for control even though the group is led by her brother – and the final battle (whether against the men or the female villains) as a backlash against that corruption (here represented by the Yakuza, gynecologists, and priests).

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The breathtaking Soledad Miranda proves again that she was seemingly born to work with notorious schlock/art film director Franco, and as with EUGENIE DE SADE and VAMPYROS LESBOS she manages to elevate his storytelling to shockingly high standards. Their collaborations, which also included NIGHTMARES COME AT NIGHT and BRAM STOKER’S Dracula, were among the director’s finest efforts.

Miranda plays a young wife whose husband, a controversial doctor using human embryos for experiments concerning terminal illnesses, commits suicide after having his medical license revoked by a group of judgmental officials (one of whom is played with great menace by Franco himself). The young widow sets out to exact revenge on the panel of authorities responsible for her late husband’s suicidal depression and uses her seductive qualities to lure them into her homicidal web.

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Following the autopsy, Eswai assists Monica back to her home. He his then attacked by several villagers, who swear vengeance on him for “profaning” the dead girl’s body. Only the sudden appearance of a mysterious woman, clad enirely in black, saves the doctor. Before he can thank her, the woman disappears into the fog.

Villa Graps is surrounded by an aura of fear and mystery that the doctor is anxious to resolve. Years earlier, Baroness Graps placed a curse on the villagers when her little girl, Melissa, was trampled to death by drunken townspeople during the village festival. Now the ghost of little Melissa haunts the guilt-ridden people, and all who make mention of the Baroness and her child meet with violent ends.

Meanwhile, Monica is plagued by nightmares. When she awakens, she finds a doll (similar to one which figured into her dream) laying at her feet. Terrified by this bizarre occurrence, she flees from her home and runs into the doctor. Together they return to the inn. Monica confesses her fears to the doctor, who still stubbornly denies the existence of the supernatural. Like the characters of Gorobec and Kruveian in LA MASCHERA DEL DEMONIO, Eswai places his faith in logic; like them, also, he will soon be forced to abandon these pre-held beliefs and notions when the supernatural forces become too tangibly real to explain away.

Eswai and Monica begin to delve even deeper into the mystery. A mysterious light appears in the cemetery, and when they go to investigate, they discover the body of Inspector Kruger, who has been shot in the head. Eswai brings the crime to the attention of burgomaster Karl, who reluctantly agrees to shed some light on the situation. After telling them the story of Melissa, the burgomaster then reveals that Monica is actually the dead girl’s sister. Unfortunately, before he can produce Monica’s birth certificate, he is driven to suicide when Melissa’s ghost appears to him in the attic.

Monica then disappears, and Eswai returns to the villa in the hopes of finding her there. His suspicion is correct, though she is already in grave danger: the Baroness, her mother, has set Melissa’s ghost against her. Yet, it is Ruth who puts an end to the Baroness’ schemes. Spurned on by the death of the burgomaster — her lover — Ruth confronts the crazed Baroness, who mortally wounds her nemesis by plunging a poker into her ribs. With her last ounce of strength, Ruth stranfgles the countess to death; upon her death, Melissa’s spirit is set free. Eswai and Monica are then free to leave the villa, and all of its unpleasant memories, behind them.

OPERAZIONE PAURA is truly one of the last — and best — subtle pieces of horror filmmaking. In this case, Bava sets out to chill the audience instead of shocking them, and he does so admirably. The atmosphere he creates is so powerful that the film seems to exude a hypnotic, hallucinatory effect.

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The film stars Robert Kerman as Monroe, Carl Gabriel Yorke as director Alan Yates, Francesca Ciardi as Alan’s girlfriend Faye, Perry Pirkanen as cameraman Jack Anders, and Luca Barbareschi as fellow cameraman Mark Tomaso.

Cannibal Holocaust is a well known exploitation film because of the controversy following its release. After premiering in Italy, the film was seized by a local magistrate, and Deodato was arrested on obscenity charges. He was later accused of making a snuff film due to rumors which claimed that certain actors were killed on camera. Although Deodato was later cleared of these charges, the film was banned in Italy, the UK, Australia, and several other countries due to its graphic depiction of gore, sexual violence, and the inclusion of six genuine animal deaths. Many nations have since revoked the ban, yet the film is still barred in several countries. This notoriety notwithstanding, some critics view Cannibal Holocaust as a social commentary about civilized society.

Upon their arrival at the village, the group is greeted with hostility. It is revealed that the missing film team caused great unrest. Miguel quells their fears by offering the Yacumo a switchblade as a sign of good faith. The next day, the three head even deeper into the rainforest to locate two warring cannibal tribes, the Yanomamo and the Shamatari. They follow a group of Shamatari warriors to a riverbank, where they save a smaller group of Yanomamo from certain death. In gratitude, the Yanomamo invite Monroe’s team back to their village, but they are again treated with suspicion. In order to gain their trust, Monroe bathes naked in a river, which a group of Yanomamo women find amusing. They lead him to a shrine made from the bones of the missing filmmakers, confirming Monroe’s fears. Frustrated, he confronts the Yanomamo in their village, and after playing a tape recorder for them, he is able to trade it for the team’s reels of film.

The first reel begins by following the group’s trek through the jungle. Deep in the jungle, their guide, Felipe, is bitten by a venomous snake and dies. The remaining four continue on to locate the Yacumo. They come across a group of Yacumo in a clearing, and Jack shoots one in the leg so they can follow him to the village at their leisure. As the projectionist changes reels, Monroe expresses his disapproval toward the team’s actions. The second reel then starts with the group’s arrival at the Yacumo village, where they almost immediately force the entire tribe into a hut and burn it down in order to stage a scene for their film. Monroe again expresses his concerns over the staged scenes and unethical treatment of the natives, but his worries are ignored. He continues viewing the footage the next day, in which a pregnant Yacumo woman has her fetus forcibly removed.

Back at the station, Monroe expresses his disgust toward the executives’ decision to air the documentary. In an attempt to change their minds, he offers to show them the remaining, unedited footage. The final two reels begin with the team locating a young Yanomamo girl, whom the men gang-rape as Faye tries to stop them. Later, they arrive at a site where the girl is found impaled on a wooden pole and claim that the natives killed her due to an “obscure sexual rite.” Once they move on, the Yanomamo attack them in revenge for the girl’s death. Jack is impaled by a spear, but instead of attempting rescue, Alan shoots him to ensure that they film how the natives castrate, disembowel, cook, and eat his corpse. While the remaining three attempt escape, Faye is then captured, and Alan insists that they rescue her. Mark films as Faye is gang-raped and beheaded, after which, the Yanomamo locate the final two in their hiding spot. The camera falls to the ground, and Alan’s bloody face falls in front of the lens as the reel ends. At first silent, the executives order for the footage to be burned as Monroe leaves the station.

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