The Tit and the Moon (La Teta y la luna) is a film from 1994. A Spanish/French co-production, directed by Bigas Luna. It stars Mathilda May (the naked vampire alien in Lifeforce from the 1984 Tobe Hopper directed sci-fi horror film) as a Portuguese dancer. A young boy, who resents the arrival of his baby brother, asks moon for a tit that only he can feed from. His obsession with breasts results in him finding Mathilda's character, but she holds the attention of many men in the town. Will the young lad achieve his wish, and have her tits for his own?

The Tit And The Moon is a beautifully told comic story of love and obsession, that carefully finds a balance between comedy, sexual obsession, and the dreams of childhood. Through surreal fantasy sequences, it delicately and irreverently handles its subject matter, creating a gem of a movie that is warm and endearing while playing with eroticism and sexual fantasy. 

The film is considered as the final part of Bigas Luna's "Iberian Trilogy" of films, which also include Jamón, Jamón (1992) and Huevos de oro (1993).

Italian horror from director Andrea Bianchi, who also directed the 1981 horror Burial Ground: The Nights of Terror, among many other Italian horrors. It tells the story of a movie director who hires a medium to hold a seance as part of a movie he's making. Unbeknownst to the cast and crew the medium unleashes the evil spirit of Jack the Ripper, who takes possession of one of the cast. Who then starts going on a gory killing spree.

Produced by Italian horror legend Lucio Fulci, the movie is padded out with kill scenes from Fulci's own past and future movies, including A Cat In The Brain, which was made around the same time as Massacre. This is low-budget schlock Italian horror at its border-line best/worst. Actually, it may be best to just go watch A Cat In The Brain, and see the same kill scenes wrapped in a better movie. But then again for obscure cult Italian horror, why not stick with the "source" material. Purely based on this one coming out first out of the two movies. Though it is likely that footage used was filmed for the latter movie.

One of last month's Cult Film Friday selections wasDer Todesking by German director Jörg Buttgereit. But the director is best known for his earlier controversial film NEKRomantik, which found itself on banned lists around the world. In Britain it made its way onto the infamous Video Nasties list of the 1980s, and wasn't released uncut until 2014.

The film tells the story of a street cleaner, who works for a company that clears up dead bodies found in public. As part of his work he collects the corpse of a dead gardener, killed in a shooting accident and takes it home for his girlfriend. They are both necrophiliacs, and engage in all kinds of depraved acts with the human remains that litter the house. Eventually his girlfriend leaves him, to start a romantic relationship with the corpse. Despondent the man, tries to get over his loss by seeking out a prostitute, who he murders in a cemetery and has sex with the corpse. Discovered laying with the corpse by an old man, he cuts the man's head off with a shovel.

NEKRomantik is a nasty film. The subject matter is disturbing and it is presented in the most disgusting way possible. And that's the point. This is a horror film with arthouse pretensions. Buttgereit is purposely pushing the boundaries of shock film-making. There are more disturbing films, more gory films, more disgusting films. But there aren't many films that have been made that are genuinely something you can simply describe as being "nasty".

House (ハウス) is a 1977 Japanese cult horror comedy film. A group of girls travel into the countryside, to a house that is possessed with supernatural powers. The house attempts to devour the girls in increasingly bizarre and surreal ways. Beyond that it's hard to describe the magnificent madness that is House. There are moments that hark back to the era of silent movie slapstick comedies, the special effects are just weird, the acting is terrible, and the whole thing is utter nonsense. But those are all the things that make House such a great film. As it merrily skips along as a camp Japanese teen comedy, and suddenly switches to disturbing horror, and back again.

The film straddles the line between horror comedy and experimental arthouse film. With the screen filled with stunning visuals, it plays out like a bad LSD trip. With a floating disembodied head that has a bum biting fetish, a carnivorous piano, vicious killer bedding, and the blood gushing cartoon cat. The whole thing leaves you wondering what the hell you have just watched.

Critically panned (which often makes for great cult film), director Nobuhiko Obayashi went on to direct the live-action version of The Girl Who Leapt Through time in 1983, and the dark erotic cult film Sada (1998), based on the story of Sada Abe who  erotically asphyxiating her lover, Kichizo Ishida in 1936. Sada  then went on to cut off his penis and testicles and carrying them around with her in her handbag. Obayashi's film of the story is another must see of Japanese cult cinema.

Bit lovely bit of mid-70s exploitation-splatter fun with Blood Sucking Freaks, which was originally released in theatres under the title The Incredible Torture Show. An all out gore-fest, presented in a campy style, reminiscent of earlyHerschell Gordon Lewis's gore movies. A true expilotation classic, that unapologetically show-horns in lots of over-the-top violence, bad acting, boobs and ridiculous laughs.

In the movie Master Sardu (Seamus O'Brien) runs a Grand Guignol-style theatre with his assistant Ralphus. The shows that they present are verging on torture porn, but the audiences dismiss the shows as merely fake. However, the acts on stage are real, using women the pair have kidnapped and used as sex slaves. And thus the stage is set for a series of gory torture and murder set pieces, which include skull crushing, amputation, tooth pulling, decapitation, the list goes on. The most famous scene features one unfortunate victim having their skull drilled through the top with a household drill, and their brains sucked out with a straw. 

The movie was panned universally by critics, with some saying things such as "I think you're a cruel little nutcase if you talk someone else into seeing it", and "The nastiest, filthiest and just about WORST thing you will EVER SEE". The criticism of the movie being far more over-the-top than the movie itself. There are far worse movies than Blood Sucking Freaks. For me it's a perfect slice of 70s exploitation, and a true classic of the genre. A must see for any cult horror film fans.

From director Andrey Tarkovskiy, who brought us Solaris in 1972, comes this cult piece of philosophical Russian sci-fi. The Stalker is a guide, that leads two men, a writer and a professor through a strange wasteland known as the Zone, to find a room in the deepest heart of the Zone that will make your deepest desires come true. The film is loosely based on the novel Roadside Picnic by Boris and Arkady Strugatsky. Considered by many to be one of the best sci-fi films of all time, Stalker is an exercise in deep and considered metaphysics, forcing viewers to contemplate the philosophical layers that Tarkovskiy weaves into his seemingly simplistic narrative. The wasteland of the Zone is littered with symbolism, as viewers are forced to make sense of the often poetic use of imagery and sublime cinematography. Making Stalker a film that you must engage with, think about, and be left with innumerable questions after watching it. Creating a sci-fi piece in its rawest form. 

Stalker is long and drawn out, but never boring. Much of it shot in a brown tinted monochrome, the film consists of 142 shots in 163 minutes, with an average shot length of more than one minute and many shots lasting for more than four minutes. That is until the end, which is shot in rapid cuts, all the more compelling after the long slow build-up. 

Also known as Thriller - A Cruel Picture (Thriller – en grym film in Swedish), is a controversial Swedish exploitation film, that was the inspiration for Quentin Tarantino when he made Kill Bill. A brutal rape and revenge saga, it was originally banned in Sweden and the USA on release, only allowed to be shown after major cuts were made to the film, including the removal of the infamous hardcore sex scene.

A sex trafficked and brutalised prostitute takes revenge on those who have wronged her. Muted after after being raped as a child, and forced into heroin addiction and pimped out by a man she meets. She is blinded in one eye by her pimp for refusing to take a client. She eventually escapes, and begins to take bloody revenge on the men who have taken her life from her.

The film stars 70s porn starlet Christina Lindberg, who had starred in the even more controversial Swedish exploitation porn film, Dairy Of A Rape in 1971. A film that was pretty much banned in all countries. 

Despite its full on exploitation credentials They Call Her One Eye is actually a above average revenge thriller. It is slow paced and actually carefully handled. It's easy to see why Tarantino fell in love with this film and paid heavy homage to it in Kill Bill. It has become an absolute classic of cult cinema. And although it isn't a film you would go back to time and time again, it is a must watch for anyone that claims to be a fan of cult cinema.

The Beyond (AKA Seven Doors of Death) is a bloody gore filled cult horror film by Italian director Lucio Fulci. Considered by some to be the second movie in Fulci's unofficial Gates of Hell trilogy (which includes City of the Living Dead and The House by the Cemetery). It was initially released heavily cut in the UK and USA.

A young woman inherits an old hotel in Louisiana called the Seven Doors Hotel, where after a strange series of "supernatural" incidents, she discovers that the hotel was built over an entrance to Hell. The movie has gained a cult following not only because it is a classic example of Italian horror of the period, but also for the bloody over-the-top scenes strung together by a thin plot. The Beyond isn't a movie you watch for a cleverly conceived narrative plot, it a movie you watch for the set piece gory death scenes. Not more no less, this movie doesn't pretend to be anything more or deliver anything less than somewhat hammy schlock gore, by today's standards. But that is exactly what makes it the cult classic that it is. Zombies, Hell and a nod to Lovecraft. What more could you want?

The nod to Lovecraft, and that this is often placed in the Lovecraftian genre of movies is pretty much down to the reference to the book of Eibon the movie, which appeared in several of Lovecraft's stories. In other ways it nods to Lovecraft in the blurring of the lines between realities, the realms of the living and the dead. However Fulci claimed that it was more a homage to surrealist French playwright Antonin Artaud, than to Lovecraft.

The King of Death, is a German experimental horror film by controversial film-maker Jörg Buttgereit, also known for his NEKRomantik films. The film covers themes of death and suicide, with seven separate segments spread over the seven days of the week. The segments are stitched together by footage of a body slowly rotting and consumed by maggots in time-lapse.

Part exploitation movie, part avant-garde arthouse, a thought provoking and at times disturbing film that will stay with you long after watching it. An uncompromising exploration of the cycle of life, which ultimately shows (though the decomposing corpse) that new life comes from death. The nearest example of a film like it, and themes it covers would be the 1990 experimental horror Begotten. Delivered in a cold, stark, detached style, der Todesking is a classic piece of cult European cinema. Not to everyone's taste, but a must see for anyone who appreciates experimental cinema at its best.

Other experimental Buttgereit movies that are worth checking out are 1993's darkly surreal serial killer film Schramm. 1986's Jesus - The Film, made in the exquisite corpse style in 35 segments by 22 individual film-makers in Germany, from 16mm film stock smuggled out of East Germany. More recently in 2010, he released Captain Berlin vs Hitler, a filming of his 2007 campy over-the-top and controversial stage-play. 

Wilkins was the creator and horror host of a popular television show named Creature Features that ran on KTVU in the San Francisco Bay Area from 1971 to 1984, and which began with Del Tenney's infamous The Horror of Party Beach (1964). The show is also famous for featuring the television première of George A. Romero's 1968 zombie classic  Night of the Living Dead.

Creature Features showed both horror and sci-fi, from classics to cheesy schlock, all under the banner of "Watch Horror Films... Keep America Strong." Bespectacled and suited Wilkins famously presented from a bright yellow painted rocking chair, and would smoke his trademark cigar, while delivering his dry humoured patter in a kindly older brother smooth soothing manner. A style that went down well with fans, and made Bob a household name.

"Don't stay up late, it's not worth it," Bob Wilkins warned as he leaned back in his yellow rocking chair, smoke wafting from his big cigar. As he introduced one bad b-movie after another. As the popularity of the show, saw it expanded into a double feature, Bob also attracted some top name guests from the world of sci-fi and horror. Ray Harryhausen, Christopher Lee, William Shatner, Leonard Nimoy, John Landis, William Marshall, and Forest J Ackerman, among others. Bob did it all, wrote, produced, presented, booked the aforementioned guests and even answered the fan mail personally.

In 1977, Wilkins launched an afternoon children's program on KTVU. Called Captain Cosmic it featured and mainly focused on imported Japanese sc-fi serials, like Ultraman and Johnny Sokko and his Flying Robot, as well as showing British TV show Captain Scarlet and the Mysterons, by Thuderbirds creator Gerry Anderson. Wearing a helmet that his his face, Wilkins was uncredited. His sidekick was a robot named 2T2, parodying R2D2 from Star Wars.