A favourite Dracula movie. As my very most favourite Dracula movie has been claimed, I go with its nearest competitor that somehow also features my favourite Jesus*

 

Linda (Ewa Strömberg) has been summoned by Countess Nadine Carody (Soledad Miranda) to handle a real estate inheritance from a certain Count Dracula. Spellbound, she finds herself on a small island, and helpless in the Countess' embrace.

“You are one of us now. The Queen of the Night will bear you up on her black wings.”

– Countess Nadine Carody

A film that can easily hold up against Jean Rollins' dreamy vampire erotica, this love letter to Soledad Miranda's brooding torment is a delight to watch and a pinnacle in Jess Franco's filmography. Its influence on neo-Giallo Amer and Dario Argento – particularly his Suspiria – is evident, and that in itself should give you enough clues of how much of an essential chapter Vampyros Lesbos is in adult European filmmaking.

 

* the Bales 2025 Film Challenge for October is horror-themed as opposed to date-based, and is all about favourites. Expect non-horror and films I believe to be relevant instead.

A [favourite] Frankenstein film.

 

One wet, ungenial summer in 1816, lovers Mary Godwin and Percy Shelley, and Mary's stepsister Claire Clairmont, visited a dear friend at Villa Diodati. That friend was Lord Byron, exiled and residing in the Swiss villa with his physician Dr John Polidori

“There are no ghosts in daylight. You'll get used to our nights at Diodati. A little indulgence to heighten our existence on this miserable Earth. Nights of the mind, the imagination. Nothing more.”

– Lord Byron

Forced indoors, over the cause of three days they turned to the occult, to laudanum, to stories from the Fantasmagoriana, and the horrors of their own. That summer, Frankenstein saw the light of day.

A translator for International Translation Day

“This mirror reflected a painting… with words. Chinese idiograms. 'The she-crane calls in the shadow. Her cheek answers.'”

– Alice Campos

Alice, the always fantastically brooding Florinda Bolkan, works as a translator when all of sudden she loses her job and finds herself on the small island of Garma. People tell her she has been there before, recently, but she knows this is not possible.

 

Some English-language posters try to sell Le orme as an action-ridden sci-fi giallo, but oh boy leave that perception behind and you're in for one unsettling treat! Le orme can be placed somewhere between Don't Look Now and that other Alice film, Chabrol's Alice ou la dernière fugue. Drifting and elegant, distant and claustrophobic.

 

Soul or rhythm and blues for Ben E. King's birthday.

“Let's face it; the future as a Rolling Stone is very uncertain.”

– Brian Jones

While then-manager Oldham's dream of an all-Stones A Clockwork Orange never manifested, there was an attempt to counter The Beatles' A Hard Day's Night (1964). That too, failed. Instead, Charlie became a cinéma vérité roadmovie of the Stones' touring Ireland in 1965. Whitehead's camera is there for Charlie.

A steam locomotive to celebrate the opening of the Stockton and Darlington Railway in 1825, the world's first public railway to use steam locomotives.

 

The Big Freeze of 1963 was one of the coldest winters recorded in British history. It was during this winter that filmmaker Geoffrey Jones was commissioned by British Transport Films to make a documentary about the British Railways Board. With the freeze setting in, Jones ran the footage in preparation of post-production, and was struck by the blackness of the locomotives against the white of the many feet of snow. This smaller experimental project became Snow. Accompanied by a stretched out version of the jazz tune Teen Beat, and BBC Radiophonic Workshop's own Daphne Oram, Snow is an improbable hypnotic trip in an impossible landscape.