Alright folks, it’s time to dig deep in your closet and get out those bell-bottom jeans while you pop some Donna Summer on your turntable. Director Andreas Marschall (Tears of Kali), who has a segment in the upcoming Christmas anthology horror film Deathcember, is here to get our toes tapping, our heads bobbing, and our stomachs churning with some of his favorite disco horror titles, all of which you can read below!
Marschall’s Deathcember entry is called “Pig”, and is described as “…a decidedly “Me Too” take on the rape-n-revenge genre.” Best of all, Marschall is keeping things close to home as it takes place at a disco!
Deathcember, which was picked up by our pals at Epic Pictures for world sales rights, features stars such as Barbara Crampton, Barbara Magnolfi, AJ Bowen, Brianna Barnes, Sean Bridgers, Johnny Vivash, and many more.
The full list of directors includes Dominic Saxl, Michael Varrati, Lazar Bodroža, Florian Frerichs, Isaac Ezban, Sonia Escolano, Bob Pipe, Steve De Roover, Jürgen Kling, Ama Lea, Sadrac González-Perellón, Julian Richards, Lee Sang-woo, Vivienne Vaughn, Ruggero Deodato, Sam Wineman, Andreas Marschall, Lucky McKee, Milan Todorović, Pollyanna McIntosh, Rémi Fréchette, Jason A. Rostovsky, John Cook Lynch, Trent Haaga, Annika Marx, BJ Colangelo, Zach Shildwachter and Alyosha Saari.
Climax (2018, dir: Gaspar Noé)
This one deserves the first place in the ranking simply because of the first ten minutes, which offer a dance overkill set to Cerrone’s “Supernature” that is second to none. If you don’t feel the impulse to get up from your cinema seat and dance along, you’re unmusical.
Nachtmar (2016, dir: AKIZ)
This intoxicating trip into the pubescent psyche of a party girl leads us through intense wide-angled available light rave scenarios that you won’t forget. And you will surely remember the creepy little creature that grows out of the loneliness of her soul and clings to her like a grey-skinned baby.
Hellraiser 3 (1992, dir: Anthony Hickox)
The extended disco massacre scene is the dream of every fetish terrorist.
Terminator (1984, dir: James Cameron)
Set in the neon light of a typical New Wave era disco, Sarah Connor’s encounter with the indestructible soulless killer robot, who doesn’t care about 80s style shoulder-padded collateral damage, haunted me into my nightmares.
The Collector 2: The Collection (2012, dir: Marcus Dunstan)
Okay, surely not as successful as the first part, but visually a dark homage to Dario Argento’s Inferno with an opening scene that belongs in the splatter Olympus: A lawnmower plow through a disco crowd.
Blade (1989, dir: Stephen Norrington)
Shows what can happen to you as a tourist in underground discos. The blood rain is a classic!
Prom Night (1980, dir: Paul Lynch)
Oh, how I love the golden days of the American slasher movie! Prom Night is one of the better ones because Paul Lynch knows his craft. And he certainly directs better than Leslie Nielsen dances with Jamie Lee Curtis.
Inferno (1980, dir: Dario Argento)
How do I get Dario Argento on this list? Is there any disco scene in his surreal, enchanting masterpiece about the worst of the three mothers? Unfortunately, not at all. But Eleonora Giorgi’s flashy taxi ride to the library of Rome, accompanied by Keith Emerson’s pulse-driving music, is lit and photographed like a disco scene.
German Angst (2015, dir: Jörg Buttgereit, Michal Kosakowski, Andreas Marschall)
Yeah, I’m sorry. I couldn’t help mentioning my own episode from this anthology: “Alraune”, which begins with a wild and erotic club adventure. The scene is pretty cool. Okay, enough with the self-praise. I promise: I won’t mention the party scene from Masks.
Neonstadt (1982, various directors)
This one’s on the list because it’s so damn rare. In the icy 80s, when one could die of boredom from the German arthouse films, a group of crazy Munich film students (like later genius Dominik Graf) shot this genre episode film. The wildest part is the last one: “Disco Satanica” by Wolfgang Büld. A guy who hides his disfigured face behind a John Travolta mask is looking for revenge in a New Wave disco. A masterpiece? Absolutely not. But if you want to brag with your film knowledge at a party, mention this one.