Sunday, July 12th, 2026
Sacrilegious Cinema: Menagerie of Madness embarks on a treacherous journey into the annals of French horror in honor of Bastille Day. Notorious for churning out some of the heaviest hitters in the genre’s long history, the French have shaped the fabric of fear in their thought provoking offerings, ranging from the deeply cerebral New Wave movement encompassing the 50’s and 60’s to the more visceral ripple of French extremity dominating the early 2000s and serving as influence for its American relative- particularly the ‘torture-porn’ sub-genre- but also a host of other horror subsets in its fierce depictions. This year, we will sample each faction within our double feature, erecting a vintage gem alongside its y2k counterpart, both of which investigate identity, isolation and control in the fabric of feminism.
At 8PM, we begin the night with my personal favorite- taking a psychological excursion into the pinnacle of the French New Wave movement with a controversial 1960 flick following a mad surgeon hellbent on restoring his daughter’s disfigured face, extending a glimpse into the societal standards a woman is expected to abide by- otherwise doomed to endure an existence condemned by a lonely masquerade and the company of 4 walls.
The heavy themes of patriarchy permeate this picture, from women adhering to a specific ideal in order to appease, so as to not disgust the male figures- even if indirectly via association- whether by means of physicality or acting outside the boundaries dictated by cultural norms. In a world not unlike our own, reputation reigns supreme, presiding over any shred of happiness to be had in its wake.
Georges Franju’s spine-chilling saga quickly unfolds in Les Yeux sans Visage (EYES WITHOUT A FACE) inspiring not only Michael’s iconic mask in John Carpenter’s seminal Halloween (1978), but also Billy Idol’s popular 80’s song by the same name. The film utilizes chiaroscuro to communicate a dream-like albeit ominous state of actuality in the Expressionistic shadow-play. The carnivalesque score intertwined with the grisly imagery and dark narrative convey an absurdity embraced virtue in this quest for a beautiful countenance without any regard for what lies skin deep. This act of dramatic irony examines identity- the hole burrowing beneath the flesh to hollow out any trace of individualism- and the price of acceptance in terms of what is deemed attractive, going as far as mutilation to maintain the model of beauty- teeming with superficiality- a product of social decay. Eyes Without a Face becomes increasingly haunting with the poignant performance of Édith Scob, exuding so much emotion with only her optics.
Franju submits a lesson in despair, initiating a marriage of body horror with the psychological subgenres to create a perfect pair in its grotesque anguish, underscoring the patriachry pandemic poisoning the collective consciousness with the plight of perfection, cultivating a feminist lens. 
Then, at 10PM, we meet Esther, a young woman who becomes increasingly preoccupied with self-mutilation following a leg injury, plunging her deeper into madness as she succumbs to a morbid fascination with her flesh. Emerging from the New French Extremity camp, Dans ma peau [IN MY SKIN] (2002) submits a feministic body horror exploring the eroticism of self-inflicted harm under a microscope of identity, autonomy and alienation, unraveling the ecstasy of pain. Marina de Van directs, writes and stars in the title role of this provocative masterpiece, summoning her own personal struggles to orchestrate this visceral whirlwind, enhancing both the intimacy and credibility woven into the narrative. In My Skin dissects not only the body, but the brain- offering a symphony of suffering that would undoubtedly satisfy the standards of Cronenberg, creating a catharsis in the control the maiming permits. With lingering threads of Eyes Without a Face and Repulsion- and likely later serving as a major influence for Julia Ducournau’s Raw (2016), In My Skin excels in its jarring display of disfigurement, paving a a phantasmagorical path leading to autosarcophagy in this slice of psychological depersonalization. 
Come celebrate Bastille Day and get Francophilic with us at Hotwax Coffee Shop in Ybor City! 
FREE popcorn included with a mandatory purchase- no cover charge with a 1 drink (or snack) minimum from the bar. Remember to sample the themed drinks for this week’s French horror double feature.
(Movie nights offer psychological insight accompanied by behind the scenes information and observations by your horror hostess). 