Planet of the Vampires: Limited Edition – Radiance Films (UHD/Blu-ray Combo)

Theatrical Release Date: Italy/Spain, 1965
Director: Mario Bava
Writers: Mario Bava, Alberto Bevilacqua, Callisto Cosulich, Antonio Román, Rafael J. Salvia
Writers English Language Version: Louis M. Heyward, Ib Melchior
Cast: Barry Sullivan, Norma Bengell, Ángel Aranda, Evi Marandi, Stelio Candelli

Release Date: October 19th, 2026 (UK), November 10th, 2026 (USA)
Approximate Running Times: 89 Minutes 30 Seconds (Italian Version), 87 Minutes 32 Seconds (English Version)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision (Both Versions)
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Italian (Italian Version), LPCM Mono English (English Version)
Subtitles: English (Italian Version), English SDH (English Version)
Region Coding: Region Free (4K UHD), Region Free (Blu-ray)
Retail Price: £24.99 (UK), $49.95 (USA)

"In the outer reaches of deep space, the spaceship Galliott answers a distress signal from Aura, an unexplored planet. As the ship attempts to land, members of the crew inexplicably begin to attack one another. This is the start of a terrifying expedition into the unknown, one plagued by paranoia, possession and violent mayhem wrought upon the unsuspecting explorers by the planet’s mysterious inhabitants." - synopsis provided by the distributor

Video: 5/5 (4K UHD, Blu-ray)

Here’s the information provided about the transfer, “Planet of the Vampires was scanned in 4K resolution at Fotocinema in Rome in collaboration with CSC Cineteca Nazionale, Titanus, and RAICOM. A 4K digital file was supplied to Radiance Films for this UHD release.”

Planet of the Vampires comes on a 66 GB dual layer 4K UHD.

Disc Size: 60.2 GB

Feature: 58.3 GB

This release uses seamless branching for the two versions. While Radiance Films' 2024 Blu-ray release looked excellent, this new release somehow improves upon it. Areas of notable improvement are colors and shadow details. That said, image clarity, contrast, black levels, and compression are solid, and the image retains an organic appearance.

Planet of the Vampires comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.1 GB

Feature: 25.5 GB

This release uses seamless branching for the two versions. This Blu-ray's disc size and feature size are exactly the same specs as Radiance Films' 2024 release.

Audio: 4.5/5 (LPCM Mono Italian), 4.25/5 (LPCM Mono English - Gino Marinuzzi Jr.’s Original Score), 4/5 (LPCM Mono English - Kendall Schmidt's Alternate Score)

The Italian version comes with one audio option, a LPCM mono mix in Italian with removable English subtitles. This audio track sounds excellent; dialog comes through clearly, and everything sounds balanced and robust when it should.

The English version comes with one audio option, a LPCM mono mix in English with removable English SDH. For this version, there is an option to watch with Gino Marinuzzi Jr.’s original score or a Kendall Schmidt alternate score created for the English language version. Both of these audio options sound clear, balanced, and robust when they should. That said, there is a faint background hiss on the audio track with Kendall Schmidt’s alternate score.

Extras:

Extras on the Blu-ray disc include an image gallery (48 images - stills/home video art/posters/other promotional materials), a theatrical trailer (2 minutes 15 seconds, Dolby Digital mono English, no subtitles), Trailers from Hell with filmmaker Josh Olsen (2 minutes 30 seconds, Dolby Digital stereo English, no subtitles), Trailers from Hell with filmmaker Joe Dante (3 minutes 49 seconds, Dolby Digital stereo English, no subtitles), a reconstruction of the German cut-down Super 8 version; Italian version (17 minutes 10 seconds, 1.85:1 aspect ratio, LPCM mono Italian with removable English subtitles) and English version (17 minutes 10 seconds, 1.85:1 aspect ratio, LPCM mono English, no subtitles), an archival interview with Lamberto Bava (13 minutes 9 seconds, Dolby Digital stereo Italian with removable English subtitles), a critical appraisal of Mario Bava and Planet of the Vampires titled Transmissions from a Haunted World (41 minutes, Dolby Digital stereo English, no subtitles), and an archival audio commentary by Tim Lucas, author of Mario Bava: All the Colors of the Dark. 

Other extras include reversible cover art, a collection of six exclusive postcards featuring promotional material, a removable OBI strip leaving packaging free of certificates and markings, a 20-page booklet featuring a new translation of Renato Pestriniero’s original short story, an 80-page booklet with cast & crew information, an essay titled Gazing Into the Abyss of Deep Space and the Realms of Horror written by Jerome Reuter, an essay titled A World of Endless Night: The Artistry of Planet of the Vampires written by Martyn Conterio, an essay titled The Birth of Alien: Visiting Planet of the Vampires written by Barry Forshaw, an essay titled Planet of the Vampires: Utopian Possibilities written by George Daniel Lea, an essay titled Terror from Space: Lovecraft and Cosmic Horror in Planet of the Vampires written by Kyle Anderson, and information about the transfer.

Summary:

When it comes to Italian cinema, science fiction is the one genre that far too often misses the mark, or when it does work, as in the case of films like Contamination, Beast in Space, or Alien 2: On Earth, it is for all the wrong reasons. This brings us to Mario Bava’s Planet of the Vampires, one of the few times that he would ever venture into the science fiction genre. With his only other foray into this genre being the film The Day the Sky Exploded, he was the cinematographer on that film. First and foremost, what distinguishes Planet of the Vampires from the majority of Italian science-fiction films is Mario Bava's incorporation of film elements typically associated with the horror genre.

The narrative is well constructed, allowing each new revelation an ample amount of time to fully resonate before moving to the moment of terror. And though the characters are not much more than mere props in the grander scheme of things, this ultimately proves not to be a problem since this film's greatest strength is its atmospheric visuals. Some of the most striking moments are the scenes where the first corpses rise from their tombs and the one where the Captain and crew members are trapped on what appears to be an alien spaceship.

As mentioned before, the performances are one of Planet of the Vampires' strongest assets, and they are best described as adequate. Notable cast members include Stelio Candelli (Nude for Satan), Norma Bengell (Hellbenders), Ivan Rassimov (The Strange Vice of Mrs. Wardh, Spirits of Death) and Barry Sullivan (Violent Naples) in the role of Captain Mark Markary. Overall, Planet of the Vampires is one of those rare examples where a film exceeds the sum of its parts, and there is no denying this film’s influence on the science fiction genre. Its influence can be traced to films like Alien.

Planet of the Vampires makes its way to 4K UHD via an exceptional release from Radiance Films. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

Emergency Squad: Limited Edition – Cauldron Films (Blu-ray)

Theatrical Release Date: Italy, 1974
Director: Stelvio Massi
Writers: Dardano Sacchetti, Gianfranco Barberi, Adriano Bolzoni, Stelvio Massi
Cast: Tomas Milian, Gastone Moschin, Ray Lovelock, Mario Carotenuto, Stefania Casini, Guido Leontini, Ilaria Guerrini, Giuseppe Castellano

Release Date: October 22nd, 2026
Approximate Running Time: 94 Minutes 50 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region A
Retail Price: $39.99

"Consumed with vengeance, Tomas Milian (The Big Gundown) sets out to take down the man who murdered his wife during a robbery. Meanwhile, the culprit, Il Marsigliese himself (Gastone Moschin – The Godfather Part II) has one last big heist up his sleeve if he can stay ahead of the law and keep his own gang from mutiny!" - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, “Emergency Squad was restored in 2K from the original camera negative by Rewind Films.”

Emergency Squad comes on a 50 GB dual layer Blu-ray.

Disc Size: 37.3 GB

Feature: 28.4 GB

This new transfer will be a revelation for those who have only seen this film via NoShame DVD release. The source looks excellent; flesh tones and colors look correct, image clarity, black levels, and compression are solid, and the image always looks organic.

Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.8 GB

Feature: 28.6 GB

Audio: 4.25/5 (DTS-HD Mono Italian), 4/5 (DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. The English audio track has some moments where English audio was never recorded. Those parts are presented with Italian audio and subtitled in English. Both tracks sound clean, clear, and balanced, and ambient sounds are well-represented. That said, the Italian-language track sounds slightly fuller. Included are English subtitles for the Italian language track and English SDH subtitles for the English language track. It should be noted that subtitles can only be chosen via the audio setup menu, and they cannot be turned off while watching the main feature.

Extras:

Extras for Emergency Squad include a theatrical trailer (2 minutes 51 seconds, Dolby Digital mono Italian with removable English subtitles), an archival interview with actor Ray Lovelock (6 minutes 14 seconds, Dolby Digital stereo Italian with non-removable English subtitles), an archival interview with actor titled Tomas’ Squad (13 minutes 36 seconds, Dolby Digital stereo English, no subtitles), an archival interview with director Stelvio Massi titled The Last Round (8 minutes 50 seconds, Dolby Digital stereo Italian with non-removable English subtitles), an interview with cinematographer Sergio Rubini titled Cinematographers in Arms (22 minutes 15 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Danilo Massi titled Stelvio Shoots First! (17 minutes 20 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with film historians Eugenio Ercolani, Nathaniel Thompson, and Troy Howarth.

Other extras include reversible cover art, a slip cover (limited to 1,500 units), and a 36-page booklet (limited to 1,500 units) with cast & crew information, an essay titled Contextualizing ‘Emergency Squad’ written by Eugenio Ercoliani, an essay titled From Hero to Villain: Tomas Millian and the Poliziesco written by Troy Howarth, My 2026 ‘State of the Eurocrime Union’ Address written by Mike Malloy, and information about the transfer.

Included on a second Blu-ray disc is the documentary Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s (126 minutes 54 seconds, DTS-HD stereo English and Italian with burnt-in English subtitles for Italian). Extras for Eurocrime! The Italian Cop and Gangster Films That Ruled the '70s includes an interview with Tomas Milian from 2012 (14 minutes 58 seconds, Dolby Digital stereo English, no subtitles), deleted scenes and trims (6 minutes 43 seconds, Dolby Digital stereo English and Italian with burnt-in English subtitles for Italian), and Yankee Doodle Tanzi: Some Outtakes on Ethnicity and Nationality (4 minutes 32 seconds, Dolby Digital stereo English and Italian with burnt-in English subtitles for Italian).

Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s: Italian cinema from the 1950s, 1960s, 1970s, and 1980s was known for its cycles. These genre cycles often originated when there was a Hollywood file that was hugely successful at the box office and from there the Italians would make clones of these Hollywood files that they were liberally borrowing from.

After the decline of the spaghetti western genre, which is arguably the most successful genre when it comes to how well it performs here in the USA, the homegrown action scene looked like it had all but run its course in Italy. Outside, a few scattered action files involving crime and the police. The bulk of action cinema coming from this era was a more toned-down version of spaghetti western that exchanged humor for violence. Fortunately, there were better days just around the corner.

In the early part of the 1970s, a new kind of action file emerged in Italian cinema and these files are often referred to as Poliziotteschi files. And though the original inspiration for this genre can be linked back to such Hollywood films as Dirty Harry and The Godfather. These firms often drew from real-life events that were unfolding in Italy then. A few of the subjects that these firms explored include underworld crime, police corruption, terrorism, and kidnapping. And unlike their spaghetti western counterparts, there was an added level of realism when it came to the depiction of violence.

Content-wise, this documentary divides its content into several subsections, which cover the origins of Italian cinema being inspired by Hollywood films, the decline of the spaghetti western genre, how films were often shot on the cheap and quickly, car chases and how dedicated the stuntmen in Italian cinema were, dubbing, this genre’s unflinching depiction of violence, especially the brutality towards most women in these films, these genres' lasting legacy and so much more.

Ultimately, Euro crime! The Italian Cop and Gangster Files That Ruled the '70s is a first-rate documentary that tells the story of the Poliziotteschi file, and to guide us on this journey are a variety of contributors who helped shape this genre, which includes actors, directors, and stuntmen.

Summary: 

Stelvio Massi directed Emergency Squad. He’s most known for his work within the poliziotteschi genre. Notable films that he directed are Five Women for the Killer, Cross Shot, The Last Round, Highway Racer, and Convoy Busters.

A group of robbers led by a man named Marseilles pull off a daring heist in broad daylight. Assigned to the case is Interpol agent Ravelli, whose wife was murdered in cold blood by this man in Marseilles a few years before. Ravelli has a nasty habit of never bringing in suspects alive, and the tension builds between Marseilles and his gang as Ravelli closes in on them. Can Ravelli play it from the books this time, or will he become the judge, jury, and executioner as he serves up justice the only way he knows how?

Although Judas Kills on Fridays is technically Stelvio Massi’s directorial debut, his next film, Emergency Squad, is where he found his spot as a filmmaker. After Emergency Squad, all but one of Stelvio Massi’s films for the remainder of the 1970s would be in the Poliziotteschi genre. For Emergency Squad, Stelvio Massi would team up with Tomas Milan (Almost Human), one of Poliziotteschi's most recognizable faces, for the first of their two collaborations.

Poliziotteschi are known for their explosive opening sequences, and Emergency Squad features an elaborate heist in broad daylight. Four criminals masquerading as a film crew surround a car transporting a large sum of money. Things go sideways when one of them kills a cop, and they are forced to change their plans. Not only does this opening setup do an excellent job establishing the criminals and the lengths they will go to, it fully fleshes out Tomas Ravelli, an Interpol agent with a vendetta against one of them.

The cast is anchored by an exemplary performance from Tomas Milian (The Tough Ones), who portrays Tomas Ravelli. His character is solely focused on exacting justice against the man who murdered his wife. Another performance of note is Gastone Moschin (Milano Calibro 9) in the role of The Marseillaise, a ruthless criminal mastermind. Other cast members of note are Ray Lovelock (Let Sleeping Corpses Lie) in the role of the criminals' getaway driver and Stefania Casini (Suspiria) in the role of The Marseillaise’s ditzy girlfriend.

The narrative is very effective at creating tense moments and building upon them. There are no issues with pacing as the narrative builds momentum to a justice-served finale where Tomas Ravelli gets his man. Another strength of the narrative is its use of flashbacks to flesh out Tomas Ravelli’s backstory. Not to be overlooked when discussing Emergency Squad is Stelvio Cipriani's (What Have They Done to Your Daughters?) outstanding score, which perfectly accentuates the mood. Ultimately, what sets Emergency Squad apart from most Poliziotteschi is how Stelvio Massi and Tomas Milian approach the material.

Emergency Squad receives an outstanding release from Cauldron Films, featuring a robust audio and video presentation, along with a plethora of informative extras. Noteworthy among these is the documentary Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s. Highly recommended.

Written by Michael Den Boer

Journey to Japan: The Kyoto Connection – Discotek Media (Blu-ray)

Theatrical Release Date: Japan, 1973
Director: Sadao Nakajima
Writers: Takeo Kaneko, Sadao Nakajima
Cast: Christina Lindberg, Ichirô Araki, Gō Awazu, Yurie Hidaka, Takuzô Kawatani, Masataka Iwao, Masaharu Arikawa

Release Date: August 25th, 2026
Approximate Running Time: 72 Minutes 43 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $24.95

"Fed up with work, women, and the wider world around him, a young cabbie spends his nights scheming to go out in a blaze of glory! But those plans change when a bodacious Swedish babe mistakenly hops into his cab! After realizing she can’t speak a lick of Japanese, he traps her in his ramshackle apartment and indulges in his darkest desires… However, it’s not long before a few cops, criminals, and cretins all come knocking in search of the cabbie’s new companion…." - synopsis provided by the distributor

Video: 4/5

Journey to Japan: The Kyoto Connection comes on a 25 GB single layer Blu-ray.

Disc Size: 15.2 GB

Feature: 14.5 GB

No information is provided about the source used for this transfer. That said, the source is in good shape, and any source debris is minimal. Flesh tones and colors look correct, the image looks crisp, black levels are strong, and there are no issues with compression.

Audio: 4/5

This release comes with one audio option, a DTS-HD mono mix in Japanese with removable English subtitles. There is some dialogue in Swedish. The audio sounds clean, clear, and balanced.

Extras:

Extras for this release include a theatrical trailer (3 minutes 19 seconds, LPCM mono Japanese with removable English subtitles) and a slipcover (limited to the first pressing).

Summary:

Sadao Nakajima directed Journey to Japan: The Kyoto Connection. He’s known for Aesthetics of a Bullet, Tokyo-Seoul-Bangkok, Jeans Blues: No Future, The Rapacious Jailbreaker, The Great Okinawa Yakuza War, and the Japanese Godfather Trilogy.

A socially awkward loner kidnaps a Swedish tourist, and over time, they develop an unusual bond.

Where Nikkatsu made its own brand of erotic films called romantic pornography films, Toei’s erotic films fall into two main categories: Ero Guro and Pinky Violence. Toei’s Journey to Japan: The Kyoto Connection is an odd film that never fully falls into any of these categories. That said, the result is a film that more than any Toei film resembles Nikkatsu’s brand of erotica.

While the opening setup does spend some time introducing the main characters—an unnamed loner who works as a cab driver and Ingrid, a Swedish tourist—there is not much exposition after this initial introduction. Once Ingrid is held captive at the loner’s home, she spends all of her time bound and gagged before making an escape. From there, she ends up at a nightclub where she meets a group of deviants who take advantage of her. Later on, distraught, Ingrid crosses paths with the loner cab driver, who takes her back to her home. Over time, Ingrid forms a Stockholm syndrome bond with her captor.

When compared to other Japanese erotic films of the 1970s, Journey to Japan: The Kyoto Connection lacks inventiveness when it comes to the sex scenes. The main draw of Journey to Japan: The Kyoto Connection is Christina Lindberg (Thriller: A Cruel Picture) in the role of Ingrid, a woman who’s unknowingly being used as a drug courier. Although her character does speak, she once again delivers a role that relies more on emotion and physical presence. Journey to Japan: The Kyoto Connection is one of the two films that Christina Lindberg made in Japan; the other is Sex & Fury. Ultimately, Journey to Japan: The Kyoto Connection is a by-the-numbers exploitation film that would have been forgotten without Christina Lindberg's involvement.

Journey to Japan: The Kyoto Connection gets a strong audio/video presentation from Discotek Media.

Written by Michael Den Boer

Ilsa, the Wicked Warden (Replacement Disc) – Kino Korber (4k UHD/Blu-ray Combo)

Theatrical Release Date: Switzerland/West Germany/Canada, 1977
Director: Jesús Franco
Writers: Jesús Franco, Erwin C. Dietrich
Cast: Dyanne Thorne, Lina Romay, Angela Ritschard, Peggy Markoff, Esther Studer, Howard Maurer, Eric Falk, Tania Busselier

Release Date: April 28th, 2026
Approximate Running Time: 94 Minutes 11 Seconds
Aspect Ratio: 1.66:1 Widescreen / 2160 Progressive / HEVC / H.265
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $44.95

Video: 4.5/5 (4K UHD), 4.25/5 (Blu-ray)

Here’s the information provided about this release's transfer, "New 4K restoration of the film from the original camera negative."

Ilsa, the Wicked Warden comes on a 100 GB triple layer 4K UHD

Disc Size: 67.2 GB

Feature: 65.7 GB

Kino Lorber has resolved the incorrect color space issue, resulting in a significantly improved image. In addition to fixing the color space problem, this new disc is also a slightly smaller file compared to the original disc.

Ilsa, the Wicked Warden comes on a 50 GB dual layer Blu-ray. 

Disc Size: 42.9 GB

Feature: 26.9 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4.25/5

This release comes with one audio option, a DTS-HD mono mix in English with removable English SDH. Although the track sounds clean and clear because of its overdubbing, there is an unevenness when it comes to range. That said, dialogue always comes through clear enough to follow.

Extras:

Extras on the 4K UHD disc include an archival audio commentary with actress Dyanne Thorne and actor Howard Maurer, moderated by humorist Martin Lewis and an audio commentary with film critic Troy Howarth.

Extras on the Blu-ray disc include a theatrical trailer (2 minutes 42 seconds, DTS-HD mono English, no subtitles), a gallery of artwork and stills with music from the film playing in the background, a vintage promotional short featuring interviews with director Jess Franco and producer Erwin C. Dietrich (11 minutes 27 seconds, DTS-HD stereo German and English with non-removable English subtitles), Uh-Oh... It's ILSA! Part two of a sidebar conversation with novelist and critic Tim Lucas and author and critic Stephen R. Bissette (70 minutes 44 seconds, Dolby Digital stereo English, no subtitles), an interview with Stephen Thrower, author of Flowers of Perversion: The Delirious Cinema of Jesús Franco titled A Thorne by Any Other Name (41 minutes 29 seconds, DTS-HD stereo English, no subtitles), an archival audio commentary with Dyanne Thorne, Howard Maurer, and Martin Lewis, and an audio commentary with Troy Howarth.

Other extras include reversible art and an O-card slipcase (limited to the first pressing).

Summary:

A woman trying to locate her missing sister gets a doctor to commit her to a psychiatric hospital for women, the last place her sister was seen. Once inside, she experiences brutality and depravity at the hands of the patients and those in charge.

Although labeled as an Isla film, Ilsa, the Wicked Warden is a sequel only in name. Outside of the U.S., the film is also known as Greta, House Without Men, and this renaming is likely due to its leading lady, Dyanne Thorne, who starred in three Ilsa films. Ilsa, the Wicked Warden, marks Jess Franco's return to the women-in-prison subgenre, a genre he initially explored with 99 Women.

Ilsa, the Wicked Warden, was made in response to another Jess Franco film, Barbed Wire Dolls, an early success in his 18-film collaboration with producer Erwin Dietrich. While Ilsa, the Wicked Warden, fulfills the typical elements of the women-in-prison genre, including a significant amount of nudity and scenes of torture, it ultimately falls short of being Jess Franco's finest entry in this category. That said, when it comes to pushing the boundaries of depravity, this is an area where Ilsa, the Wicked Warden, beats all of Jess Franco’s other woman in prison films.

When it comes to the performances, the entire cast, especially Dyanne Thorne in the role of the wicked warden, delivers an enthusiastic performance that embraces the camp aspects of her character. Another performance of note is Jess Franco’s muse, Lina Romay, who delivers a scene-stealing performance as one of the patients. Her character is undoubtedly the most depraved, and in one particular scene, she forces another patient to use her mouth as toilet paper after having gone to the bathroom.

When it comes to pacing, things move at a deliberate pace that anyone familiar with Jess Franco has become accustomed to. While some backstory and exposition are included, Jess Franco primarily focuses on scenes of degradation. He also takes every opportunity to display the female cast in the nude, featuring several shower scenes, including a catfight that occurs in one of them. As mentioned before, the English dub is awkward, and there are many instances where the dialogue is unintentionally funny. Ultimately, Ilsa, the Wicked Warden, is a down-and-dirty exploitation film whose mob justice finale serves as a perfect climax.

Ilsa, the Wicked Warden gets a solid release from Kino Korber that comes with a strong audio/video presentation and a wealth of informative extras. Recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

                                                                Correct Color Space.

                                                               Wrong Color Space.

                                                                 Correct Color Space.

                                                                 Wrong Color Space.

                                                                 Correct Color Space.

Wrong Color Space.

                                                                   Correct Color Space.

                                                                  Wrong Color Space.

                                                                Correct Color Space.

                                                                 Wrong Color Space.

Written by Michael Den Boer

What Have You Done to Solange? – Severin Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy/West Germany/UK, 1972
Director: Massimo Dallamano
Writers: Bruno Di Geronimo, Massimo Dallamano
Cast: Fabio Testi, Karin Baal, Cristina Galbó, Joachim Fuchsberger, Günther Stoll, Claudia Butenuth, Camille Keaton, Pilar Castel

Release Date: October 20th, 2026
Approximate Running Time: 107 Minutes 48 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 HDR10
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region Free (Blu-ray)
Retail Price: $49.95

"When a series of brutal sex murders rocks an all-girls Catholic college, suspicion falls on a philandering professor (Fabio Testi of CONTRABAND) whose own investigation will uncover a conspiracy of depravity." - synopsis provided by the distributor

Video: 5/5 (4K UHD), 4.5/5 (Blu-ray)

Here’s the information provided about this release's transfer, "now scanned in 4K from the original camera negative."

What Have You Done to Solange? comes on a 66 GB dual layer 4K UHD.

Disc Size: 61 GB

Feature: 60 GB

The source looks excellent; it is a noticeable improvement over Arrow Video’s 2015 Blu-ray release. Flesh tones look healthy, colors are nicely saturated, contrast, black levels, image clarity, and compression are solid, and the image retains an organic appearance.

What Have You Done to Solange? comes on a 50 GB dual layer Blu-ray.

Disc Size: 32.9 GB

Feature: 32.4 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4.5/5 (Both Audio Tracks)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. Both tracks sound clean, clear, and balanced, and Ennio Morricone’s score sounds appropriately robust. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras on the 4K UHD disc include a theatrical trailer (3 minutes 13 seconds, Dolby Digital mono English, no subtitles), an archival audio commentary with film critics Alan Jones and Kim Newman, and an audio commentary with Dr. Alexandra Heller-Nicholas, author of Rape-Revenge Films: A Critical Study.

Extras on Blu-ray disc one include a theatrical trailer (3 minutes 13 seconds, Dolby Digital mono English, no subtitles), an archival audio commentary with Alan Jones and Kim Newman, and an audio commentary with Dr. Alexandra Heller-Nicholas.

Extras on Blu-ray disc two include an alternate trailer for What Have You Done to Solange under the title The Rah Rah Girls (33 seconds, Dolby Digital mono English, no subtitles), an archival interview with actor Fabio Testi titled Dallamano and the Others (21 minutes 14 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival conversation with actress Camille Keaton titled My Dinner With Solange (11 minutes 41 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with cinematographer Aristide Massaccesi titled The Light of Joe D'Amato (9 minutes 39 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with producer Fulvio Lucisano titled Echoes of Solange (10 minutes 49 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Pilar Castel titled What Have You Done To Pilar? (24 minutes 10 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Karin Baal titled What Have You Done To Decency? (13 minutes 36 seconds, Dolby Digital stereo German with removable English subtitles), an interview with editor Antonio Siciliano titled A Cut For Solange (22 minutes 41 seconds, Dolby Digital stereo Italian with removable English subtitles), and an archival video essay by crime fiction author Michael Mackenzie titled Innocence Lost: Solange and The “Schoolgirls In Peril” Trilogy (29 minutes, Dolby Digital stereo English, no subtitles).

Summary:

What Have You Done to Solange? was co-written and directed by Massimo Dallamano, who would only direct a total of twelve films before his untimely death at the age of fifty-nine. His most notable films as a director include What Have You Done to Solange? and What Have They Done to Your Daughters?. Before making the transition to directing, Massimo Dallamano was one of the most in-demand cinematographers. Some of his more notable films as a cinematographer included Gunfight at Red Sands, A Fistful of Dollars, Bullets Don’t Argue and For a Few Dollars More.

When discussing What Have You Done to Solange? There are two key collaborators to whom this film owes a great debt: The first of these two key collaborators is cinematographer Joe D’Amato, a filmmaker in his own right, who is most remembered for his collaborations with actress Laura Gemser. The most notable of these films include Emanuelle in America, Emanuelle Around the World, and Emanuelle and the Last Cannibals. The second of these two key collaborators is Ennio Morricone, whose diverse filmography includes The Good, the Bad, and the Ugly, Danger: Diabolik, Once Upon a Time in the West, The Bird with the Crystal Plumage, and The Untouchables.

The thing that immediately draws you in while watching What Have You Done to Solange? is Ennio Morricone’s extraordinary score. It is a score that evokes themes of innocence lost, and nowhere is this more evident than during the deceptive opening credits, which depict a group of girls having the time of their lives while riding their bikes. From there, the film further establishes its menacing tone with a murder set piece during its opening scene. And though this moment of carnage is brief, its impact is far-reaching due to the gruesome nature of the kill. The killer stabs its victim, a young girl, in her vagina with a large knife. When it comes to murder set pieces, this film never shies away from their brutality.

Content-wise, What Have You Done to Solange? contains all of the components that one would want or expect from a Giallo! The narrative is well constructed, and there are an ample number of red herrings along the way to keep things interesting. And the characters are well defined and their motivations are clear. Other strengths of What Have You Done to Solange? include Massimo Dallamano’s restrained direction, which keeps most of the excessive violence off-screen by implying it instead of showing it. Fortunately, this restraint does not extend to all content, as there is a fair share of sleaze and never a shortage of naked school girls. And cinematographer Joe D’Amato’s rock-solid visuals elevate this film above a generic Giallo clone.

If there is one area where What Have You Done to Solange? goes against the grain when compared to its contemporaries, and that is in regard to casting. With its most glaring choice being Fabio Testi (The Big Racket,) in the lead male role, a schoolteacher named Enrico Rosseni, who is having an affair with one of the schoolgirls. He gives a dry performance that is virtually devoid of emotion, and his only saving grace is his psychic presence. Other notable performances include Cristina Galbó (Let Sleeping Corpses Lie) in the role of Elizabeth Seccles, the student who is having an affair with Rosseni, and Karin Baal (Dead Eyes of London) in the role of Rosseni’s wife, Herta. Last but not least, in the role of Solange, Camille Keaton (I Spit on Your Grave) delivers a powerful performance. Her character is spoken of for the majority of the film, and it is not until the final act that she really gets an ample amount of screen time. Having said that, despite her limited screen time, she gives one of the most memorable performances.

Without a doubt, What Have You Done to Solange?'s greatest strength is how it forges an identity all its own. Instead of going down the all-too-familiar route treaded by its contemporaries, mimicking Dario Argento’s distinctive visual style or trying to capitalize on what was trendy at the time, Ultimately, What Have You Done to Solange? is a film that is in a class all of its own as one of the best examples of what the Giallo genre has to offer.

What Have You Done to Solange? gets an excellent release from Severin Films that comes with a solid audio/video presentation and a wealth of informative extras. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer