20:00 | The Clovehitch Killer (Duncan Skiles, 2018, 110')

The shadow of a serial killer hangs over a small village in Kentucky. Ten years ago a last of ten women's bodies was found and since then there is no trace of 'the Clovehitch killer'. 16-year-old Tyler doesn't lie awake, until he finds a picture of a woman tied up in his father's car. Is his father the infamous killer?

Despite the traditional horror of the sadistic serial killer, The Clovehitch Killer stands out because of his special perspective. Through Tyler's eyes, this almost becomes more of a coming-of-age story than horror, in which a teenager has to tear himself away from his dominant father. With his soft voice and warm eyes, narrow body and shy posture, Tyler is also the counterpart of his authoritarian, but respected father. With a few special tempo changes, an unpredictable game is played with the growing and reflective paranoia between son and father, and from film to viewer.

22:30 | Opera (Dario Argento, 1987, 108')

Dario Argento based his work for Opera on his own experiences as the director of a failed production of Verdi's Macbeth. The central setting here is therefore an opera house where a Macbeth production is played. The young Betty takes over the role of Lady Macbeth, and this is the start of a series of murders around her.

Opera is not Argento's best-known film, but it is one of his most dynamically directed. In a constant play with the gaze, Argento uses numerous special point-of-view shots, in which we take the perspective of the perpetrator and victim, sitting audience and flying bird. In the most famous scene of the film (and the poster image), Betty gets needles stuck under her eyelids, so she can't close her eyes to the horror. That doesn't really differ much from what Argento is trying to do with us.

00:30 | Deathgasm (Jason Lei Howden, 2015, 90')

Night of the Horror traditionally ends with a film in which the blood spurts like geysers, but death shouldn't be taken seriously. With a title like Deathgasm we don't promise you much seriousness.

When some school friends, who are in a heavy metal band together, find a mysterious score, they accidentally ignite a demonic apocalypse. This New Zealand film is the debut film of visual effects specialist Jason Lei Howden (who is now working on Deathgasm 2). In line with compatriot Peter Jackson's earlier work, the filmmaker mainly uses practical effects (and a dildo) to achieve a maximum of 'gore'. Blended with elements of parody and teenage comedy, this horror film is the ideal ending to a long, bloody night.