Andrea Bianchi: The Unsung Hero of Italian Horror and Exploitation

When Italian horror comes to mind, specifically directors in the genre, most will automatically think of the “unholy” trinity: Dario Argento, Mario Bava, and Lucio Fulci. Those more invested in the genre may also think of Antonio Margheriti, Joe D’Amato, Umberto Lenzi, Bruno Mattei, Michele Soavi, and Mario’s son Lamberto Bava.

Though the film he is most famous for, Burial Ground (1981), is a cult classic and on many top 10 lists of fans of Italian horror, somehow Andrea Bianchi rarely comes up. He’s no slouch and, like the masters, did not limit himself to just one genre. Horror? Check. Giallo? Check. Eurocrime? Check. Sexploitation? Check. Each of his films has a very distinct element of sleaze to them, which could perhaps be the reason he has yet to gain the attention he deserves.

So here is a starter’s guide to Bianchi. And if you think Fulci hates eyeballs, wait til you see how Bianchi feels about breasts.

Burial Ground (1981)

First and foremost, logic has almost no place in Italian horror movies. So if you need your movies to make sense, you’re in the wrong place. What you get in exchange for that is gore, sleaze, and atmosphere. For a zombie movie to stand out, it must have these as well as unique, memorable characters or kills. Burial Ground delivers all of this. Prepare to be confounded by the “young” son Michael (played by Peter Bark, pictured above) and his incestuous relationship with his mother while zombies stumble around outside the mansion.

Strip Nude for Your Killer (1975)

If any movie’s title reflects what to expect from Bianchi, it’s his giallo. While it includes many of the familiar tropes of the subgenre (black gloves, J&B whiskey, red herrings), and even more so with the involvement of fashion models (another common trope in the cosmopolitan giallo), the opening murder involves an abortion and you can set your watch by the nudity in this, including Edwige Fenech (who is reason alone to watch this movie). 

Cry of a Prostitute (1974)

Bianchi’s Eurocrime is actually a bit of a western in disguise. Henry Silva eerily whistles his way through this, playing both sides of two feuding mafia families. Think Yojimbo, but without the humor and with Barbara Bouchet being used as a punching bag. 

What the Peeper Saw (1972)

If you’re into movies with creepy kids, Bianchi has a challenge for you. The manipulative and too-smart-for-his-own-good son in this movie may or may not have murdered his own mother in order to have a new plaything in the form of his new, gorgeous stepmother (played by Britt Ekland). They have a very “complicated” (and frustrating for the viewer) relationship, but it pays off at the very end with a jaw-dropping final scene.

Malabimba (1979)

Since the cover art of the Blu-ray from Vinegar Syndrome depicts a nun, many mistake this for a nunsploitation movie, which it is not. The seance at the beginning lets you know exactly what you’re in for in this sleazy, gothic Exorcist rip-off. This one may not be for everyone as it includes hardcore sex inserts (the actors’ faces are not shown in those scenes, meaning that the actual sex is being performed by other actors and those scenes are then inserted into the movie). If you’re comfortable with that, you can enjoy a film which takes demonic possession to a new level and does not punish a woman for having sexual agency.

If you’ve made it this far, you’re ready for more. Check out a list of more of his films on Letterboxd.