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Watch Anytime • Virtual Screening Room: DUSK-TIL-DAWN DRIVE-IN MARATHON


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DUSK-TIL-DAWN DRIVE-IN MARATHON!
Available to your home theater through the Olympia Film Society
$20 ticket: All Four Films!
This specially-curated package includes four films from some of the masters of Euro-horror. Jean Rollin’s The Nude Vampire, Jess Franco’s A Virgin Among the Living Dead, Mario Bava’s The House of Exorcism and Pete Walker’s House of Whipcord.

A VIRGIN AMONG THE LIVING DEAD (1973)

A girl arrives from London to visit her estranged relatives in a remote castle for the reading of her father’s will. After a while she discovers that they are all in fact dead and her decision to live with them turns into a nightmare. Unable to leave she’s drawn into a macabre underworld through visions of nude satanic rituals and her own impending sacrifice.

THE NUDE VAMPIRE (1970)

Wealthy industrialist Georges Radamante (Maurice Lemaitre) has dreams of immortality. Not through his own achievements, but by finding a way to share the biochemistry of the mute, orphaned vampire woman (Catherine Cartier) who has been raised by hooded needle-stickers in isolation, deprived of exposure to human faces. Radamante’s son Pierre (Olivier Martin, Rollin’s real-life brother) innocently complicates matters while trying to infiltrate his father’s private club. Rollin’s first color film and his first collaboration with director of photography Jean-Jacques Renon, THE NUDE VAMPIRE (La Vampire nue) is a curiously science fiction-tinged story in the then-fashionable style of Jean-Claude Forrest (Barbarella) and Metal Hurlant artists Jean “Moebius” Giraud and Philippe Druillet, who was in fact recruited to design the film’s poster.

THE HOUSE OF EXORCISM (1975)

After some distributors found Mario Bava’s LISA AND THE DEVIL too mystifying for release, producer Alfredo Leone (with Bava’s uncredited assistance) hired veteran actor Robert Alda, shot additional scenes, and transformed LISA into THE HOUSE OF EXORCISM, capitalizing on the popularity of demon possession films. While sharing much of the same material, the films have come to be looked upon as two distinct entities, beautifully illuminating the stylistic diversity of the Bava/Leone partnership.

HOUSE OF WHIPCORD (1974)


In HOUSE OF WHIPCORD, fashion model Ann-Marie (Penny Irving) is lured into a private reform school where she is punished for her sexually liberated behavior by a zealous warden (Barbara Markham). The warden and her doddering husband established this house of horrors to stifle the sexual revolution, imprisoning and killing those who offended their moral propriety. Only Ann-Marie’s liberated roommate (Ann Michelle) can help her escape. This politically provocative women-in-prison movie was made in reaction to the rise of The Nationwide Festival of Light, a conservative group established to protest sex and violence in the British media.


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