In Spain, the fantastic, nourished by the weight of Catholicism, generated deviant images and traumatic scenes. The publisher Carlotta had the good idea to gather in boxes two horrific curiosities, A candle for the devil (A candle for the devilFrench, maouchier Martin (1955-2023), et Blood doll (Chill1977), by Carlos Puerto. These two specimens are representative of the filon of the years 1960-1970 known under the term of “Fantaterror”, the wave of Hispanic dread, local response to the surge of the English studio Hammer.
If the Movida Madrid of the 1980s celebrated the post-Franquist release, the revolt had started earlier, in the margins of the genre, while the agony of the dictatorship saw a break in the censorship. The films presented, punctuating this period of democratic transition, carry an imagination at the crossroads of the macabre and eroticism which then played a role of Catharsis, as much as a roller with sensations.
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