Fulci for Fake is an interesting biopic, a film made by an actor looking to understand the complicated person he is about to portray. In this case, our filmmaker is Simon Scafidi, a dead ringer for Fulci himself, in fact we first see him made up as an old Fulci. We hear the premise of this film—the desire to share the fascinating life stories of one Italy’s most fascinating filmmakers—while he pulls off the makeup, ultimately revealing a man who could be mistaken for a young Fulci at a glance, an excellent choice for the role and a way to transport us back to the beginning of the project and then back to the genesis of his career. From there it is an incredible journey full of intimate details and anecdotes shared with us by former cast and crew and his daughters. The stories are fantastic and reveal a man who loved film and life but was also embattled and bitter, a perfectionist and a self-proclaimed misogynist, a man who loved his grandson but also one whom neither of his daughters can recall receiving any affection from  as children.

His fears and anxieties and anger and rage play out as themes in many of his films, and we are treated to an analysis by a filmmaker who is simultaneously breaking down the films but also helping us connect what we are learning about Fulci as a man with what many watching already know about Fulci as a filmmaker and the result is an enriched look at his filmography and career, one that is from an earnest and heartfelt lens and I found it endearing and bighearted at times as well. I kept waiting for some bombshell revelation, information that would turn this into a nightmare and ruin the kind tone of the film, but that never happens. In fact it ends on note of conciliation as his daughter Camilla breaks down crying as she recalls her father holding her hand for the first time, shortly before he passed away. 

Many of us, fans of the genre, only know Fulci from the films we’ve seen, and most of us have probably only seen one or two of those (and that is not a judgement, his work is not widely available generally (Shudder has a lot of his work available) and, if I am completely honest, not all of his work aged well, so your mileage may vary in this day and age.), but with no context. I think that is why I enjoyed this film and can recommend it to you, dear reader. It provided me a better understanding of the man behind the camera, which helps me to relate to what I am seeing. Late in the film, Fulci’s daughter Antonella says that the best way to know him is to put yourself behind the camera in every scene, and to try to think like the person who would be filming that scene. It’s haunting advice, and I think this documentary makes it much easier to do that. It does not seek to vindicate or elevate Fulci, it exists to give us a look at the man behind the curtain, and we are shown a complex and complicated man, at once revered and reviled by his daughters and feared and loved by his crew, cast and friends. It’s provided me a whole new appreciation for what he put on film during a career that spanned decades.

This biopic, Fulci for Fake, will be to fans of Lucio Fulci and his films what The Last Dance is to fans of Michael Jordan and the Chicago Bulls or what Tiger King is to people who like stories that are… actually that one was for the masses, bad example I guess, but you can take my meaning I think. Check it out if you’re so inclined.    

WE ARE STILL HERE is an interesting mix of Lovecraft and ghosts, gothic spirituality and violent horror. Really WE ARE STILL HERE is little bit of of all of those things thrown into a pot that made a very delectable stew. So let’s dig in. 

First up, the acting in the movie is solid. Every character is well realized and the film brings in some of my favorite genre actors (one of whom is also my favorite indie director) to help with that process. Barbara Crampton (everyone who attended our Reanimator screening got an eyeful of Ms. Crampton) plays Anne Sacchetti, a grieving mother and wife to Paul Sacchetti, played by Andrew Sensenig of W. and Upstream Color fame. Crampton brings just enough to the role without being or seeming overwrought. Her sadness, and hope, is apparent in every scene. Later we meet the Sacchettis’ friends Jacob and May Lewis. You’ll know the actress who played May, Lisa Marie, from Sleepy Hollow, Ed Wood and Mars Attacks. Then comes my personal favorite: Larry Fessenden, who has acted in countless films and whose film Beneath still makes swimming in lakes an uncomfortable proposition. Fessenden is fantastic here in his depiction of a middle aged hippie spiritualist.   

I went into this movie cold. I had no idea what to expect except that it was probably a ghost story given the title. It was that—a ghost story— but it was so much more than that as well. The cinematography is well composed and certain scenes are just stunning with the cold aesthetic of the winter landscape playing against the smoldering danger in the house. The creature designs are fantastic too, and yes there are creatures in this film. The ghosts here are unlike the ghosts from Crimson Peak. In that film they served as terrifying portents of the future or horrific reminders of the past. In WE ARE STILL HERE the ghosts are creatures of vengeance and flame; monstrous beings who are still seeking to protect their home. It makes for some intense and interesting viewing. 

The movie is a slow burn, but with the third act comes a steady ramping up of the action and the action is earned and deserved, not just thrown in because the film needed some action. Add to that a reveal about the true purpose of the house and you’ve got yourself one interesting set-up. I feel like vague is really the only way to approach a film like this while reviewing it. I went in cold and warmed immediately to the film. I suggest you do the same.

So to recap: great creature design, strong plot and themes and the approach of a ghost story through a Lovecraftian lens (can’t say more than this, spoilers!) make this one ghost story that deserves a moment of your time.