Nigel Kneale's book and screenplay, which Hammer Films made into Quatermass and the Pit, raises many provocative questions regarding the nature of human evolution and the conception of the devil itself.
Amicus Productions provide a smorgasbord of macabre thrills and atmospheric chills with two superior films from their quaint line of quirky portmanteau horror features, The House That Dripped Blood and Asylum.
Director William McGregor reflects on how his fantastical period film, Gwen, began as a reaction to mainstream television, and how the capitalist antagonist will allow the film to continue to resonate with audiences in the future.
With The Dead Don't Die, Jim Jarmusch deliberately deprives his latest film of the propulsive terrors innate to most zombie films, instead using the genre to matter-of-factly rhapsodize about consumer culture and the inevitability of the apocalypse.
High Life is more a series of tensions and breaking points than it is a traditionally satisfying space narrative, but Denis's allegiance to directors like Tarkovsky and Kubrick offers an intriguing view of humanity at the gates of the final frontier.