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Culture Film Publication is the UK’s new home for cult and genre film. Made by film lovers, for film lovers.

We are bringing cult films to all readers through the creation of a diverse and accessible platform, curated to exhibit the best of established and up and coming writers, programmers and filmmakers alike.

With emphasis on preservation, restoration and exhibition of cult filmmaking, we want to shed light on cinephiles, event organisers, academics, creatives and distributors. Regardless of age or experience, we want to hear about your love for film.

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Essays, articles, interviews and reviews from cinephiles and creatives of all ages, backgrounds and identities are urged to be unearthed!

Est. England 2025

Contributor Aninda Provati attended the first edition of The London Colombian Film Festival @theldncolfilmfest at the University of Westminster on 16th July. In “Breaking Barriers: Colombians in the British Film Industry” screened Latin American cult film, Carlos Mayolo’s La Mansión de Araucaima (The Mansion of Araucaima) (1986). Here, Aninda reviews the film and explores the Tropical Gothic subgenre. ‘Salome, Salome, Salome’ is a season featuring three queer reinterpretations of the biblical figure Salome, ‘every experimental cinema lover’s favourite biblical princess’, from fresh new films to cult darling Ken Russell. The films are from Brazil, Mexico, and the UK and took place at The Garden Cinema and Rio Cinema in London. We were lucky enough to be invited to witness the unique visions from these films by organisers Cinema Mentiré, who ‘bring not just Latin America to UK audiences, but a myriad of connections between film lovers in age-old establishments that surpass time itself.’ The Most Terrible Time in My Life, first released in Japan in 1993 and internationally in 1994, is directed by Kaizo Hayashi. It is the first instalment of the neo noir trilogy featuring private detective Maiku Hama working in Yokohama, who soon becomes embroiled in a gang war between two brothers. Contributor Adam Page returns to explore the key role of women within Italian Giallo filmmaking, such as in the films of Giallo pioneers Dario Argento and Mario Bava. The neon lit subgenre largely centers women victims and protagonists, and in films like Suspiria (1977) and Blood and Black Lace (1964), female collectives within a dance company and a fashion house. Giallo’s lens focuses on female misery, but how can we read it? Is Giallo inherently misogynistic and remains so, or is the focus on resilient or investigative women powerful? Can we also interpret the films differently today? Created over 5 years on tapes found in skips, the score to David Lynch’s feature debut nightmare Eraserhead (1977) furthers the film’s paranoia through textured, industrial sonic mastery. Trash lovers! Ever heard of the ‘basically lost Canadian masterpiece’ Ryan’s Babe (2000)? Videonomicon has released it upon the world, screened by Witch of Popcorn as ‘one of their many fabulous and outrageous film nights’ at Deptford’s Little Nan’s Bar 2.0, right in Lewisham’s vibrant summer sunsets. Contributor Laura Barnes returns to Culture for @interferencefilms Interference Film Festival at Manchester’s Cultplex @cpxmcr, screening shorts and features from all bizarre corners of the horror landscape! From unique shorts such as Merkurio and The Bothy on the Cold Mòr to Jörg Buttgereit’s dark feature Schramm and a double feature honouring the recently late Yoshihiro Nishimura, this festival has a range with something for everybody. So, what did @maamowar think of these picks? You can find out her in depth thoughts inside part 1 and 2 of our coverage on the site now, through the link in our bio. Thank you to Interference for having us! “Long live the new flesh!” Contributor Adam Page offers an insightful look into body horror and its queer implications, looking to influential examples: Clive Barker’s Hellraiser (1987) and David Cronenberg’s Videodrome (1983) and Crash (1996). In these films, the flesh becomes a ‘site of revelation’, which larger culture would frame ‘a disease’, as a result of Cronenberg’s influence of technological advancements or Barker’s influence of queer BDSM culture. Like cult and genre film? Love supporting the UK film industry and preserving cult film for future generations? We do too. Let’s talk.