陈小美偷走男朋友的钱从此失踪，有人在河边发现了箱子，里面装有尸体，怀疑死者是陈小美，后来陈小美的男朋友承认杀死了陈小美。可是本案疑点重重，重查解剖，发现死者无论身高，年龄还是指纹，都与陈小美完全不同，警方报纸新闻希望有人来认尸，后来洪太太和母亲一起去认尸，证明死者是自己的妹妹，而警方查证一切证据都指向洪太太的丈夫洪正雄，于是警方开始追捕洪正雄.........

陈小美偷走男朋友的钱从此失踪，有人在河边发现了箱子，里面装有尸体，怀疑死者是陈小美，后来陈小美的男朋友承认杀死了陈小美。可是本案疑点重重，重查解剖，发现死者无论身高，年龄还是指纹，都与陈小美完全不同，警方报纸新闻希望有人来认尸，后来洪太太和母亲一起去认尸，证明死者是自己的妹妹，而警方查证一切证据都指向洪太太的丈夫洪正雄，于是警方开始追捕洪正雄.........

玲瞒着丈夫跟午夜牛郎私通，一日不幸被牛郎与两个歹徒拍下裸照，进而恐吓、敲诈。曼玲不堪屈辱，与歹徒起争执，被杀害、毁尸灭迹。歹徒心狠，再联系曼玲丈夫震峰要求绑票赎款........

玲瞒着丈夫跟午夜牛郎私通，一日不幸被牛郎与两个歹徒拍下裸照，进而恐吓、敲诈。曼玲不堪屈辱，与歹徒起争执，被杀害、毁尸灭迹。歹徒心狠，再联系曼玲丈夫震峰要求绑票赎款........

泰班迪就读大学期间，他潜藏的兽性已表露无遗。当时他对女友史芬妮有着出轨、变态的要求，更逼使她当地就范。泰得不到性满足。一次巧合下，他跟踪心仪对象，偷窥她春情亵衣。自此他胆子大起来，由偷窥至主动强奸，发展至虐杀才赢得快感。如是者，泰多年间奸杀过百少女。被捕的泰竟成功逃狱，再成为少女恶梦。究竟为何泰会踏上不归路？他的下场又如何？

泰班迪就读大学期间，他潜藏的兽性已表露无遗。当时他对女友史芬妮有着出轨、变态的要求，更逼使她当地就范。泰得不到性满足。一次巧合下，他跟踪心仪对象，偷窥她春情亵衣。自此他胆子大起来，由偷窥至主动强奸，发展至虐杀才赢得快感。如是者，泰多年间奸杀过百少女。被捕的泰竟成功逃狱，再成为少女恶梦。究竟为何泰会踏上不归路？他的下场又如何？

RED RINGS OF FEAR (ENIGMA ROSSO), 1978, 85 min. Director Alberto Negrin wraps up the SOLANGE trilogy in this giallo where more sexually precocious schoolgirls bite the dust. Fabio Testi is the police inspector on the murderer’s trail, and Christine Kaufmann is his girlfriend. Chock-full of red herrings, perverse twists, sleazy situations, outrageous dialogue and an out-of-left-field climax, punctuated by Riz Ortolani’s groovy score.

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. 　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. 　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. 　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. 　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

A team of spelunkers, when investigating a system of caves beneath a small town, come across a hideous creature that can move through walls.