Dr. Orlof, a former prison doctor, abducts beautiful women from nightclubs to use their skin to repair his daughter's fire-scarred face. He is assisted by Morpho, a deformed monstrosity who delights in biting his victims. Orlof had better hurry, though -- a young police inspector and his ballerina girlfriend are onto his sadistic practices.

A young doctor kills himself after a medical committee terminates his research into human embryos, considering it too inhumane. His wife then seeks revenge on those who drove her husband to his death by luring each member of the committee into compromising situations and then killing them one by one.

A young woman visits her gravely ill grandmother at the family estate. On her death bed, the old woman reveals to her granddaughter the family curse: they're all vampires. The young woman decides to move into the estate with her uncle and her cousin, and soon finds herself falling victim to the curse.

Formerly, the usual UK title was THE BOGEY MAN AND THE FRENCH MURDERS. There's also a Greek video with the sleeve title, CALL GIRLS FOR INSPECTOR BOGART. The inspector is not named Bogart, nor does he get any call girls, but who cares? It's a title that sells.
There's a killer in Paris, a suicide from the Eiffel Tower, a brothel as the main setting, insane professors, an eye-ball thief, an inspector who looks like Humphrey Bogart (for no apparent reason), a truly creepy Anita Ekberg, and an impressive line-up of Euro-stars. How Dick Randall assembled this cast is beyond me, but he did it. Besides Anita Ekberg, there's Rosalba Neri (who even sings a song in a nightclub), Barbara Bouchet, Evelyn Kraft, Howard Vernon, and Robert Sacchi as inspector Pontaine or Humphrey Bogart. The title is pretty accurate. The murders take place during, before or after sex in a brothel in Paris. In between, the Bogey-man snoops around trying to track down the killer, but he is not too bright. You'll probably have figured it out long before he does.
The film's producer was American Dick Randall who took residence in Rome in the '60s but basically was wherever the deals where made, which meant Rome in the '60s, Bangkok and Hong Kong in the '70s and London in the '80s. Whilst residing in Italy, he payed close attention and decided to take a shot at the giallo as well, and produced this piece of cinematic soufflé. It's a perfect example of totally round the bend Euro-tosh, with a rather tame execution actually. The direction is not wildly imaginative, a workman's job at best, so don't expect outrageous Italian craftsmanship and style here, but some spicing-up in the editing by Bruno Mattei.
The special effects were done by future Oscar-winner Carlo Rambaldi of ET fame. I guess he learned a lot since this one. Of course, the presence of Robert Sacchi, among some other ingredients (mostly the cast) give this film a certain weird identity of its own. All together, it's pretty much a poor man's interpretation of an Italian Giallo.
The version on Mondo Macabro's DVD never existed in this form. From various copies, they assembled the longest version they could possibly paste together. There's an English audio-track, but a couple of scenes appear in Italian with subtitles.
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The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements: water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive: Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna.
The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator,
the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination.
Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.

1947 film by Jean-Pierre Melville