Today we wrap up our 2025 Evil Nun-O-Rama with reflections on four delicious sounding treasures our ancestors left for us to uncover – by a good friend of Eric Undead: The Devil’s DVD Bin! Bear witness in faded colors! Revel in the mysteries of the Dark Arts! Carnal knowledge and airplanes! And wonder as we try and answer the eternal question: when we die should we leave the body there and bring a coffin to it??

Behold:

Last week, another blogger I follow did an excellent job of pointing out just how deeply Christianity shaped us and our society. Whether you like it or not, the Bible’s core principles constitute our current moral code. Most of the civilized world abides by the Ten Commandments, except maybe the first two. I’ve thought about this before, only from the perspective that aliens contacted Moses instead of an almighty father. You may not necessarily fear that your soul is at stake when you lie, cheat, steal, dishonor your parents, bed some poor S.O.B.’s spouse, or fantasize about doing so, but you know it’s wrong, and everything runs smoother because of it. For Chrissake, we still bleep the “God” in “goddamnit”, while letting the second half through. We’d rather children hear crude language than take the Lord’s name in vain.

Even if you’re not religious, you were probably brought up to be. The entire concept is baked into our brains. I grew up attending a church where I saw people crying, collapsing, rolling around on the floor, and supposedly speaking in tongues. A close friend of my brother who I considered reliable told us he at one time was possessed. That’s why The Exorcist scared me so much. These experiences, plus centuries of generational belief, insisted such things were not only possible, but could lead to a fate worse than death — eternal damnation.

I have since moved away from the popular notions of Heaven and Hell, and am warming up to alternative theories. Perhaps life is a grandiose simulation, near-infinite reincarnation cycle, or both. Whatever the case, religious horror rattles me less than it used to. I always enjoy a good nun movie, though. There is something intrinsically satisfying about watching the most pious people of all sin harder than we do. It makes our own offenses seem negligible.

At Eric’s announcement that he would again be examining nunsploitation as part of a yearly tradition, I threw my hat into the ring — or is “veil” the appropriate term here?

“Let me know if you want to collab!” I typed eagerly.

“Yes! My spirit came to me one night and told me it would not rest until I completed this diagram,” he replied. “So, we must press onward.”

I told him there is an old, Mexican movie called Alucarda that fit the bill and offered to write a review. It wasn’t streaming on the usual apps, necessitating a purchase. Once my copy arrived, I got sidetracked, and then when I did carve out time, divine inspiration eluded me. Also, I read the book it’s quote unquote “based on”. Now that I’m ready, apologies for the delay or if you were expecting Eric’s hilarious, stream-of-consciousness style, personal stories, and random asides. I bring none of that.

My first exposure to Alucarda was a print ad for Mondo Macabro’s 2003 DVD. Their artwork, taken from the film’s theatrical poster, instantly caught my attention. It features a striking two-tone portrait of the title character set against a solid red background, with bold yellow text, as well as an inverted cross. The color scheme. The simplicity. It practically jumped off the page. At the bottom sat a quote attributed to Psychotronic Video Guide author Michael Weldon: “More blood, loud screaming, and nudity than any horror film I can think of.” Did they put that for me? It sure felt like it. How could a young man resist? The whole presentation was calling my name.

Despite claiming availability at Borders (RIP) and other fine video retailers, I never saw Alucarda in stores and just kind of forgot it existed. Years later, during the rent-discs-by-mail days of Netflix, its phantom pull returned stronger than ever and I finally gave it a spin. Even though I enjoyed the experience, I held off on adding it to my collection. After all this time, I’m glad I have an excuse. It’s long overdue.

The movie tells of a teen orphan sent to a convent where she befriends a mysterious girl. As the two form an intense bond, sinister forces threaten to tear them apart. Lesbianism, devil worship, demonic possession, exorcism, mass-flagellation, implied vampirism, and a chaotic finale ensue. The nuns here are well-intentioned enough, though it’s kind of subjective. It can be argued these “bad” girls are more or less nuns themselves, since they live the same way.

Head ups, this post got away from me, so I’ll do what I always do with my wife — apologize in advance for the length 😒

Pardon?

One moment.

Yes, dear…

Nevermind, I’m receiving word that my length is hardly an issue 😝

We shall now discuss Mexican boobies. Let’s open the tomb and get started. We find ourselves in a small, dusty chamber, surrounded by statues, vines, and red curtains. A young woman lies on a bed of straw. She’s just given birth. An older, wild-haired woman hands over the infant.

The exhausted mother (Tina Romero) laments how she won’t be able to raise her new daughter, who she lovingly names Alucarda. She pleads for the child’s protection from an undisclosed threat. “Take her to the convent.” she begs.

“Alucarda will be safe with me.” the old woman responds, except it’s a man’s voice for some reason. Wait, what gender is this person? Now I’m confused. Regardless, he/she/it/they/them carry the baby away.

At that moment, the statues begin making terrible noises. The new mother screams.

Soothing, yet subtly ominous music and Albert Joseph Pénot’s painting “La Femme Chauve-Souris” accompany the credits.

1875-ish. Rural Mexico. Possibly Spain. Justine (Susana Kamini) arrives at the convent, a cavernous, solid stone building. Both her parents have died. A Sister Angelica welcomes her. The nuns are wrapped in white cloth, wine-colored stains spreading out from their privates, giving them the appearance of menstruating mummies or vibrator burn victims. A true period piece! Cinematic invention, however. Real Catholic nuns of the time and location wore proper habits. Is their seeping, bloodstained gauze aesthetic supposed to be taken so literally, or does it symbolize a deeper self-imposed suffering? Something else? What’s important is that they have hoods and are hard. Bonus points for being calced, i.e., shod.

Justine is next greeted by her roommate, a grown Alucarda (Tina Romero again). These girls are supposedly fifteen, but Justine could be twice that. She’s twenty-seven if she’s a day. Alucarda I would believe (Oh no, is this going to end like that time I bought Valerie and Her Week of Wonders and later learned the topless main actress was thirteen? Checks Wikipedia. Whew.). No matter, they hit it off instantly. Alucarda eagerly dumps out a bag of her “secrets” — rocks, bugs, and various trinkets. Then, she enlists her friend’s help in procuring more. While staring at mites, she observes “One is identical to the other, [a mirror image], like you and me.” The two frolic in high grass, laughing and rolling down hills. Such fun, such gaiety!

Standing up, they spot a funeral procession. Five persons cloaked in black march across our field of view, a coffin held overhead. They remind me of ants with a crumb, furthering the bug motif. A derogatory Italian word for “priest” also means “insect”. Coincidence? “Look,” Alucarda remarks, “they are burying Cynthia. She killed herself. They will bury her in unhallowed ground.”

“Funerals frighten me.” Justine murmurs nervously.

A hint of excitement gripping her voice, Alucarda replies that everything dies. You’ll notice she only wears black, symbolizing her fascination with the macabre.

It cuts and the girls are shown wandering away toward the woods once again. A hunchback gypsy (Claudio Brook) steps out from behind a rock, selling amulets he claims protect against demons that run like wolves through the woods. This guy looks so out of place. He has on a sheepskin vest, one sheepskin pant, curly red hair, mutton chops, pointy goatee, and sharp teeth. Were he not so nice, I’d swear he was Satan himself. After some coaxing, he leads the girls back to his encampment. A woman reads Justine’s palm, but doesn’t like what she sees. “I will hold my tongue.” she decides.

The hunchback hands Alucarda a dagger he alchemized from tears. He gazes into her eyes and claims he can see both her past and her future. She comes from the dew in the forest, he says, and there strange creatures await. She must take care. He offers to free her from this “dream” (fate?), but warns that if it comes true, he’ll be expecting her.

Alucarda begins to cry. She runs off. Justine gives chase. They enter the chamber from the opening. Its walls are lined with shelves holding coffins. Alucarda chooses this macabre setting of all places to declare her love for Justine. She speaks super obsessively, insisting they must love each other to death so that they may live forever, the same blood always flowing through their veins.

Hold up, didn’t they just meet? To be fair, they are wearing different clothes now than at the beginning, but how much time has really elapsed? Is it the next day, or later that summer? Talk about a whirlwind romance.

Alucarda relates a vague memory of a night she was nearly murdered in that very room, which makes little sense. She hasn’t been there since she was a baby. Alucarda then casually proposes a suicide pact. “If we ever depart from this life, we shall do it together.”

“Alright, if it makes you happy.” Justine smiles, like she’s allowing Alucarda to play her favorite song for a third time in a row, instead of pledging to die. I moved in with my wife after two or three months and we thought that was fast. These girls went from strangers to fucking off this mortal coil in no time at all! It doesn’t bode well for them. I do not miss toxic high school relationships.

Alucarda pulls out the dagger (apparently she stole it) and presses it to Justine’s wrist. Hesitating, she kneels down, reading the inscription on a coffin: “Lucy Westenra. Died 1850. Fifteen years ago, Justine. Our age! Let’s swear by her.” She throws the lid open and instantly the room fills with awful groaning and hissing. The implication is that the corpse was Alucarda’s mother and now whatever was trapped inside with her has escaped. The girls flee, afrighted.

I love the logistics here. Instead of removing Alucarda’s mother’s body, somebody brought a coffin to it. I say we adopt this approach. From now on, whenever a person drops dead, let’s inter them right there.

Shortly after, the head priest delivers a fiery sermon. All the orphans and nuns in attendance look scared shitless and are crying. I love Sunday service! There are dozens of Jesus carvings protruding from the walls of the chapel, almost as if the convent is growing them.

Justine collapses mid-speech. She awakens being tended to by a pair of nuns. The women leave her in Alucarda’s care. Big mistake. Alucarda starts raving about how she’ll quote “make them pay”. Who, how, and for what is unclear. She twirls around shouting demon names while Justine cowers and shrieks. At last, Alucarda invokes Satan directly, yanks a crucifix off Justine’s necklace, and slaps her across the face. I told you their relationship was fucked! It’s already getting abusive. Alucarda again vows revenge, at which point the hunchback steps out of the shadows, handing Alucarda the dagger she stole.

All of a sudden, the girls are naked, pubes a-hollerin’ pet me, please, I’m a good kitty gone bad. The hunchback kneels them before one another, officiating a blood oath of sorts. He guides Alucarda’s hand in slicing Justine’s breast, next doing the opposite. He smears that bright red fake 70s stuff from each girl onto his fingers and pushes it into the other’s mouth. As unexpectedly as he arrived, the hunchback then blinks out of existence. Hey, whose side is he on? This seems awfully insidious. I thought he was trying to protect them from demons! Hmm… the vest, the mutton chops, his line about wolves… Looks like he was a… wolf in sheep’s clothing 🤯 Ok, that’s pretty clever. I guess he was Satan. Well played, movie, well played. The girls kiss as blood rains from the sky amid peals of thunder.

They’re transported to a clearing where they join a Satanic ritual in progress being led by the palm reader from earlier. Said palm reader chants “Manifest thy spirit!” followed by what sounds like “Aaron rod! Sir Noonus!” Twenty or so naked people form concentric circles around the two girls. After a few repetitions, a goat-headed, human-haired figure resembling Baphomet rises between them. While super cool and creepy, you can tell it’s a dude wearing a mask. In the context of the scene, though, I’m unsure whether it’s meant to be a costumed cultist or a literal demon. Either way, an orgy commences. Is there actually a caravan of witches fucking out in the woods, or is it all an elaborate dream sequence? Where did they come from and where do they go? Something, something, Cotton Eye Joe.

Sister Angelica has a vision of this and calls out to God. Blood somehow rains down upon her, indoors. The palm reader slumps over, blood spraying from her neck. I think the idea is that she’s struck dead by the big man upstairs, leading me to believe what we’re seeing is genuine. As the madness comes to an end, a wider shot reveals quite the surprise — Sister Angelica levitating!

During class the next day, our resident tribades are caught whispering sweet nothings. When asked by their teacher, Sister Jimena, to repeat the passage she read, Alucarda instead proclaims: “This is what the Devil does. He grants us virtues to expand his kingdom, the only valid one.”

Jimena comically drops her Bible in shock.

“God, with his lack of knowledge, does not understand this truth, and opposes it with false thoughts and prayers.” Justine adds.

Then, together: “Satan, Satan, Satan, our lord and master, I acknowledge thee as my God and prince. I promise to serve and obey thee as long as I shall live. I renounce the other god and all the saints.”

Jimena shouts for the rest of the students to ignore what they’re hearing and leave as quickly as possible.

The girls continue. “I promise thee that I will do as much evil as I can. I will draw everyone else to evil. I won’t fail to serve and adore thee. I give thee my life and my soul.”

They run around giggling, tormenting Jimena, who basically suffers a panic attack. Justine eventually snaps out of it, unaware of her actions over the past several minutes. The mother superior sends for a Dr. Oszek, fearing the girls may be ill and has Jimena prepare them for confession. She uses a hard “J” when addressing Jimena and it bothers me.

By the time Dr. Oszek (Claudio Brook, pulling double duty) arrives, Justine has fallen into an unresponsive, borderline catatonic state. While being examined, she catches sight of a crucifix and screams until passing out. The doctor pats her head, murmuring “There, there.” like she’s all better now. I can’t with this guy.

Downstairs, Alucarda is brought to confession. She tells Father Lazaro she worships life and its earthly pleasures, unlike him and his kind, who worship death. Immediately after admitting she loves Justine and is gay, she reaches through the window dealy, grabbing his dick. Lazaro jumps to his feet, runs away, trips, and falls flat on his face. The absolute panic this man experiences from a woman’s touch. I’ve met guys like him who wonder why they’re virgins.

Back in Justine’s room, the doctor performs an odd treatment of sorts. Justine has little bullet-shaped pieces of metal stuck to her arms. The doctor heats a pair of tweezers over a candle, and begins removing said pieces, dropping them into a bowl of pink water. At first, I thought they were leeches. Upon closer inspection, they’re not. What in the medieval therapy is going on here?

Cut to: Father Lazaro and his nuns being whipped by dudes wielding cats-o-nine-tails. Lazaro concludes the only thing that could have changed the girls’ behavior so drastically is the Devil himself. “The Devil?!” each nun repeats in pure horror, one after another, clutching their metaphorical pearls. Uh, yeah… who else were they expecting? Lazaro warns that no one is safe from the Devil’s influence, not even them. He goes on, relating an incident he read about in the Vatican archives where nuns barked like dogs and predicted the future. That doesn’t sound so bad. A black-robed assistant walks up and without looking opens a tome to the exact page Lazaro is referencing so he can dramatically slam his hand on it while telling his story.

The priest asks how long Justine has been acting possessed. The nuns tell him a week, and that light hurts her eyes. “A heliophobic demon? That’s a sixth-category devil who hates light!” Lazaro declares matter-of-factly, like he’s reading from a D&D manual. The sheer confidence with which he busts out this niche information is glorious. What an absolute specimen. Hang on. A second ago, the Devil himself was to blame. Now, it’s only “a” devil? Make up your mind.

“We have to destroy him in order to free the girls.” Lazaro continues. “We must prepare [intense pause] an exorcism!” A collective gasp of horror escapes the nuns. I should mention, the camera has slowly been spinning around the whole room, landing back on Lazaro’s face for the word “exorcism,” making it all the more melodramatic.

The girls are strapped to crosses. Whoa, is this an exorcism or a crucifixion? Justine is undressed so that she may be checked for the Mark of the Devil™. Witch-hunting logic held that said mark was impervious to pricks. A person’s failing to scream or bleed from a jab was proof of their wickedness. Who made that up and why did everyone else just believe it?

It’s reminiscent of the ol’ Swimming Test™, where accused witches were bound and thrown into bodies of water. If they rose to the top, they were guilty and promptly burned. If they sank, they drowned, but at least they were innocent. Some logic. A lose-lose situation. You’re damned if you float, and damned if you don’t. Anyway, Justine is poked only five times and dies. I guess maybe one pierced her heart. Lazaro angrily, sweatily shouts things while his nuns roll around on the floor and convulse. When Alucarda gets too mouthy, Lazaro has someone punch her unconscious.

Oszek interrupts the proceedings, calling them shameful, admonishing Lazaro and the Mother Superior for killing an innocent girl. He brings Alucarda home to recover. In the middle of the night, Justine’s body disappears. Oszek is summoned a second time and says he must now alert the authorities. The Reverend Mother begs him not to because of the scandal, so he agrees to forge the death certificate lol what? The nun who stayed by Justine’s side is burnt to a crisp. After the charred body reanimates, Lazaro brutally chops off its head.

Shit’s heating up! How will it end?! My favorite part is when Sister Angelica finds Justine sleeping nude in a coffin full of blood. Justine awakens, her entire body stained red, snarling and brutally scratching at Sister Angelica’s face like a cat. Angelica talks her down by the grace of God, but Oszek runs in and ruins it, splashing holy water across Justine’s back. Before transforming into a skeleton, Justine bites Angelica’s neck, causing huge spurts of blood to shoot forth.

I’ve always wondered if protective objects have to be Catholic or if any religion suffices. Do their powers lie in our faith and the strength that faith gives us, or the objects themselves? Can we spray vampires using inhalers and tell them it’s battery acid, you slime, à la Stephen King’s It?

Alucarda is an English-language Mexican film shot in 1975 by Juan Lopez Moctezuma, released domestically with the subtitle “La Hija De Las Tinieblas” — the Daughter of Darkness. This year, it turned fifty. A planned sequel, Alucarda Rises From the Tomb, never came to fruition.

Depending on where or when you encountered it, you may know Alucarda as The Inferno, Innocents From Hell, Sisters of Satan, Mark of the Devil Part 3: Innocence From Hell, or any number of alternate titles. Fame Entertainment’s VHS release claims it was “banned in nearly 19 countries”. That sounds impressive at first, but what does it mean? Eighteen countries? Why not just round up to twenty? Maybe they picked a specific number so nobody would bother fact-checking them. But then, why put “nearly”? That kind of slogan was basically shorthand for Guaranteed to be shocking! and I love it. Also, that subtitle makes zero sense. By definition, if you’re from Hell, you’re not innocent. And if you’re innocent, you’re not from Hell. Lastly, it goes without saying, but Alucarda is unrelated to Mark of the Devil, except I guess for the bodkin business. Such gloriously bullshit marketing when you think about it. A for effort!

Wikipedia claims Alucarda loosely adapts Joseph Sheridan Le Fanu’s Carmilla (1872), but that phrasing seems generous. It certainly does borrow elements. Beyond that, however, the two are quite different. Carmilla is a European vampire story, both published and set there, whereas Alucarda would best be described as a witch movie and takes place in a convent across the Atlantic. While Justine behaves like a vampire, they never come out and say that she is one. Besides the time period, female homoeroticism, and possible vampirsim, direct lifts include the funeral procession, suicide pact, charm-selling hunchback and his quote about dangers running like wolves through the woods, line “Were you near dying?”, coffin full of blood, and image of a woman “bathed from her chin to her feet in one great stain of blood”.

The name “Lucy Westenra” was taken from Dracula, whereas “Alucarda” is a feminine spin on “Alucard”, the reversed alias Dracula goes by in Son of Dracula (1943). This spelling convention circles back to Carmilla, which states vampires must only conceal their identities using anagrams of their true names. There, Mircalla, Countess Karnstein becomes Millarca, becomes Carmilla.

The palm reader’s chant is almost certainly referencing the Celtic god of nature and/or fertility, Cernunnos. Though my research indicates his name is most commonly pronounced “ker-noo-nus”, Moctezuma may have assumed it started with a soft “C” like Cerberus (a similar thing happens in Moctezuma’s Mary, Mary, Bloody Mary — the title character mispronounces Coatlicue). According to a YouTube video I pulled up on the subject, Cernunnos is “often seen holding a horned or spotted snake.” Well, in Exodus 7:10, Aaron transforms his rod into a serpent. The Pharaoh’s sorcerers do likewise, but his eats all theirs. Hence, “Aaron rod!” Because of Cernunnos’ antlers and occasional boner, he was later demonized by the Christian church.

As many great artists do, Moctezuma took bits and pieces from everywhere. Despite what you may expect, his film doesn’t carry an overtly anti-religious message. To the contrary. Yeah, the girls renounce God and all that, but a skeptical man of science who admonishes the order for killing Justine becomes a believer upon witnessing supernatural events for himself. The power of God is shown to be real and somewhat effective in combating evil.

On the other hand, the girls cause no harm until the church kills Justine. So their “evil” actions can be seen as retaliatory. Back on the first hand, monasticism sucks. Would you rather live a boring, cloistered life of poverty, continually atoning for every little sin, or have bangin’-hot sex with throngs of beautiful young people out in the woods and set fires using your mind? I know which option I’m picking!

Both sides are justified to an extent, but each end up murdering the opposition and bringing about their own downfall as a result. The message may well be that any form of fanaticism is bad and no one belief system — science, religion, or otherwise — holds all the answers. Interpret it how you will.

The movie’s strengths are instead its dialogue and its visuals. Alucarda contains some really cool lines, in particular, what the girls recite during class. I thought for sure that was sourced from an old occult text, but so far my searches have turned up empty. Apparently, the industrial rock band My Life With the Thrill Kill Kult sampled Alucarda on multiple occasions and I see why. It’s extremely quotable.

The film is symbolic and dreamy at times, yet not so much that each scene requires a big-brain analysis to understand, like The Holy Mountain. Speaking of which, Moctezuma produced Alejandro Jodorowsky’s Fando Y Lis and El Topo. Here, his visuals strike us without ever getting surreal or absurd. Overall, Alucarda rocks and is full of unforgettable shots.

My only complaint: its titular character comes off as cracked from the jump. So, when exactly is she possessed? At birth, when she opens her mother’s coffin, in the interim, or during the blood oath or sabbat?

FILED UNDER: NO SIX-FINGERED, THREE-LEGGED, DOUBLE CROSS-BEARING AI ABOMINATIONS NECESSARY

***

As a bonus/make-good for disappearing, I watched extra nun movies. Here are my notes on those. Spoilers ahead!

Dark Waters
•Italian
•a young woman ferries to an island convent where she was born in search of answers regarding her past
•her dying father donated frequently, yet warned her not to return
•twenty years earlier, a terrible storm destroyed the chapel — a priest was impaled by a cross and one of the nuns was pushed off a cliff
•murder befalls the protagonist’s pen pal
•the creepy nuns perform nightly rituals
•several characters are blind
•legend tells of a beast that ascends from the bottomless pit whenever its image — a circular tablet — is made whole
•recurring quote: “I am she that liveth and was dead. Behold, I am alive forevermore, and have the keys of Hell and death.”
•secretive coastal community, ancient god(s)… very Lovecraftian
•atmospheric and stylish
•why is this not considered a classic, especially for a decade as hard-up for horror as the 90s?

Images in a Convent
•directed by Joe D’Amato
•also Italian, contains hardcore sex
•more like “I’mma Jizz in a Convent”
•the cardinal presiding over this holy place tasks them with looking after an orphaned countess to shield her from a corrupt uncle/lover (!), per the wishes of her now-deceased father
•it repeatedly shows a horned pagan statue
•why would nuns own such an object?
•they begin fornicating for no other reason than the statue seems to compel them
•one of the women has breast implants, which breaks the illusion
•a wounded sculptor is found on the premises and cared for
•could he be Satan?! yes
•the statue teleports and drips blood; nothing else really happens
•a nun is sent to fetch help, but is raped by two brigands
•the countess hatches an elaborate plan for the wounded sculptor to kidnap her from the convent and pays him using the world’s oldest currency
•however, she stabs him before he can do it

Cristiana, Devil Nun
•aka “Our Lady of Lust” aka “Loves of a Nympho”
•yep, Italian
•more hardcore sex
•the title character gets it on mid-flight while the other passengers cheer
•their plane hits “turbulence”, signaled by gloriously cheesy shots of a scale model pitching at nearly vertical angles
•Cristiana vows to become a nun if God saves her
•he does, so she takes her final profession
•a local artist paints her and it’s awful 

😂

•she beds the artist, as well as a fellow nun
•her mile-high club companion moves into the convent’s belfry after he and a friend shoot a cop over weed (!)
•Cristiana freaks out when she catches him cheating, despite having done so herself multiple times, and runs home
•gets drunk; auctions herself off at a party
•her mother’s boyfriend and the artist from earlier run a “vice ring”
•Cristiana joins, having orgies for people who watch through a vent… I think
•steals a valuable religious artifact from a church to sell on the black market
•horrible, dated theme song about the devil
•psychedelic and wannabe philosophical, but mostly just silly in a what-the-hell-am-I-witnessing way

Mary, Mary, Bloody Mary
•hit this up while you’re at it
•another Juan Lopez Moctezuma film shot in English around the same time as Alucarda
•contemporary and much more commercial
•an American painter driving through Mexico breaks down outside an abandoned house during a thunderstorm
•there, she meets a drifter and brings him along on her travels
•unbeknownst to said drifter, she kills people using the pin from her hair slide and drinks their blood, often enough that she stores a poison or sedative inside a necklace she wears
•a second mysterious figure does likewise
•their condition is explained as a rare vascular disease
•”My veins have taken over my body!” a character cries. “They keep growing, demanding more blood, crushing my brain!”
•ironically, Susana Kamini (Justine) falls prey to one of them
•Tubi’s description erroneously claims Mary takes female lovers

John Carradine ✔

 Areolas ✔

Nuns ❌

•the word “vampire” is never spoken

***

They were each entertaining. I’ve enjoyed every movie I’ve watched for this project. Maybe Eric needs to switch gears and give some of these oldies a try. Thanks for having me, sir. May your chart continue to grow like a Mexican vampire’s veins, as I hope we all do on this spiritual journey called life. And thank you for reading. Stay sinful. Or don’t. What do I care?

***

What a way to finish this up! A million thank yous! Yous? You’s? Spellcheck! I have to see these. 100% of these would be more in line with what I was trying to get into with Story of a Cloistered Nun and that was a big fail. I mean I was looking for something wholesome! I can’t lie – I wasn’t!

And now for our updated diagram the internet has been waiting for! Thanks so much for reading this year! We’ll pick back up summer of ’26!