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AVH: Alien vs. Hunter

A journalist named Lee Custler (William Katt) is out jogging when a flying object passes behind him and crashes. Sheriff Joel Armstrong (Collin Brock) picks him up and they go to check it out. They find an abandoned caravan close to where the object crashed. As they discover the object and realize it is a spaceship, an Alien emerges. The Alien (resembling a giant spider with a lizard-like head and torso) then chases them, after which Lee flees to the car. However Armstrong makes a stand, trips, falls and is killed by the Alien that then leaves. A terrified Tammy finds Lee and they call the local authorities but their car is destroyed by the Alien.

AVH: Alien vs. Hunter

3.4 2007
Sx_Tape

From the director of CANDYMAN and the producers of PARANORMAL ACTIVITY comes a found-footage nightmare of lust, possession, and destruction. Jill's an artist. Ian's a filmmaker. And their love life is off the chain. There's no experience too wild, no dare too dangerous—not even when Jill lets Ian strap her to a gurney in the abandoned hospital they're scoping out for their next art show. But he shouldn't have left her alone. Not even as a joke. Now, Jill's hookup with horror has awakened something in that place. Something with a lust for more than flesh.

Sx_Tape

3.6 2013
The Haunting of #24

After breaking-up with his girlfriend Veronica, the unemployed John Hare rents a cheap room in an old boarding house owned by the nice Martin Stone and the landlord tells him that the house is crowded by discreet persons. John does not see any other tenant but a bizarre old woman in the house and during the nights, he sees weird things on his television and hears violent knocks on his door. When John calls Veronica, she notes that he is near a breakdown after many sleepless nights and decides to stay with him. However, Veronica vanishes during the night, leading John to an ultimate decision.

The Haunting of #24

6.2 2005
Analogies

A daring horror-anthology film built from seven segments, each by a different director, unified under the theme of taboo, the body and the repressed. The collection turns its gaze toward the most demonised and fetishised frontier of bodily representation — the anus — and uses this “hidden” territory to explore anxiety, identity, desire, repression and liberation. The stories vary in tone and style—some digital-age allegory, some dream-like psychological journeys, some extreme body-horror—but all form a choral fresco: each segment maintains its individual voice while entering into a dialogue with the others. The project positions itself not simply as provocation but as a political, aesthetic dissection of the obscene, asking where cinema’s boundaries lie, and what is suppressed, shown or revealed.

Analogies

NR 2026