Arrow Announces Chilling March 2022 Lineup

February 26, 2022

Written by Kelli Marchman McNeely

Kelli Marchman McNeely - Horror Fuel CEO & Executive Producer Email: [email protected]

 

ARROW has just announced the chilling March 2022 lineup of its subscription-based platform, available to subscribers in the US, Canada, the UK, and Ireland.

 

 

March 1st bites into the lineup with several blood-curling titles featuring the monsters from the dark corners of the human imagination: Dr. Orloff’s Monster (US/CA), Female Vampire (UK/US/CA/IRE), Nightmares Come at Night (UK/US/CA/IRE), Oasis of the Zombies (UK/US/CA/IRE), The Awful Dr. Orloff (UK/US/CA/IRE), The Sadistic Baron von Klaus (UK/US/CA/IRE), A Virgin Among the Living Dead (UK/US/CA/IRE), and Eugenie de Sade (UK/US/CA/IRE).

March 1st will also see the debut of White Zombie (US/CA), remarkably atmospheric treatment of the Haitian zombie myth, which would evolve into one of the most popular and enduring subgenres of the horror film.

 

Seasons with Nightmares Come At Night: The Jess Franco Collection also premieres on the first.
A filmmaker as notorious as his output, Jess (Jesús) Franco made at least 173, and maybe more than 180, films and was a workaholic pumping out as many sexploitation, horror, and sexploitation-horror films as he was able and allowed to. Most often working with little to no money, Franco is famous for recycling actors and footage in his productions, to the extent where cast members would be surprised to see themselves and their name crop up in another one or two films atop the one they were hired for, and his fans would recognize footage in his latest feature from one of his previous ones including Oasis of the Zombies, The Awful Dr. Orlof, Nightmares Come at Night, Eugenie De Sade, and The Sadistic Baron von Klaus.

 

March 7th  goes to the depths of Hell and back to bring audiences the horrors of Blood Beat (US/CA), Deadline, Hollywood Horror House, Bloody Sect, Night Owl, The Corruption of Chris Miller, Zombie 5: Killing Birds, and Star Time.

 

March 7 follows up with a new Season of dark underground titles with “Vinegar Syndrome Collection Vol 2.”
Vol. 1 was so good and so much fun, there was no way we weren’t going to be bringing you more brilliant and bonkers Vinegar Syndrome titles, and Vol. 2 features more underground genre films that will have you questioning your sanity, high-fiving your TV, or both!

 

On March 11th, ARROW takes audiences on a rollercoaster with Knocking, a slow-burning thriller that teeters between reality and delusion. Kempff’s acclaimed debut feature views social issues through a blurred lens streaked with horror.

Knocking headlines a Season of films that ask: When no one believes you and what’s happening seems so far-fetched, is this all happening? Or is it All In Your Head? Characters are pushed to the edge of their sanity, and sometimes beyond, and dreams, reality, imagination, and mental health can combine, distort, become indistinguishable, and even break. Not being able to trust your mind, having doubts cast over what you believe is and isn’t happening, and not knowing what is and isn’t real unites this collection.

On March 14th, go back to the early days of cinema with Master of Darkness: The Fritz Lang Collection. Nicknamed “Master of Darkness” by the British Film Institute for a retrospective in 2000, Fritz Lang was indeed a genius when it came to expressionistic wielding of light and shadow, but he was also a connoisseur of capturing the darkness in his films’ subject matter and in the hearts of the characters that populated them. ARROW is proud to present a collection of Fritz Lang’s films from both his German period and his Hollywood career, some well-known and highly influential and some less seen and ripe for re-exploration and rediscovery.
Titles include Metropolis and Dr. Mabuse the Gambler.

 

March 14th will also see the release of To Sleep So As to Dream) and Come Drink With Me.

 

On March 18th, celebrate the French New Wave with a Season of “Lies & Deceit: The Films of Claude Chabrol.

Too often overlooked and undervalued, Claude Chabrol was the first of the Cahiers du Cinema critics to release a feature film and would be among the most prolific. The sneaky anarchist of the French New Wave, he embraced genre as a means of lifting the lid on human nature. Nothing is sacred and nothing is certain in the films of Claude Chabrol: anything can be corrupted, and usually will be.
Titles include Cop Au Vin, Inspector Lavardin, Madame Bovary, Betty.

 

March 18th will also launch Torment (UK/US/IRE).

 

March 21st caps this month’s Seasonal lineup with “Dead Silent,”, a showcase of cinematic masterpieces from the pre-sound era of movies, when filmmakers could blow minds with not a single scream or sound effect.
Titles include Metropolis, Dr. Mabuse the Gambler, Nosferatu.

 

March 21st closes out new releases with Faust, The Cabinet of Dr. Caligari, and The Golem.

After suffering a traumatic incident, Molly moves into a new apartment to begin her path to recovery, but it’s not long after her arrival that a series of persistent knocks and screams begin to wake her up at night. Molly’s new life begins to unravel as the screams intensify and no one else in the building believes or is willing to help her.

 

To Sleep As to Dream
Two private detectives hunt for an actress trapped within the reel of a silent ninja film in the dreamlike debut of Kaizo Hayashi (Circus Boys, Zipang), a magical double-handed cinephilic homage to the movie worlds of the 1910s and 1950s. When private eye Uotsuka (Shiro Sano, Violent Cop, Shin Godzilla) and his sidekick Kobayashi are approached by an aged former actress, Madame Cherryblossom, to go in search of her kidnapped daughter Bellflower, their investigations lead them to the studios of the mysterious M. Pathe company. Here Uotsuka has a strange vision in which he comes face to face with the beautiful star of a 1915 chanbara film that appears to have no end. From then on, things begin to get a little strange… Drifting between illusion and allusion, it is chock full of references to Japan’s rich cinematic heritage and features cameos from a host of veteran talent and baroque sets created by Takeo Kimura, the Nikkatsu art designer fondly remembered for his flamboyant work with Seijun Suzuki in the 1960s.

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