Lucio Fulci left behind a legacy steeped in horror—dozens of films ranging from sex romps, spaghetti westerns to science fiction socio-political fables—after his death in 1996 from complications with diabetes. Coined the godfather of gore alongside maestro Dario Argento, Lucio Fulci can be instantly recognized by fans of horror for his contribution to the ever-fluctuating zombie genre with Zombi 2, a 1978 spiritual successor to George Romero’s Dawn of the Dead, titled Zombi for Italian audiences. Fulci followed up Zombi 2’s box office success—grossing more internationally than Dawn—with City of the Living Dead in 1980 and The Beyond in 1981. Both tackle themes of religion and the supernatural, and showcase some of Fulci’s more inspired splatter moments; a power drill through the brain, a face doused in acid. For fans of giallo—a genre blending mystery, murder, and psychological elements with that of the slasher genre—Lucio Fulci had been a household name since 1969’s One on Top of the Other; a film that heavily prefigured the shift into erotic thrillers of the 1990s, such as Paul Verhoeven’s Basic Instinct. However, his garish visual flare and the sleek stylistic choice of the giallo genre wouldn’t stalk hand-in-hand until Don’t Torture a Duckling; Fulci’s lambaste of the Catholic Church. Dealing heavily in the sin of sex, Duckling would ultimately find itself blacklisted all around Europe, marking it as Fulci’s most controversial examination of religion.