Keep My Grave Open (1976; S.F. Brownrigg)

Of all the genre filmmakers in the "regional" circuit, few had a body of work as distinctive as that of S.F. Brownrigg. The Texan's quartet of horror-exploitation films, made in the 1970s, is remarkable for the “you are there” atmosphere, unusual camerawork and melodramatic acting, in addition to the helpings of gore and violence to sell tickets. Although these pictures had different screenwriters, similar themes of madness, dysfunctional famiiles and sexual tension play into all of these scenarios, best described as macabre mélanges of Tennessee Williams and Erskine Caldwell. 

Superargo and the Faceless Giants (1968; Paolo Bianchini)

An instance where the sequel is better than the original, this followup to Superargo Versus Diabolicus gets right down to business, as it doesn’t have to spend half an hour of screen time on an origin story. The so-called “faceless giants” are actually human-sized: humanoids in red and silver suits, helmets with tubing, and with characterless faces reminiscent of plaster casts. These creatures go around kidnapping athletes and robbing banks, all with the dexterity of Rock Em Sock Em Robots in a china shop, at the behest of the mad Professor Wond.

Superargo Versus Diabolicus (1966; Nick Nostro)

Unlike most Italian superheroes, Superargo doesn’t seem to have any other “normal” human identity, much like the wrestling superhero Santo persona in Mexican films. And speaking of Santo, this movie also begins in the ring, as Superargo is first seen as a wrestling superstar, who accidentally kills his opponent El Tigre during a match. Disgraced from the wrestling profession, he is enlisted by the government to use his strength for good.

Phenomenal and the Treasure of Tutankamen (1968; Ruggero Deodato)

In interviews, director Ruggero Deodato (best remembered for his later grindhouse classics Cannibal Holocaust and The House at the Edge of the Park, and billed here as "Roger Rockefeller") has stated that this film’s lead actor , Nicola Mauro Parenti (also its producer) was “too stiff… a dog of an actor” (although they did work together on Zenabel a year later) and “that he didn’t give a shit about the film”. Therefore, if you begin this with low expectations, you might have a good time with it.

Goldface, The Fantastic Superman (1967; Bitto Albertini)

By day, Vilar (Robert Anthony) is a mild-mannered scientist who abhors violence. By night, he is the amazing wrestler Goldface! Vilar’s boss is part of an organization that is besieged by a mysterious villain named The Cobra, who is blowing up their plants. The Cobra’s next move is to kidnap the boss’ daughter Pamela (Micaela Pignatelli) for ransom. Goldface is recruited to journey to The Cobra’s island fortress, rescue Pamela and save the day!