In the opening moments of Roman Polanksi’s Repulsion we watch as titles drift across the eyeball of the film’s protagonist, Carol (Catherine Deneuve). The camera proceeds to pull back as a despondent score plucks, thuds, and reverberates in our eardrums. Slowly a face covered with a thick plastering of who-knows-what calls out, “Have you fallen asleep?” At the film’s conclusion, a carefully orchestrated bookend image offers an uncomfortable answer, suggesting Carol may never have been “awake”.

Samuel Fuller’s films have been embraced for their frank presentation, personality, and pointed political aspirations. Often working in lower budget, near exploitative circles, Fuller churned out films that were provocative, campy, occasionally hilarious, and starkly framed, both in subject matter and his usual attention to violence. He was a filmmaker capable of crafting cinema that went on to attain critical appreciation while also appealing to audiences interested in the inherently lurid.