"Elect to watch one with an eye specific scene. See what I did there?" by Audrey Vann 18. THE EYES HAVE IT: Elect to watch one with an eye specific scene. See what I did there? Baba Yaga As a child who was traumatized by eyeball imagery like Pee-wee’s Big Adventure’s Large Marge, Guinness’ eyeball pop world record, and Jim Carrey's movie makeup stunt at the 2003 Teen Choice Awards, please understand that I had to take some liberties while interpreting today’s theme. Baba Yaga is a 1973 erotic thriller directed by Italian filmmaker Corrado Farina, and based on Guido Crepax’s saucy Valentina comic series. While there are no gouged eyeballs or empty eye sockets in this film, there is a camera. “That’s the eye,” the film’s antagonist Baba Yaga says while fondling a camera lens, “the eye that freezes reality.” Clomping around the streets of Milan in giant silver platform shoes (and one of the worst wigs in film history), fashion photographer Valentina gets struck by a car while trying to save a puppy. Then, a witchy pale-faced blonde—played by Carroll Baker of Baby Doll—steps out of the vehicle. “Our meeting was pre-ordained” she insists while swiping Valentina’s garter clip out from under her skirt. She presses it between her teeth. “Don’t forget my name—my name is Baba Yaga.” Cue the dramatic soap opera music.  Baba Yaga invites Valentina to take photos at her dusty old mansion. The mysterious woman sits in a rocking chair while wearing an ostrich feather robe and petting her Persian cat. Valentina slinkys around the estate, photographing taxidermied birds, jangling jewelry, and other dusty antiques. Then, Valentina turns around to find a red-haired doll wearing bondage gear. It must be seen to be believed. “This is Annette.” Baba Yaga says, holding up the two-foot-tall doll wrapped in studded leather straps. “She will protect you from any harm.” Needless to say, terror ensues as Annette literally and figuratively dommes Valentina’s life and career. Between the film’s use of queer themes, World War II imagery, and civil rights commentary, it is unclear if the director is trying to critique racism, fascism, and misogyny or perpetuate them. Regardless of intent, it’s ultimately unsuccessful. However, this could be because producers cut out a quarter of the film while Farina was on vacation, resulting in the loss of the original cut. At one point, Farina threatened to take his name off the film, feeling that it no longer represented his vision.  But, let’s be honest, this isn’t the type of movie you watch for plot or social commentary. The film is incredibly stylish, with exquisite costumes and opulent midcentury decor. Think Fassbinder’s The Bitter Tears of Petra von Kant but deliciously trashy. The only thing in bad taste here is the plot and the dialogue. You’ve been warned! The Stranger is participating in Scarecrow Video’s Psychotronic Challenge all month long! Every October, Scarecrow puts together a list of cinematic themes and invites folks to follow along and watch a horror, sci-fi, or fantasy flick that meets the criteria. This year, Stranger staffers are joining the fun and we’re sharing our daily recommendations here on Slog! Read more about Scarecrow’s 2024 challenge—and get the watch list—here. And you can track our daily recommendations here! 💀