Monday, March 23rd, 2026
This Monday, March 23rd, Sacrilegious Cinema: Menagerie of Madness brings on the body horror with this grotesque duo, digging into deep cuts from the bowels of the genre to disturb and disgust the most ardent of fans. This week’s offbeat cult films centers on outcasts and identity, spotlighting two coming of age stories illuminating mental illness, metamorphoses, and the relationship and abuse we subject our bodies to, influenced by beauty ideals and societal expectations. Peering into the psychological ramifications expulsion tolls on the self through revolt under a feministic outlook bathed in brutality and dark commentary. 
At 8PM, we visit New Zealand and meet Wei, a socially inept Chinese exchange student determined to pick up her deceased father’s research where he left off, inevitably sinking into a pit of obsession through her scientific discoveries, ultimately exploiting the findings to elevate her position in life and erase any shred of insecurity linked to poor body image. Matters eventually spiral out of control, demonstrating Wei’s desperation to fit in and gain acceptance from her peers, taking it to terrifying extremes, resulting in a gruesome bloodbath. Sasha Rainbow’s directorial debut- GRAFTED (2024)– carves out a grisly tableau implanted within beauty standards, addressing body dysmorphia as well identity- utilizing the visceral transformation to critique the destructive ideals uplifted by the media and the masses, honing in on social mobility and the price of popularity and perfectionism— including losing oneself entirely to a temporary trend. This brilliant commentary serves as a younger sibling to The Substance, delivering an ending brimming with dramatic irony, and unmasking Imposter syndrome in a realm where conformity is deemed desirable. In addition, Grafted deconstructs internalized racism under a feministic guise, exposing the power imbalance between not only men and women, but also people of color. Exhibiting astounding special effects makeup, Grafted is bound to be beloved by gorehounds- all while adding insight to the carnage, to be coveted by cerebral viewers alike. 
Then, at 10PM, we venture to the American suburbs and become acquainted with Pauline, a teenage pariah transfixed by morbid curiosities, aspiring to one day become a surgeon to feed a growing proclivity towards blood and death. Preoccupied by psychosexual fantasies and an interest in necrophilia, Pauline begins practicing her craft on roadkill, inevitably leading to an escalation in test subjects, making way for a macabre exploration into the splintered psyche of our protagonist.
Director Richard Bates Jr. in his feature debut
EXCISION (2012) presents a case study into the mind of rejected loner, ostracized by others by grim predilections, Pauline struggles to meld into the mold of normalcy, unraveling a bizarre coming of age flick inspired by the likes of David Lynch. This dossier harbors fragments of other “Weird Girl Horror”, spawning as a lovechild of May (2002) and Ginger Snaps (2000) spliced with the surgical sensibilities of American Mary (2012). EXCISION (2012) dissects identity amongst a dysfunctional familial dynamic, where approval and affection are sought using the wrong tools, crowning Pauline a warped albeit tragic figure, complemented by her Catholic upbringing. Moreover, adolescent angst is fueled by the white picket fence suburban neighborhood fatigue, Pauline represents rebellion, mocking social conventions placed upon the youth to enact obedience. Fantasy and reality bleed together in Pauline’s surreal perception of the world, highlighting the plight of mental illness, so often misunderstood and misguided in their resolution. Furthermore, Excision excavates the ‘Monsterhood in Menstruation’ trope, undermining hackneyed patriarchal notions in exchange for the horrors of being female, satirizing the aspects equipped within the territory, usually vilified to invalidate, instilling a feministic angle to the material.
This psychological voyage into body horror advances the concept of sex and death’s overlap, uniting the pair in a twisted cycle of life, exposing an eroticism in expiration. AnnaLynne McCord morphs into Pauline, providing such an unfiltered, gritty performance that stuck with the star long after the movie wrapped, resonating so deeply with her following an intense approach to method acting. Along with a strong supporting role from Traci Lords, Excision boasts cameos from Malcolm McDowell (A Clockwork Orange), Ray Wise (Twin Peaks), and John Waters (Director of Pink Flamingos, Serial Mom), this is a picture that champions true cinephiles, awakening our innermost deviance with this thought-provoking piece. 
If absurdly avant garde flicks merging psychology and body horror tickles your fancy, join as at Hot Wax Coffee Shop in Ybor City for some debauchery. 
FREE popcorn included with a
mandatory purchase- no cover charge with a 1 drink (or snack) minimum from the bar. (Movie nights offer psychological insight accompanied by behind the scenes information and observations by your horror hostess).