The course Black is beautiful: the blaxploitation horror cinema aims to provide an overview of the genre in its classic period, emphasizing the works that spread the blaxploitation way of making horror – with its classic characters and its most obsessive themes, such as the black protagonism, allegories related to ethnic problems, racism and the construction of identities.



Lesson 1: Breaking barriers and opening space

12/01 - 8 pm to 10 pm

• The representation of blacks in the early days of Hollywood cinema

• Cinema made in the race: the first independent horror productions

• Mantan Moreland and Willie Best: the stereotype of the fearful 'creole'

  Spider Baby: the end of an era in times of civil rights struggle

  Night of the Undead: Ben, the new African-American tragic hero

  Ganja & Hess: vampirism, addiction, sex and suicide in an obscure cult


Lesson 2: The canonical monsters in black version

02/12 - 8:00 pm to 10:00 pm

  Blacula the Black Vampire: the cursed inheritance of the slaver Dracula

  Blackentein: Revisiting the Lab and Reinventing the Monster

  Abby: the wild woman in the blaxploitation version of "The Exorcist"

  Revenge of the Dead: Haitian Zombie and Sugar Hill's Undead

  The Beast Must Die: the black werewolf in an investigative mystery

  Monster without a Soul: the blaxploitation version of “The Doctor and the Monster”


Class 3: The violent urban racial horrors

12/3 - 8:00 pm to 10:00 pm

  Strangler's Night: Racism, Intolerance and Extreme Revenge

  The Zebra Killer: brutal horror inspired by real racial crimes

  Welcome Home, Brother Charles: The Most Eccentric Strangler

  The Devil's Express: gang warfare and an ancient monster

  JD's Revenge: Supernatural Possession and Abusive Relationships

  Fight for Your Life: Racial Conflicts, Chaos and Psychopath Killer


Class 4: The Black Horror from the 1980s

12/04 - 8:00 pm to 10:00 pm

  The Awakening of the Dead: the post-apocalypse of the undead

• Grace Jones, Eddie Murphy, Aaliyah: The Alluring New Vampires

• Wes Craven's blackness:  The Curse of the Undead  and others

• Candyman, Blade and other iconic black villains and anti-heroes

  Run!  and  Us: Horror with Jordan Peele's Social and Racial Consciousness

• Black characters and themes in contemporary horror cinema  



Fantastic film critic and researcher, translator and editor, Carlos Primati has been curator of Mostra Trash since 2012. He has taught courses and lectures on horror, science fiction and fantasy for over ten years, participating in events throughout Brazil and since 2020, also in online format. At Trash/Crash, he taught courses on Alfred Hitchcock, Post-Horror and British Horror, starting the thematic segmentation of the genre that continues in the current issue with Horror Blaxploitation. He collaborated in several retrospectives of the work of José Mojica Marins, Zé do Caixão, and created the shows Horror in Brazilian Cinema (CCBB and Cinemateca) and Macabros: The New Cinema of Brazilian Horror (SESC), being also curator of the macaBRo show: Horror Contemporary Brazilian (CCBB). He has been a curator of the Rio Fantastik Festival since 2017, where he programs the best of Brazilian production in horror and fantasy, and participates in events such as Fantaspoa, Cinefantasy, Horrorcon and HorrorExpo. He is a speaker for the MIS Points project, covering various aspects of genre cinema. Also for the MIS (Museum of Image and Sound), he teaches various courses and wrote the texts for the exhibition Hitchcock: Behind the Scenes, in 2018, also contributing to the event's catalogue. He is the organizer, in partnership with Beatriz Saldanha, of the anthology Única: Estudos Hitchcockianos, a collection of unpublished articles about the filmmaker Alfred Hitchcock, released by the Clepsidra label. For the same publisher, he collaborates as a translator and columnist in various works of fantastic literature. He regularly writes for exhibition catalogs covering personalities such as Stephen King, George A. Romero, Kirk Douglas, Ruth de Souza, Carlo Mossy and Rodrigo Aragão, as well as books by Abraccine (Brazilian Association of Film Critics), of which he became a member in 2020.



Enthusiast and student of fantastic cinema, Queops Negronski began to get involved with the audiovisual in his adolescence, when he collaborated on the horror short film “Frequência Sinistra” (1989), by Ricardo Spencer. He was part of the multimedia collectives re:combo and Media Sana, which produced TV no Parque, a program with short films from all over the country recorded live and shown on local and national public TV. He was an announcer for the Baile Black program (Rádio Universitária AM), a founding member of Toca o Terror (Pernambucan site specializing in genre films), he organized the horror short show Onde os Vivos Não Tem Vez, for the Cineclube Doze e Meia, at Centro Cultural dos Correios, and worked on the horror productions “Domingos” and “Última Puella” (short films) and “Suplicium” (horror series in anthology format). To expand his knowledge in the fantastic genre, he follows several courses on the subject, including modules from UniHorror, an independent online project led by Paulo Biscaia Filho, including professors Rodolfo Stancki, Marcelo Miranda, Demian Garcia and Michelle Rodrigues, and events promoted by MIS (Museu da Imagem e do Som) and Abraccine (Brazilian Association of Film Critics) on the national panorama in fantastic cinema. He collaborated on Skript's book The Best of Horror of the 80s, a collection of texts on genre films from that decade, and participates in live online debates on themes related to the fantastic, including a discussion on George's zombie movie saga A. Romero, emphasizing the racial and social aspects of the American filmmaker's works. Together with Tati Régis, he maintains the Meu Filme do Dia profile on Instagram, where the couple recommends different films and writes comments and opinions.