In the mid-1960s, Italian horror was coming into its own, with Mario Bava leading the charge as one of its most innovative and visually distinctive directors. Kill, Baby, Kill, released in 1966, is a quintessential example of Bava’s flair for atmosphere and his deep influence on the gothic horror genre. While not as internationally famous as some of his other films, such as Black Sunday (1960) or Blood and Black Lace (1964), Kill, Baby, Kill is nevertheless a vital part of Bava’s filmography, embodying his mastery of gothic aesthetics and surreal terror.

Set in a remote Eastern European village, the film follows a doctor investigating a series of mysterious deaths, all of which seem linked to the vengeful spirit of a little girl. The setting is pure gothic, with crumbling mansions, foggy streets, and a populace gripped by superstition. This is where Bava shines: he brings the village to life with his signature style, crafting a space that feels both ancient and dreamlike. His use of colour, especially the eerie greens and blues that envelop the ghostly apparitions, is a hallmark of his visual style, and Kill, Baby, Kill is often remembered more for its atmosphere than for its story.

The film is one of Bava’s more surreal works, and while the plot may feel thin at times, it’s the atmosphere that captivates. Bava’s camera movements are fluid, often creating a sense of entrapment and disorientation. The haunted imagery, particularly of the ghostly little girl at the center of the story, would go on to influence other horror films, with echoes seen in The Shining (1980) and The Ring (1998). Bava had a way of making the supernatural feel palpable, turning the simplest elements—staircases, mirrors, and windows—into portals of terror.

However, Kill, Baby, Kill suffers from some of the weaknesses that occasionally plagued Bava’s films. The characters are somewhat underdeveloped, and the narrative structure, while serviceable, can feel a little disjointed. The story takes a backseat to the visuals and atmosphere, which works for those who enjoy mood-driven horror but might frustrate viewers looking for a more cohesive plot. That said, the film’s story of cursed towns and retribution from beyond the grave taps into age-old gothic tropes with an eerie effectiveness that lingers long after viewing.

In terms of legacy, Kill, Baby, Kill is a key film in the evolution of supernatural horror. It bridges the gap between gothic horror of the early 20th century and the more modern, psychological horror that would dominate later decades. While it may not be the most famous of Bava’s works, it continues to influence filmmakers who appreciate its slow-burn tension and immersive world-building.

For fans of gothic horror and Italian cinema, Kill, Baby, Kill remains a must-watch. It may not have the star power or narrative complexity of other films in the genre, but its contribution to the atmosphere-driven horror subgenre is undeniable. As Bava’s dreamlike, haunting vision continues to inspire new generations of filmmakers, Kill, Baby, Kill stands as a ghostly reminder of the power of mood in cinema.

• Saul Muerte