Brand new factory sealed 2-disc double feature of two Paul Naschy films, Spain's premier horror actor who's alter ego for writing and directing is also known as Jacinto Molina. He holds the record for playing the Wolfman more times than anyone else. For the first time on home video, these classic horror films are in their most complete and uncut versions! High definition transfers from the original negatives. Now Out Of Print (OOP) and no longer available making it an instant collector's item. Some of the info on the case is wrong. HUMAN BEASTS (aka Carnival of the Beasts) is widescreen and is Naschy's first Japanese film, he plays Bruno, a mercenary fighter. In Japan he double-crosses his lover (Eiko Nagashima) for some jewels, then kills her gangster brother and all of his henchmen. Back in Spain the wounded killer hides out in a doctor's home where two beautiful daughters fight over him and he is apparently haunted by their mother's ghost. He has sex with both of them while their father whips the black maid (she likes it). Meanwhile, Eiko hires local crooks to spy on him. This crazed film has not only a ghost, but also flashbacks, dream sequences, religous (and fart) humor, nudity, drugs, S M, slaughtered pigs, Italian-western music, big guns, cannabilism, and Naschy dressed as Napoleon! BLUE EYES of the BROKEN DOLL (aka House of Psychotic Women) is full screen and features the podgy ex-weightlifter in one of his few non-monster roles, a Giallo of the period. An ex-convict, he is employed by three mad sisters in an eerie house on top of a hill. Diana Lorys suffers from erotomania and seems intent on exhausting him sexually; Eva Leon has a synthetic hand, and Maria Perschy appears to be confined to a wheelchair, which according to the rules of the genre means that she's a mad murderess. Numerous corpses of blue-eyed, blond, young women, heads severed and eyes gouged out, litter the story. The box wrongly asserts that Naschy was the director when in fact he was the co-writer. Director Carlos Aured plays the explicit gore and sex angles for all they are worth, endlessly repeating the women-in-peril motif and throwing in the slaughter of a pig for good measure.