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Nightmares Come at Night (1970) More at IMDbPro »Les cauchemars naissent la nuit (original title)

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Nightmares Come at Night -- Two exotic dancers embark on a erotic friendship which takes a turn when one of them begins having recurring nightmares of her killing people in which the line between realty and fantasy begins to blur to the most extreme.


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Jesús Franco (screenplay)
Josyane Gibert (dialogue) (French version)
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Haunted by bloody nocturnal visions, Anne fears she is going insane. See more »
Two exotic dancers embark on a erotic friendship which takes a turn when one of them begins having recurring nightmares of her killing people in which the line between realty and fantasy begins to blur to the most extreme. Full summary » | Add synopsis »
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NIGHTMARES COME AT NIGHT (Jesus Franco, 1970) **1/2 See more (12 total) »


  (in credits order)
Diana Lorys ... Anna de Istria
Paul Muller ... Dr. Paul Lucas
Jack Taylor ... Cynthia's Lover
Colette Giacobine ... Cynthia Robins (as Colette Jack)
Andrea Montchal ... The Neighbour (as André Montchall)
Soledad Miranda ... Neighbour's Girlfriend (as Susan Korda)

Directed by
Jesús Franco  (as Jess Franco)
Writing credits
(in alphabetical order)
Jesús Franco  screenplay and adaptation
Josyane Gibert  dialogue (French version) (as Josiane Gibert)
Stephen G. Horatio  story (uncredited)

Produced by
Robert de Nesle .... associate producer (uncredited)
Karl Heinz Mannchen .... producer (uncredited)
Original Music by
Bruno Nicolai 
Cinematography by
José Climent  (as J. Climent)
Manuel Merino (uncredited)
Film Editing by

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Les cauchemars naissent la nuit" - Liechtenstein (original title)
See more »
85 min
Color (Eastmancolor) | Color
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:

Did You Know?

This movie is a Mish Mash of two different unfinished Jess Franco movies. One with Paul Muller from 1969, the other with Soledad Miranda from 1970.See more »
Continuity: When Anna is watching the couple dancing, the woman has a purple top on. Halfway through, it pans to Anna and then back to the couple, where the woman has a skin-color shirt on. Again panning back to Anna and then the couple, the woman has the purple shirt back on.See more »
Movie Connections:
Remade as Night of 1,000 Sexes (1984)See more »


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11 out of 12 people found the following review useful.
NIGHTMARES COME AT NIGHT (Jesus Franco, 1970) **1/2, 13 October 2004
Author: MARIO GAUCI ( from Naxxar, Malta

I've just received and watched the R1 DVD of NIGHTMARES COME AT NIGHT (1970). I'm not quite sure what to make of the film on the basis of this one viewing: most of Franco's usual ingredients were there, to be sure – the accent on eroticism, of course, but also his customary virtues in the form of a bizarre and eclectic score and an effortlessly haunting, dream-like atmosphere. Special mention must also go to the stylish credit sequence, which was quite a nice – and unexpected – touch.

However, I did feel that something was missing here: perhaps because it was all so hastily put together, the film seemed to be going nowhere most of the time. Maybe it also had something to do with the incongruity of the two female leads: on this and other Forums, I've read a lot of praise for Diana Lorys' performance but, personally, she didn't impress me too much – though I wouldn't call her acting bad, and she can certainly handle herself well in a nude scene – and seemed only to alter between playing agitated (especially in her scenes with Paul Muller, where she must have asked him if she was going crazy a thousand times!) and being in a daze. As for Colette Jack, to me, she didn't manage to put across convincingly either the spell her character is supposed to have over Lorys or the intelligence necessary to organize a jewel heist, let alone the elaborate way in which her accomplices are dispatched (her final confrontation with Muller clearly suggests she was the 'brains' of the outfit)!

On the other hand, I was pleased by the contribution of both Muller (one of his few really meaty roles for Franco) and Jack Taylor (his one scene in the film – a very Godardian moment, by the way – is its highlight). To get to the jewel heist subplot, which many feel is out of place, one must remember that without it the film would have no plot whatsoever: since the whole ruse of hypnotizing Lorys is actually to get rid of Taylor (assuming he too is an accomplice, as this is never explained), Soledad Miranda and Andre' Montcall! Still, I would disagree that Miranda is wasted here: with only a few gestures and lines of dialogue in a couple of brief scenes, she manages nonetheless to create a character and, with the aid of her indelible sensuousness, leave quite an impression – I certainly wouldn't want the film to be without her!

Regarding the DVD itself, I would like to point out that I too experienced a momentary glitch during the layer-change. Knowing of Media Blasters' notorious reputation through online Forums (this is the only disc I own by them), I don't think I'll bother sending for a replacement as I doubt a repressing has been made at all. What's more, having recently experienced disappointment with the replacements I got from Flicker Alley (JUDEX [1916-17]) and Mondo Macabro (MILL OF THE STONE WOMEN [1960]) – where this same glitch was still present on the extra copies I received from both labels – I'm a bit wary of the prospect, to say the least!

As for the DVD transfer, the full-frame print used was rather soft (though this may have been intentional) and displayed occasional damage but it was certainly acceptable, especially when considering the extreme rarity of this item. On the other hand the French-language track, with its literate English subtitles, was very satisfactory when compared to the lifeless newly-dubbed version, clips of which were included in the Franco interview. The latter, then, is one of the most entertaining discussions I've seen featuring the Spanish director; his accent sometimes does get in the way but his recollections of Soledad were certainly articulately put, as well as obviously heartfelt, and the interview never wore out its welcome. The other extras were more basic stuff, though the photo gallery (sections of which are also featured in the interview) was quite a nice addition. In the long run, I would consider the film second-tier Franco: it's as if he was biding his time here waiting, as it were, for the full flowering of Soledad Miranda in order to embark on the next phase of his debauched career…

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