The House by the Cemetery

• The film was one of the UK's prosecuted 'video nasties' under the Obscene Publications Act — cut and recut versions circulated on home video for years, and it wasn't released fully uncut in Britain until 2009 (the 2001 reissue still had roughly 33 seconds trimmed).
• The house exterior is the real Ellis Estate in Scituate, Massachusetts (also later used in 1988's Ghosthouse), while the interiors were built at the De Paolis studios in Rome to stretch the budget.
• Catriona MacColl was cast as Lucy Boyle after previously starring in Fulci's City of the Living Dead and The Beyond, making her the unofficial lead of his 'Gates of Hell' trilogy.
• The cellar bat that mauls Norman's hand was a rubber/mechanical prop rigged on fishing line, not a live animal — the gruesome bite was practical effects work by the film's special effects team, not an on-set accident.
• Fulci called the film his answer to Kubrick's The Shining, saying he didn't think Kubrick's version was dark enough — though in other interviews he claimed he'd never even heard of The Shining, so take the 'homage' framing with a grain of salt.

Ann is not a babysitter at all but a reincarnation or psychic projection of the house's original female occupant—her uncanny calm around the Freudstein situation and her sudden knowledge of the basement suggest she's the building's immune system made flesh, guiding new hosts downstairs.

The ghost girl Bob sees is actually a future version of Bob himself, caught in the house's temporal loop. Her warnings aren't about escaping—they're about preventing his own transformation into the next Freudstein, which would explain why she appears most urgently right before he descends.

Freudstein is not a single immortal doctor but a parasitic identity the house itself transmits. Each 'researcher' who comes to study the property gets colonized by the Freudstein pattern, which is why Norman's predecessor died so conveniently—he was mid-transformation, and Norman is the replacement host.

Dr. Norman Boyle drags his wife Lucy and son Bob to a New England fixer-upper where the previous researcher got himself mysteriously murdered. The house hides a basement tenant who isn't collecting rent—Dr. Freudstein, a 19th-century surgeon who keeps himself alive by harvesting the living tissue of anyone foolish enough to investigate the strange stains. Ann, the babysitter, seems to know more than she lets on. Bob keeps seeing a ghost girl warning him to leave. Nobody listens. The basement door opens. Everyone descends. Fulci's architecture swallows them whole.