The Red Queen Kills Seven Times

• Barbara Bouchet also starred in Lucio Fulci's "Don't Torture a Duckling" the same year, 1972 -- making her one of giallo's busiest faces that year.
• The film carries the export title "The Lady in Red Kills Seven Times" and later opened in U.S. theaters (1975) under yet another title, "Blood Feast."
• It was shot predominantly in Wurzburg and Weikersheim, Germany, rather than Italy -- the opening castle scenes use the real Weikersheim Castle in Baden-Wurttemberg.
• Composer Bruno Nicolai, a holdover from director Emilio Miraglia's previous film "The Night Evelyn Came Out of the Grave" (1971), also scored this one.
• This was Emilio Miraglia's final film as a director -- his second and last giallo, made as a direct follow-up to "The Night Evelyn Came Out of the Grave."
• Sybil Danning, who'd later become a familiar face in American genre and action films, appears here in an early supporting role as Lulu Palm.

The Red Queen may not be supernatural at all -- the film's rigid 'seven kills' structure mirrors a killer's compulsive ritual, suggesting the curse is inherited psychology rather than a genuine hex, and Kitty's fragmented memory leaves room to read her as an unreliable narrator to her own story.

The fashion house setting isn't incidental. The film's bodies are posed and displayed like mannequins, reading the Red Queen as an avatar of the male gaze weaponized -- the killer punishes women who perform beauty for consumption, turning the industry's own objectification back on itself.

The family curse functions less as literal legend and more as a control mechanism designed to keep the Wildenbruck heirs in perpetual fear and competition over the inheritance -- the real horror is how thoroughly the family internalizes and enforces it.

Two sisters share a family curse: every hundred years, the Red Queen rises from her portrait to kill seven victims before the cycle resets. Kitty Wildenbrück, a photographer at the Springe fashion house, thought she'd buried that legend along with her estranged sister Evelyn, who supposedly left for the United States years back after a violent falling-out between the two. Then a red-cloaked, dagger-wielding figure starts working through Kitty's circle of friends and coworkers, the bodies keep landing near her, and police start eyeing Kitty and her married lover Martin as the real killers. Miraglia layers giallo gold over gothic inheritance drama, building to one of the genre's more satisfying final-reel reversals.