Hello, my name's Justin the Clue, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club, and it's Shock Vember.

Woo!

Yeah.

Shock Vember is much, you know, shorter.

It doesn't have as many, like, chains and ghosts and

stuff like that. We wanted to do another horror filmmaker slash exploitation filmmaker, because

this one is really close to our hearts, and that's Roberta Findlay. It's one that I didn't know a

whole lot about, but I think that we both wanted to explore a little more. She's a filmmaker who doesn't even have a Wikipedia page, which is crazy to me. I think it's crazy because she's better known than her husband at this point, who does have a Wikipedia page. Yeah, if you look at Michael Finley, he has a long one that's like broken down in like life, death, this chapter.

And she gets mentioned and I'm like, I can't I click on it?

I want to know more.

Maybe she's involved in that because we should preface this episode with saying that

Roberta Finley has no love for a cinematic work.

Everyone should listen to her interview on the Rialto Report podcast, where she expresses

amazement that anyone would care for her films. She seems like somebody who was, well, the way

she describes herself, it can't really be true, but the way she describes herself is that she was

kind of brought into filmmaking and then just kind of stuck there because all the men she was associated

with were there. She describes herself as a barnacle on the sea of life, you know, usually

attached to a man. So it's going to be tough not to just summarize that interview because it's

so good and has so much information in it. But, you know, when I was watching the movies this week,

and I watched a few films by her husband as well, I was having a hard time kind of getting an

angle of approach on her because I think it's a stretch to call her an O-Tour. She's, you know,

...