This Night I’ll Possess Your Corpse (original title: Esta Noite Encarnarei no Teu Cadáver) is a 1967 Brazilian horror film made by actor and filmmaker José Mojica Marins. Marins is also known by his alter ego Coffin Joe (Zé do Caixão).
The film is the second installment of Marins’ “Coffin Joe trilogy”, being preceded by At Midnight I’ll Take Your Soul (1963), and belatedly followed by Embodiment of Evil (Encarnação do Demônio, 2008).
Coffin Joe returns to his village after recovering in a hospital from shock and blindness from the events in the previous film. Having been absolved of his previous crimes and murders, this time he is even more determined to find the “perfect” woman with whom to sire a son of superior lineage, for his singular, obsessive desire for the “continuity of blood”. Assisted by his gaunt, hunchbacked, facially disfigured servant Bruno, he kidnaps six beautiful women the first night he returns to town. He puts them through a series of sadistic trials to determine if one of them exhibits no fear, indicating superiority to bear his son. When the woman named Marcia remains proudly unaffected while the others scream and beg to the terrors they are submitted into, Coffin Joe retains her as his chosen and imprisons the other five in a pit below his bedroom, where he releases poisonous snakes to kill them…
“As in White Zombie, there is an eerie, otherworldly atmosphere that pervades the film and greatly contributes to suspension of disbelief. There are graphic shock visuals in both films, and the protagonist gives long monologues purporting his entirely self-centric word view. In both movies this only works due to the fervent and extraordinary performances of the respective bogeyman. Despite the gruesome murders and assorted acts of terrorism, the most shocking aspect of the film in it’s day was the attack on religion in general and Catholicism in particular.” 10k Bullets
” …the film can’t shake the influences of decades-older B-movies, from Coffin Joe’s inexplicable mad scientist’s laboratory to his defeat at the hands of a lynch mob that chases him into a swamp. On the other hand, it’s plainly evident that Marins is willing to go much further than his genre contemporaries in North America. The viewer is instantly aware that those are real tarantulas crawling all over the semi-clothed bodies of his actresses…” Midnight Only