One does not watch Voices From Beyond in a traditional sense. You don’t track it, you don’t solve it—you submit to it. It drifts, it murmurs, it circles back on itself like a half-remembered nightmare. This is late-period Lucio Fulci operating less like a storyteller and more like a medium, blending gothic horror with surreal dream logic that slips in and out of coherence. Zombie attacks appear like intrusive thoughts; grotesque imagery lingers—decaying corpses, clinical autopsy table horrors—and the whole thing feels less constructed than conjured.
By the time he reached Voices From Beyond, Lucio Fulci was deep into the final stretch of a career that had already burned hot and controversially through the heights of Italian horror. The budgets were smaller, the industry around him was fading, and his health was declining—but instead of retreating, Fulci’s films became stranger, more introspective, and almost ghostly in themselves. Narrative clarity gave way to mood and fragmentation, as if he were less interested in entertaining audiences and more compelled to externalize something internal—mortality, regret, decay. His late work doesn’t have the ferocious energy of his earlier splatter classics, but it carries a different weight: quieter, more disjointed, yet deeply personal, like a filmmaker confronting the end by dissolving the boundaries between life, death, and cinema itself.
The setup in Voices From Beyond is deceptively simple: a professor is murdered, and - as a spirit - he begins communicating with his daughter, guiding her toward the truth. But that supernatural thread is the real engine here—the father’s spirit doesn’t just whisper, it haunts, pressing itself into the lives of both his daughter and the people who wronged him. There are murder mystery bones underneath it all, sure, but they’re mostly scaffolding. The narrative isn’t trying to be solved; it exists to carry atmosphere, dread, and those sudden ruptures of violence that Fulci drops in like punctuation.
The cast leans into that uncanny stillness. Duilio Del Prete feels half-gone even before death takes him, his presence lingering like a stain across the film. Karina Huff, as the daughter, moves through it all in a kind of emotional fog—receptive, searching, never fully grounded. Pascal Persiano and Frances Nacman orbit the mystery with muted, almost hollow performances, like everyone’s already been touched by something beyond comprehension.
There’s a standout sequence where Fulci’s obsessions fully converge—where the supernatural intrusion manifests through the body in a way that’s both abrupt and deeply uncomfortable. It’s the kind of moment that shifts from dream to physical horror without warning: flesh becomes evidence, the camera lingers, and the grotesque imagery—very much in line with those autopsy-table fixations—lands with a cold, clinical weight. It’s not about shock for its own sake; it’s about forcing you to sit with decay, with the idea that death doesn’t resolve anything, it just changes the angle.
And now, with its 4K debut courtesy of Severin Films, those textures come through with unsettling clarity. The rot looks wetter, the dream sequences more disorienting, the quiet spaces more suffocating. It doesn’t suddenly become a “clean” film—it becomes a clearer nightmare. Uneven, elusive, sometimes frustrating—but undeniably personal. Less a movie you watch than one you absorb, like a message from somewhere you can’t quite reach but can’t ignore either.
4K Ultra HD + Blu-ray + CD Limited Edition Slipcover
Home Video Distributor: Severin Films
Available on Blu-ray - April 28, 2026
Screen Formats: 1.85:1
Subtitles: English; English SDH
Video: Native 4K; HDR10
Audio: English Mono; Italian Stereo
Discs: 4K Ultra HD; Blu-ray Disc; CD: three-disc set
Region Encoding: 4K region-free; blu-ray locked to Region A
The penultimate film from writer/director Lucio Fulci - in ill health and likely knowing the end was near - is presented in UHD for the first time ever: When the scion of a wealthy family dies under shocking circumstances, every heir has a motive for murder. But will the restless spirit of the deceased now seek vengeance from beyond the grave? Karina Huff (THE BLACK CAT), Pascal Persiano (PAGANINI HORROR) and Lorenzo Flaherty (Private Crimes) star - with a juicy cameo by the maestro himself - in "the movie that shows Fulci could still do it" (Horror Cult Films), co-written by Piero Regnoli (BURIAL GROUND) from a short story by Fulci with gore effects by Pino Ferranti (CANNIBAL FEROX, HELL OF THE LIVING DEAD) and a score by Stelvio Cipriani (A BAY OF BLOOD), newly scanned in 4K from the original camera negative with over an hour of Special Features and a Bonus Soundtrack CD.
VIDEO
The 4K treatment from Severin Films doesn’t try to “fix” Voices From Beyond so much as reveal it in all its damp, decaying texture. Grain is intact, colors lean into that sickly, gothic palette, and the image finally has enough clarity to let Fulci’s grotesque details breathe—the clammy interiors, the pallor of faces, the autopsy-table ugliness all hit harder because you can actually see them now.
It’s not a glossy restoration, and thankfully so; Severin preserves the film’s hazy, dreamlike quality while sharpening just enough to make the rot feel tactile. If anything, the upgrade makes the film more unsettling, not less—like wiping dust off a mirror only to realize something’s been staring back the whole time.
AUDIO
On the audio side, Severin Films keeps things faithful to the film’s original, slightly ghostly character rather than over-processing it into something artificial.
The dialogue retains that hollow, dubbed quality typical of Italian horror, but it works in the film’s favor—voices feel distant, almost disembodied, reinforcing the constant presence of something beyond the grave.
The score and ambient sounds are given a bit more room to breathe, with subtle improvements in clarity that make the eerie hums and sudden stings land more effectively.
It’s not a bombastic or aggressively remixed track, but it doesn’t need to be—this is about atmosphere, and the presentation leans into that quiet, haunted tone instead of polishing it away.
Supplements:
Commentary:
- None
Special Features:
The extras package from Severin Films rounds out Voices From Beyond with a focused but worthwhile set of supplements that lean into both legacy and craft. An archival audio interview with Lucio Fulci (“About Death”) adds a reflective, almost philosophical layer, while new interviews with Pascal Persiano, set designer Antonello Geleng, and prop master Vincenzo Luzzi dig into the film’s eerie production details and tactile world-building. Author Stephen Thrower provides broader context on Fulci’s late career in “Lucio’s Last Wave,” tying the film into his overall legacy. Rounding things out are the original trailer and a soundtrack CD, giving fans both a nostalgic snapshot and a way to linger in the film’s haunting atmosphere long after the credits roll.
- About Death – Audio Interview With Lucio Fulci
- Beyond The Living – Interview With Actor Pascal Persiano
- A House For The Dead – Interview With Set Designer Antonello Geleng
- Like A Father – Interview With Prop Master Vincenzo Luzzi
- Lucio's Last Wave – Interview With Stephen Thrower, Author Of Beyond Terror: The Films Of Lucio Fulci
- Trailer
- Soundtrack CD
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