All the Horrors of Satan

All the Horrors of Satan reinvents The Fall Of The House Of Usher in a way that stays true to Poe's mood while leaning into Gothic dread. A visitor returns to a decaying family mansion where a brother and sister cling to a fragile, troubled lineage. The film follows the slow collapse of the estate as sickness, superstition, and unresolved secrets seep into every room. Corridors sigh, portraits watch, and the air grows thick with damp histories. The house itself becomes a character, trapping the living in the shadow of a past that refuses to die. Without revealing twists, the story channels Usher through a horror lens that favors atmosphere over spectacle. The visuals linger on shadows and rain lashed windows, and the score reinforces the implied dread.

Directed by Julián Soler, the film adapts Poe's tale for a 1974 screen audience, adding a regional Gothic edge that grounds the story locally and gives it a measured pace with quiet menace.

Box office data for this title is not widely published. It remains an obscure entry in 1970s horror without widely reported grosses and with distribution details that are not well documented. Audience reach and counts are not available in records.

Awards: There are no major nominations or wins listed for All the Horrors of Satan. It did not figure prominently in prize lists, and contemporary coverage treats it as a curiosity of regional horror rather than a festival favorite. Its reputation rests with enthusiasts who seek unusual Poe adaptations today.

Reception and themes: The film has a limited footprint, yet viewers appreciate its mood over gore. It foregrounds isolation, family guilt, and the mirror between a decaying house and a mind slipping toward ruin, while translating Usher into a 1970s horror texture. The pacing favors atmosphere, with lighting and sound shaping the dread.