Rupert Everett, Francois Hadji-Lazaro, Anna Falchi, Stefano Masciarelli
Cemetery keeper Francesco Dellamorte (Everett) oversees a graveyard where the dead return to life. He dispatches them, rather than go through the bureaucratic bother of reporting the problem. However, his self-imposed isolation is breached: the woman of his dreams (Falchi) turns up, dies, comes back and has to be slain again. Perhaps understandably, all of this unhinges poor Francesco, and he starts seeing the same woman all over the places. He also meets the angel of death, who urges him to dispatch the living with a bullet to the brain, rather than wasting time by waiting for them to turn into the living dead.
This is simply bizarre, yet so deliciously surreal it's impossible not to be charmed by it. Everett is utterly sardonic, having come to terms with his daily (or rather, nightly) duties as a zombie-slayer, and is initially the most well-balanced character in the town, alongside grotesque assistant Gnaghi (Hadji-Lazaro). It's ideal casting, since Everett was the inspiration for his character in the book on which this is based. Been a long time since I've seen this, and I'd forgotten how totally both he, and the whole movie, go off the rails by the end, to an ending whose interpretation is open to several questions. Wildly non-PC - one woman is cured of her penis-phobia by being raped - gooey, and with a strange beauty, this remains the best, and probably also the most heterosexual, film on Everett's resume.