Eli Roth Launches Horror Studio and Disco Album on March 21

LOS ANGELES, March 18, 2025 — Filmmaker Eli Roth is set to release his latest project, ‘Eli Roth’s Red Light Disco: Dancefloor Seductions From Italian Sexploitation Cinema,’ on March 21. This collaboration with Italian soundtrack label CAM Sugar will celebrate music from the provocative genre of Italian sex comedies from the 1970s and early 1980s, with distribution by Universal Music.

On the same day, Roth plans to introduce a unique funding initiative, allowing fans to purchase ‘stock’ in his independent film venture, the Horror Section, via the investment platform Republic. This pioneering approach aims to offer fans a stake in his creative projects.

Known for his distinctive blend of horror and dark humor in films like ‘Hostel’ and ‘Thanksgiving,’ Roth expresses his admiration for Italian cinema and its influence on his work. ‘There’s an interesting relationship between Italian and American cinema,’ said Roth, explaining that Italian films often showcased violence and blood in ways that American films did not due to stricter censorship.

Roth’s passion for music is evident in his fascination with the dynamic soundtracks of Italian films. He notes that compositions by legendary Italian composers such as Ennio Morricone and Bruno Nicolai have had a significant impact on the horror genre. ‘After Morricone, American Westerns changed overnight,’ he said.

The Red Light Disco compilation features over 8,000 tracks, many previously unused, with comprehensive liner notes and vibrant artwork. Roth describes CAM Sugar’s extensive music library as a treasure trove for creative projects, stating, ‘Getting the ‘Red Light Disco’ compilation into the world is going to make the world a groovier place.’

In addition to the album and funding initiative, Roth reflects on the transformative nature of horror films in modern cinema, citing their role in revitalizing interest in movie theaters. He points to the success of his 2002 directorial debut ‘Cabin Fever,’ which grossed $30.6 million on a budget of $1.5 million, as evidence of this shift.

‘Horror is as big as comic book movies and cheaper to produce,’ Roth said, emphasizing the genre’s relevance today. ‘If you make something theatrical and worthy of getting people back into cinemas, they will come.’

The Horror Section aims to empower Roth creatively by allowing him to produce films without outside interference. ‘With the Horror Section, I can write and film my own movies with no one telling me what to do,’ he said, expressing his excitement for the future of horror cinema.