OTX.LAB, the neural division of OutroNox, has unveiled Apocalypse Tape 1990, a new Italian horror feature film written and directed by Paolo Del Fiol. Active as a filmmaker since 2002, Del Fiol won the 2005 Joe D’Amato Horror Festival with Where Am I?. His later features, Devil Times Two and A Melty Kiss Lost in the Abyss, have both received international distribution.
Apocalypse Tape 1990 marks a new chapter in OTX.LAB’s exploration of extreme horror. Described as an “Extreme Splatterfest”, the film pays tribute to the most ferocious, transgressive, gore-soaked, pornographic, and sexually explicit horror cinema of the 1970s and 1980s. It also draws inspiration from a range of subgenres, including tentacle erotica, cannibal cinema, zombie movies, and sci-fi splatter.
The original score was composed by Antony Coia, founder and owner of the extreme horror labels TetroVideo and Goredrome Pictures. A longtime collaborator of Paolo Delv Fiol, Coia previously worked with the director on Kokeshi (2013) and Neo Sekigun (2015).
With Apocalypse Tape 1990, Paolo Del Fiol becomes the first director to create a 95- minute horror feature generated entirely through artificial intelligence. Built around a complete, linear narrative with protagonists, dialogue, and a fully developed story, the project is currently presented as the world’s first AI horror movie.
Below is a statement from Antony Coia, founder of OTX.LAB, on the future of artificial intelligence in extreme horror:
“It was precisely my deep love for the horror cinema that has haunted my nightmares since the 1980s that led me toward this choice, controversial as it may be to many. OTX.LAB represents a parallel path: we have always supported, and will continue to support, traditional cinema. Starting today, alongside that journey, we are also embracing a new one. I love extreme horror, but today it has become impossible to ignore a certain creative stagnation: too often, everything feels derivative, predictable, and trapped within formulas that have long been exhausted. Over the past twenty years, the genre has continued to push further into violence, but only rarely into imagination. Today, artificial intelligence represents a tool capable of reopening doors that have remained closed for far too long, allowing us to explore visual and narrative territories that traditional horror cinema now struggles to reach. We are still facing an immature, imperfect technology filled with limitations, yet one that is already concretely usable and possesses enormous potential. For me, AI must be a creative tool, never a shortcut”.
