The Psychic is streaming for free on Tubi — and it’s quietly become the most talked-about Halloween release of 2026, not because of a campaign, but because of one man’s long-standing admiration. Quentin Tarantino has called Lucio Fulci’s 1977 giallo-thriller one of his favorite thrillers, a film he once wanted to remake with Bridget Fonda in the lead. The project stalled due to copyright complications, but now, decades later, the original is finally accessible to a new audience. It arrives without fanfare, no marketing blitz, just a quiet upload on the streaming platform. Still, its presence is felt. The film, originally titled Sette note in nero, stands out in Fulci’s filmography as one of his more restrained works, less reliant on the graphic gore that defined his later horror epics like The Beyond and City of the Living Dead. Instead, it leans into suspense, atmosphere, and psychological unease. Jennifer O’Neill stars as Virginia, an upscale housewife whose life unravels after she discovers a skeleton in her husband’s vacation home. Her investigation is triggered by visions. Fragmented, dreamlike sequences reminiscent of classic giallo, including one echoing Poe’s Cask of Amontillado. The film unfolds with a calm precision, building dread through lingering shots, sudden zooms, and an eerie score composed by Fabio Frizzi. That same score includes a recurring orchestral motif instantly recognizable to fans of Kill Bill Vol. 1, where it plays during Beatrice Kiddo’s awakening. Tarantino has been a vocal advocate for Fulci since the 1990s, even re-releasing The Beyond in the U.S. Under his Rolling Thunder banner. He’s praised Fulci’s ability to capture “the greatest moments in cinema history.” Yet, despite his deep affection for the director, The Psychic remained unremade. Until now, in its raw, unaltered form. It’s not a blood-soaked spectacle. It’s a slow burn, a study in isolation and suspicion, where the real horror lies in what isn’t said. And for those who’ve followed Tarantino’s career, there’s a deeper layer: this film may be the blueprint for the kind of tension he’s spent decades refining. Now, it’s available to anyone with an internet connection. No subscription. No cost. Just a woman staring at a wall, and something moving behind it. The question isn’t whether you should watch it. It’s why you haven’t already.