Schizoid is a 1980 American slasher film directed and written by David Paulsen, and starring Klaus Kinski, Marianna Hill, Craig Wasson, Christopher Lloyd, and Donna Wilkes.

It follows a Los Angeles advice columnist who is subject to a series of threatening anonymous letters, while members of a group therapy she attends are being stalked and murdered by a killer armed with shearing scissors.

Recently-divorced Los Angeles advice columnist Julie Caffret begins attending group therapy sessions led by the widowed Dr. Pieter Fales, a German psychologist.

Members of the group include Gilbert, a lonely handyman who works in Julie's apartment building; Pat, a Wellesley College graduate employed as a stripper, and with whom Pieter carries on a secret sexual relationship; and Rosemary Boyle, a spinster.

After one of the sessions, one of the female members of the therapy group is stalked by an unseen motorist while riding a bicycle on a country dirt road, and is chased into an abandoned house, where she is brutally stabbed to death with a pair of scissors.

In his office, Pieter discovers a paper clipping lying on the floor, and begins to suspect Alison may be the one sending Julie the threatening letters.

Alison vehemently denies any involvement and, despondent, locks herself in the garage and turns on her car, attempting suicide by carbon monoxide poisoning.

In a February 20, 1980 issue of The Hollywood Reporter, the film was announced as starting principal photography on 13 March 1980 under the title Molded to Murder.

"[1] Kevin Thomas of the Los Angeles Times expressed a similar sentiment, describing it as a "trashy violence-against women jolter.

"[8] Ed Blank of The Pittsburgh Press felt the film was a "slipshod" effort, writing: "It's confounding how pictures like this continue to be marketed and bought.

"[9] Tom McElfresh of The Cincinnati Enquirer had mixed feelings on the film, describing it as "a cheap, bloody little horror number with a driveling plot, dismal dialogue and a far too serious attitude about itself," but conceded that writer-director Paulsen "has a certain taste for the neo-baroque in certain surreal sequences, even though his storytelling, both his words and his images, lack cohesion and control.