Sentences with phrase «giallo films»

Borrowing formal and atmospheric motifs from 1970s giallo films by directors such as Mario Bava and Dario Argento, Walk - Through re-imagines CalArts as a site of potential intrigue, subtly calling into question the artistic and democratic tenets embedded in the school's founding ideology.

During the»90s horror boom, we also began to look outside the U.S. even beyond the Giallo films of Italy and Hammer films of the U.K. J - Horror and K - Horror became internationally recognized sub-genres, producing such terrifying classics as Audition, Ringu, Cure and Whispering Corridors.

For Halloween Week we present this video tribute to giallo films and the modern films that pay homage to them.

Details The Texas Theatre presents a 35 mm print of Dario Argento's cult classic giallo film Deep Red (1975), 8 pm, June 30, at the theater.

Restored version of the giallo film begins when the brutally violated body of a young woman is dragged from the river.

On the heels of Suspiria and Inferno, Argento released one such gem, Tenebrae (or Tenebre, if you prefer) in 1982, an Italian Giallo film that most consider to be one of his best.

What is an Italian giallo film?

The second feature by British writer / director Peter Strickland, Berberian Sound Studio is named after the film's setting: a fictional Italian post-production studio doing the post-synched audio recording for a particularly nasty 1976 giallo film titled The Equestrian Vortex.

After the release of The Editor on Blu - ray last year and with the remake of Susperia in the works, it would seem that there is a slow revival of the Giallo film.

Peter Strickland's ode to classic giallo film, Berberian Sound Studio hits screens of all shapes and sizes in the US on June 14th when IFC Midnight releases the film in select cinemas, on iTunes and VOD June 14th.

Meanwhile, Michael Coate has just posted a new History, Legacy & Showmanship column, featuring an interview with filmmaker Vincent Pereira on the subject of Dario Argento's classic giallo film Suspiria, which celebrated its 40th anniversary last year.

Not exact matches

Written and directed by Michele Soavi of Cemetery Man (1994) and The Church (1989) fame, this documentary from 1985 takes an in - depth look at Dario Argento, the master Italian director most well known for his «giallo» horror films.

At around 2 am (sorry, I didn't keep track of the time for this one like I usually do), we got our first break from his traditional giallo with Suspiria, a film that serves up the elaborate death scenes (and Goblin score!)

I saw RIP TIDE (Aussie strictly Disney flick, cute for tweets but that's about it), Argento's DEEP RED (for the first time and on the big screen - was a gooey delight tripped up by the usual giallo issues), VICTORIA & ABDUL (odious and blandly crafted), and FIRST THEY KILLED MY FATHER (thankfully on the big screen since Anthony Dod Mantle's cinematography deserves it - the film is strong, even if Jolie is definitely not a subtle director).

Giallo («yellow» in Italian, referencing pulpy yellow - covered crime books) films, which emerged in Italy during the 1960s, are narratively akin to thrillers, often centred on crime, murder, paranoia and powerful sexuality.

But the band's best - known work came in collaboration with giallo king Dario Argento, and while we love their droney, synth - tastic «Tenebrae» work (sampled by French electro titans Justice for their track «Phantom»), their finest hour is unquestionably via Argento's best film «Suspiria,» about an American ballerina (Jessica Harper) tormented by a witch's coven.

The new audio commentary by Troy Howarth, author of So Deadly, So Perverse: 50 Years of Italian Giallo Films, serves as an efficient one - stop shop for fans looking to brush up on the history of the film's genesis.

As you know, she's the offspring of giallo master Dario Argento and actress Daria Nicolodi, and this film seems to be a look into a world of fame and celebrity through a child's eyes, with Charlotte Gainsbourg and Gabriel Garko as the parental figures.

The two genres have a history of interchange, be it the influence of classic Westerns on the films of John Carpenter (who even penned two obscure Westerns, El Diablo and Blood River) and George A. Romero or the parallel development of the giallo and the spaghetti Western in Italy.

It's the stuff of nightmares - two specifically: the giallo within the film, with its witchcraft and butchery; and Gilderoy's personal cultural nightmare, a nightmare of intimidation and embarrassment, the ordeal of a painfully innocent Brit thousands of miles outside of his comfort zone, working in a small space with hostile, emotionally volatile strangers.

Borrowing from Takashi Miike's Audition (seminal J Horror film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore film and boy did he deliver with what comes across as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and works as an homage to a plethora of influential filmmakers including De Palma and the Giallo set.

Directed by Duccio Tessari (Death Occurred Last Night, A Pistol for Ringo), The Bloodstained Butterfly melds the lurid giallo traditions popularized by Dario Argento and Mario Bava with courtroom drama, resulting in a film that is as concerned with forensic detail and legal process as it is with grisly murders and audacious set - pieces.

A painter and cinematographer turned director, a craftsman turned celluloid dreamer, an industry veteran who created, almost single - handedly, the uniquely Italian genre of baroque horror known as «giallo,» he directed the most graceful and deliriously mad horror films of the 1960s and early 1970s.

The Bird With the Crystal Plumage Blu - ray (1970 — Italy) In 1970, young first - time director Dario Argento made his indelible mark on Italian cinema with «The Bird with the Crystal Plumage,» a film that redefined the «giallo» genre of murder - mystery thrillers and catapulted him to international stardom.

She is currently working on books including 1000 Women in Horror, a book on art and intertextuality in giallo cinema, and co-editing a collection about the film work of Elaine May for Edinburgh University Press's ReFocus series.

The first is the giallo, films indicated by their impossibly convoluted mystery plots and elaborate set - piece murders; the second, of which Suspiria is one, is the «supernatural,» distinguished by their surreality and lack of a traditional narrative.

The fourth segment covers seven sub-genres of cult cinema: the Giallo, spaghetti westerns, canuxploitation, pornochanchada, Christmas horror films, Food horror, and empty sci - fi.

Argento's first three films, the so - called «animal trilogy» (The Bird with the Crystal Plumage, The Cat o» Nine Tails, Four Flies on Grey Velvet) deepened the giallo as introduced to cinema by the late, great Mario Bava.

Though the genre's invention (named after the yellow / giallo covers of Italian penny dreadfuls) is credited to compatriot Mario Bava (see, especially, his astonishing Blood and Black Lace), Argento's scary polish and cunning for film language bridged the cultural, mainstream / arthouse gap with agility and audacity.

Fourteen years removed from his last good movie (Opera), his latest film Sleepless (a.k.a. Non ho sonno), starring the inimitable Max Von Sydow and heralded as a return to Argento's roots in the giallo genre, hits North American shores months after bootleg copies of it have already circulated amongst the ranks of disappointed fanboys.

Directed by Duccio Tessari (Death Occurred Last Night, A Pistol for Ringo), The Bloodstained Butterfly melds the lurid giallo traditions popularised by Dario Argento and Mario Bava with courtroom drama, resulting in a film that is as concerned with forensic detail and legal process as it is with grisly murders and audacious set - pieces.

Today marks the birthday of legendary Italian director Mario Bava, who is undoubtedly best known for his major achievements in the «giallo» horror genre (although he created works ranging from spaghetti westerns to science fiction films as well).

Tarantino's favorite record crates to pull from are 1960s - 70s Italian giallo (slasher) films, blaxploitation flicks, American b - movies and spaghetti Westerns.

New to this edition and featured on both Blu - ray and DVD editions is commentary by film historian and Mario Bava biographer Tim Lucas and the almost hour - long «Psycho Analysis,» an in - depth documentary on Blood and Black Lace and the origins of the giallo genre featuring interviews with directors Dario Argento and Lamberto Bava and screenwriter Ernesto Gastaldi among others.

Keaton, the grand - niece of silent film icon Buster Keaton, had previously appeared in six «giallo» Italian horror movies.

In the vein of Giallo style filmmaking, the film...

If you're a giallo newbie and you're looking for a starting point into the world of wildly violent Italian horror films, seek out Dario Argento's disconcertingly beautiful Suspiria.

Over-the-top kills, an»80s synth - pop soundtrack, a ridiculously bad play backdrop and a killer wearing a giant owl head highlight this fun, campy film whose lowbrow appeal illustrates the difference between a giallo and a slasher.

Giallo - like in its plot convolutions as well as its stark, shadowy visual style, this rare foray into strict horror by dark crime thriller master J. Lee Thompson is perhaps best known for its infamous shish - kebab murder scene, but the underappreciated slasher film has much more to offer, with a whole slew of show - stopping death set pieces and a stellar supporting cast, including Glenn Ford as Virginia's doctor.

The UK's Shameless Films seem to have a particular fondness for the torture and torment of Italian film siren Edwige Fenech at the hands of giallo legend Sergio Martino; but then again, I can't really blame them.

Director Peter Strickland turned heads amongst cult film circles with his Berberian Sound Studio, a lushly realized tip of the hat to the classic giallo styles of the 1970s that honored the past while also working in Strickland's own unique...

As much as the 1946 adaptation of The Postman Always Rings Twice has earned its place as an important American Film Noir, so too Ossessione is essential to Italy's history of lurid, intoxicating giallo cinema.16 Ossessione provides a perfect bookend to Calamai's final performance as Marta in Dario Argento's Profondo Rosso (1975): in both films Calamai embodies a similar bug - eyed feminine insanity, both characters pushed to the edge of violence and despair at their seeming invisibility to the men in their lives, and to society in general.

On the menu are political British Gangster dramas, Nazi propaganda films, Art - Giallo hommages, silent comedies, a knuckle - biter suspense spectacular, the Bard with music «n guns, more 80s nostalgia and TVs Party Down.

Released under the misleading title and ad campaign as The Evil Eye to stress the film's quasi-supernatural element, Mario Bava's last black & white film, La ragazza che sapeva troppo / The Girl Who Knew Too Much, is a really a weird hybrid of black comedy, Agatha Christie mystery, and prenatal giallo (some of it co-written by future Mondo Cane co-director, Franco Prosperi).

As seemed to be the convention for Italian thrillers for the next twenty years, Bava had an American actor playing the love interest who may or may not be involved in a crime that veers, at the film's precise midpoint, towards a series of implausible, ridiculous twists endemic of a standard giallo.

He is best known for his work in the horror film genre, particularly in the subgenre known as giallo, and for his influence on modern horror movies.

A horror movie in the giallo tradition, The Neon Demon is equal parts art film and B - movie schlock, with the dreamlike underpinnings of a fairytale.

Argento might be the father of giallo cinema, but it's Bava who laid the ground work with his 1963 film The Girl Who Knew Too Much and 1964's Blood and Black Lace, traces of which can even be found in Nicolas Winding Refn's The Neon Demon.

Deepening and amplifying their super-fetishistic remix of Italian giallo and horror tropes in Amer (ND / NF 2010), Helene Cattet and Bruno Forzani here create a delirious and increasingly baroque pastiche of the trance film and cinema fantastique — and then push it to breaking point.

(Were the title not Vampyres, you'd be forgiven for assuming the film had just announced itself as a giallo.)