Sentences with phrase «in giallo films»

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.

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 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.

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.

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.

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).

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...

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.

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.

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.

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.

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.

Bava made dozens of films in the sixties and seventies as a director, writer and cinematographer, helping to launch the «giallo» genre of Italian cinema and re-inventing the slasher film.

This stunning example is finished in Giallo Inti paint and already protected by front clear protective film.

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.