This documentary about the great master of European horror and fantastic films offers an immersive exploration into the life and legacy of the director of Suspiria. Using the writing process of his next film as a starting point, Dario Argento Panico immerses us in the mind of the Italian genius, and offers testimonials from other filmmakers who love his work, all key names in today's world of cinema including Gaspar Noé and Guillermo Del Toro.
Spaghetti westerns, giallo, mondo... are the legacy of a golden age in Italian genre filmmaking, which began in the sixties and came to an end in the eighties, but not without leaving behind a few final masterpieces. This film explores, a few decades later, what became of those filmmakers and their films. A number of the most famous survivors of Italian horror movies will help to shed light on what happened.
Who was Joe D'Amato aka. Aristide Massaccesi? A genius of horror in the USA, a master of eroticism in France, the king of porn in Italy. A man with a thousand pseudonyms capable of making over 200 films while simultaneously holding the roles of producer, director, author, director of photography and even camera operator. An artisan of cinema as he liked to call himself, capable of working on all film genres. From spaghetti western to post-atomic, decamerotic to glossy eroticism, and blockbuster porn to bloody horror. Guided by the aesthetics of extremes and supported by an undeniable technical ability, Joe D’Amato pushed himself, and the viewer, beyond all limits following with dedication three rigid principles that have become his stylistic code: Amaze, Shock, Scandalize.
'Giallo' is Italian for 'yellow', the color of the lurid pulp novels that inspired one of the most intense, extreme and influential genres in movie history. In this unprecedented collection, experience the full chronological evolution of giallo with more than 100 rare and classic trailers from such masters as Mario Bava, Dario Argento, Lucio Fulci, Sergio Martino, Antonio Margheriti, Umberto Lenzi and many more. Then slip on black leather gloves and set the mood with a Bonus CD of legendary soundtrack music from composers that include Ennio Morricone, Riz Ortolani, Bruno Nicolai, Stelvio Cipriani and others, along with all-new featurettes that thrust even deeper into the genre. "But be warned," says Gizmodo.com, "Once you start going down the blood- slicked giallo rabbit hole, you may become dangerously obsessed."
Through the anecdotes and stories of actors, directors, critics and experts, this documentary traces the career of Lamberto Bava, from his first steps in cinema with his father Mario to his 1980 debut with "Macabro" to his collaborations with Dario Argento to the big TV series successes of "Fantaghirò," "Desideria" and "Sorellina."
A retrospective look at the making of Michele Soavi's "The Church" including interviews with cast and crew.
France, 1890. Inventor Louis Le Prince vanishes under mysterious circumstances right after he created a device that, five years later, the Lumière Brothers will call The Cinematographer. What if they had stolen Le Prince’s idea and wacked him afterwards? The mystery remains for more than a century, until Luigi Cozzi picks up a strange book called “The Roaming Universe” in the horror museum of his pal Dario Argento. The origin of this enigmatic book troubles him. This particular science-fiction novel would have materialized during a spiritual session in modern day Rome. At the session, an old woman revealed that the key to all these mysteries comes from 1895, a time during which the Lumière Brothers had denied lending their camera to Georges Méliès for an obscure movie called "A Trip to the moon". Not only does this film actually exist, but it raises a more intriguing question. Is our world the only one, or are there parallel universes ?
Various crew members talk about the making of Dario Argento's Inferno.
Lamberto Bava was born in Rome, Italy, and was the first of a third generation of Italian filmmakers. His grandfather, Eugenio Bava (1886-1966), was a cameraman and optics effects artist during the early days of Italian silent cinema. His father, Mario Bava (1914-1980), was a legendary cinematographer, special effects designer and director. Lamberto entered the cinema as his father's personal assistant, starting with "Planet of the Vampires" (1965). Bit by bit he gained experience from his father, who made him the assistant director for most of the rest of his films. He even co-wrote the screenplay for "Shock" (1977), Mario's last theatrical film where, in poor health during the shoot, Mario often feigned illness so Lamberto could direct a few scenes, uncredited, to gain further experience. Both Lamberto and Mario directed the made-for-TV drama "I giochi del diavolo: La Venere d'Ille" (1979). Both worked on the Dario Argento horror flick "Inferno" (1980), for which Mario designed some of the color set pieces, including the underwater ballroom, and created all the visual special effects, while Lamberto worked as Argento's assistant director. Late in 1979 Lamberto made his solo directorial debut with "Macabre" (1980), a tense drama-horror flick loosely based on a 1977 incident in New Orleans about a woman who keeps her lover's severed head in her freezer. According to Lamberto, the project started by chance when producer Pupi Avati approached him to direct as well as write the screenplay, which took just six weeks to write and direct. "Macabre" was released in Italy in February 1980 to mixed reviews, but won him recognition by his father Mario. Just two months later Mario Bava died, and an era in Italian film making came to a close. "Macabre" was not a box-office hit and, as a result, Lamberto went back to assistant directing. He worked with Dario Argento again in 1982 with "Tenebrae" (1982). In 1983 Lamberto was offered the opportunity to direct another film, titled "A Blade in the Dark" (1983), which was a violent mystery thriller shot in only three weeks on a tight budget and filmed almost entirely in a producer friend's house. Next he directed the action-flick "Blastfighter" (1984), which was filmed in the state of Georgia, and immediately afterwards directed the "Jaws" (1975)-like thriller "Devil Fish" (1984), which was shot in Florida. On both films Lamberto was purely a director for hire and had nothing to do with the script or production end. He used the pseudonym of 'John Old Jr.' for this latter film, which was a tribute to his father Mario, who often used the pseudonym 'John M. Old'. He enjoyed his best commercial success to date with "Demons" (1985), produced by Dario Argento, co-written by Dardano Sacchetti and filmed in West Berlin. This film's international success allowed him to co-write, produce and direct a sequel, "Demons 2" (1986). Lamberto returned to giallo thrillers with "Delirium" (1987). In the late 1980s the Italian cinema turned moribund. Lamberto, like most of his colleagues, turned to making films for Italian television. He also directed a remake of his father's "Black Sunday" (1960), which was titled "La maschera del demonio" (1990). Nowadays Lamberto Bava continues to divide his time between TV work and a few movies, acknowledging his inspiration from his late father, Mario.
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