When it comes to horror films, many different cultures develop certain aesthetic and narrative hallmarks that make categorization interesting. When it comes to the Republic of Italy, the local flavors feature some of the strangest, goriest, and most visceral films of the past several decades.
Italian horror cinema is often best defined by a subgenre known as Giallo, which typically entails gory murder-mystery stories. The Giallo wave of the 60s and 70s provided inspiration for the overwhelmingAmerican slasher movie craze. These “spaghetti slashers” were extremely common, and often very well directed, but were far from Italy’s only horror innovation.
RELATED:This Underrated Horror Movie’s Setting Is Haunted In More Than One Way
Inferno(1980)
Most peoplehave heard ofSuspiria, especially after its outstanding 2018 remake, but Dario Argento’s spiritual follow-up isn’t as well-known. Released three years later,Infernois the second in Argento’s Three Mothers trilogy. This film did not have the box office success or cultural impact of its predecessor.Infernois the tale of Mark and Rose, a pair of siblings who investigate a series of mysterious killings. Mark is studying abroad in Rome, while Rose lives in New York City, and the duo discovers they’re both within the domain of a coven of witches.
What follows is mostly disturbing chaos. It’s genuinely tough to follow, but while it’s running, it’s almost better not to even try. The technical weaknesses and logical inconsistencies are effectively drowned beneath thesheer manic violence of the experience. They only bubble up to the surface after the credits roll. The film is a cult hit among a very specific audience, they know who they are, and anyone who fits the bill should seek this one out.
Don’t Torture a Duckling(1972)
Lucio Fulci’s first breakthrough film has nothing to do withthe disorienting zombie filmshe’s probably best known for. Instead, this Giallo masterpiece places its audience in a tiny Italian village that has been rattled by a series of child murders. It’s packed with interesting characters and the mystery is extremely well-established.
Unlike the average American slasher film,Don’t Torture a Ducklingcontains a thread of bracingly intelligent and honest social commentary. On top of that, it’s blisteringly cruel. The shock comes from visceral violence, but the horror comes from the very grounded darkness of the seemingly banal. The acting is solid, the themes are clever, and the outlook is powerfully grim. It’s hard to say if this is Fulci’s best picture, but it’s one of the most suspenseful, effective, gripping, and powerful horror films of the modern era.
Kill, Baby, Kill(1966)
There are three directors most have heard of when it comes to Italian horror; Dario Argento, Lucio Fulci, and Mario Bava.Kill, Baby, Killis a supernatural horror film that stands as one of the best of Bava’s output. It centers around a village that is haunted by the vengeful ghost of a little girl. A pair of experts attempt to solve the mystery while a local witch works to keep the town safe.
Like most of the genre, what it lacks in story, it makes upfor with overwhelming atmosphere. It’s a gothic tale, turning a downtrodden village into a nightmare world where anything feels possible. These films are hallmarked by bizarre, yet gripping cinematography, andKill, Baby, Killis no exception. There’s a dreamlike sense of detachment that the camera lends to the narrative, adding even more surreal elements to a largely manic story. Who invented, refined, or perfected Giallo is a matter of endless debate, but Fulci, Bava, and Argento are the three figures standing at the top of the genre’s resolute mountain of gore and madness.
Short Night of Glass Dolls(1971)
This film is the directorial debut of Aldo Lado, who went on to direct thirteen other Italian films, including one just a decade ago. This strange psychological horror journey begins with the protagonist, beat reporter Gregory Moore, found dead and on his way to the morgue. As it turns out, Greg is still alive but trapped in a paralyzed and immobile body. The story takes place as he tries to retrace his steps and encounters a dark reality within his own mind.
Greg’s beautiful girlfriend is one of many young ladies who’ve gone missing, and he teamed up with a detective to solve the case. The film is bizarre, well-paced, unnerving, and deeply grim. In a bizarre turn, the film iscompletely free of gore, but it’s as scary as the rest. Through inventive storytelling and solid filmmaking instincts, Lado found a new spin on the genre.
Colour from the Dark(2008)
More recent Italian horror has hidden gems as well, it’s not all classic Giallo. Ivan Zuccon’s looseadaptation of H. P. Lovecraft’sThe Color Out of Spacefinds the humanity in the cosmic horror. The story centers around a small family of poor farmers who accidentally discover something unexplainable beneath the family well.
Color is a central theme and one of the most interesting filmmaking choices on display. The color grading washes the entire experience in gloom and misery, powerfully influencing the film. Like a lot of Italian films, this wasmade on a tiny budget, so some of it looks cheap, but the capable direction makes it a truly unique experience.
MORE:What Makes It Follows Such A Popular And Enduring Horror Movie?
