The score by Thom Yorke of Radiohead also plays off the period.
A muted palette draws on the influence of filmmakers like Rainer Werner Fassbinder. Radio clips and newspapers refer to bombings and a Red Army Faction hostage episode. Guadagnino set his version in 1977 during that season of social tumult and radical feminism. Ultimately it is women harming each other, saving each other, befriending each other and getting angry at each other.” “What I think is interesting from a feminist lens is how off to the side all the male characters are. “A lot of people would classify it as a misogynist film because of its violence against women, which I don’t disagree with,” said Alexandra West, co-host of the podcast The Faculty of Horror. Where most such films exploited and victimized women, here women are committing the brutality.
DARKNESS MME EFFECT MOVIE
In addition to its aesthetics, the movie was also notable at the time because it tried to flip the traditional dynamic of violence in horror movies on its head. ‘Drive My Car’: In this quiet Japanese masterpiece, a widower travels to Hiroshima to direct an experimental version of Chekhov’s “Uncle Vanya.”.‘Passing’: Set in the 1920s, the movie centers on two African American women, friends from childhood, who can and do present as white.‘Spencer’: Kristen Stewart stars as an anguished, rebellious Princess Diana in Pablo Larraín’s answer to “The Crown.”.‘Summer of Soul’: Stevie Wonder, Mahalia Jackson, Mavis Staples and others shine in Questlove’s documentary about the Harlem Cultural Festival.Scott and Manohla Dargis, selected their favorite movies of the year. Argento used the standard formula for giallo, a genre of Italian horror film, but the resulting movie was “much less interested in the story than how it feels and looks and sounds.” “It was a full-throttle sensory assault, and that is for the eyes, ears, mind, stomach, soul and the imagination,” said Adam Lowenstein, a film professor at the University of Pittsburgh who writes about horror. His film shocked audiences by pushing the boundaries of what a horror film could be by mixing the vocabulary of the genre with art-film aesthetics. “I wanted to dive into the world of esotericism and magic that had impressed me so much when I was very young, and I wrote this film about the power of witches and their influence in today’s society.” “It is a story entirely female,” he wrote in an email. With the original, Argento said, he was intrigued by the prospect of exploring an all-female world and its capacity for dark magic. The movie revels in gore and gruesome displays of horror - there are exploding chests and scenes of spouting blood - but it also delves into the dynamics of a wholly female community, touching on issues of power, manipulation, motherhood and the horrible things women can do to other women and themselves.