Orders from Another World: The Poliziotteschi of Fernando Di Leo, Part Three
In my series on Italian director Fernando Di Leo, I began part one by examining his early career...
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Tag: Italian Season
Almost Human: Remembering Tomas Milian
“The whole city is full of madmen. It’s like a carnival shooting range.” —Umberto Lenzi’s Almost...
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Reflections of an Artist: Consumerism, Complacency, and Catholicism in Pier Paolo Pasolini’s ‘Porcile’
Salò, o le 120 giornate di Sodoma (Salò, or The 120 days Of Sodom, 1975) is necessarily associated...
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Orders from Another World: The Poliziotteschi of Fernando Di Leo, Part Two
I began this three-part Fernando Di Leo series a few weeks ago with a look at two of the first...
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We Blind See More Clearly: The Surreal Southern Gothic of The Beyond
Lucio Fulci’s The Beyond (L’aldilà, 1981) is a masterpiece. It was not always recognized as...
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Blood and Black Leather: Sadism and Masochism in the Giallo, Part Two
Within horror film discourse and in film theory more generally, it is accepted by some that one of...
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Blood and Black Leather: Sadism and Masochism in the Giallo, Part 1
In a scene from Mario Bava’s seminal 1964 film Blood and Black Lace (Sei donne per...
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The Secrets of Our Soil: Francesco Rosi’s The Mattei Affair
One of the most compelling plot devices of film noir involves an opening sequence that establishes...
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A Hidden Leprosy Gnawing Our Vitals: Transgression, Incest, and Bertolucci’s La Luna
“I found myself lying down in the apartment of my dead mother… [I] remembered that two years...
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Orders from Another World: The Poliziotteschi of Fernando Di Leo, Part One
Italian director Fernando Di Leo (1932-2003) began his career in cinema as a scriptwriter of...
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The Owl Murders: Michele Soavi’s Deliria aka StageFright
For my money, Michele Soavi is the greatest Italian horror director of the late ’80s and...
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Hawks and Sparrows: A Love Letter to Pier Paolo Pasolini and Ninetto Davoli
“You seduced me, God, and I let myself be seduced.” —Teorema One of Italy’s most important...
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