#giallo essential

[giallofever2]

[goryhorroor]

horror sub-genres: mystery

[milfygerard]

well it is the black parade, melancholy is the name of the game!

why does everyone think theyre gonna break up they were having so much fun

[amiya-shirou]

Spoilers about Babel and Zwillingstürme im Herbst

I was thinking about Arknights' recurring dynamic of siblings who must confront each other no matter how important the other is for them and realized there are more parallels than I expected between Theresa/Theresis and Arturia/Federico - to the point the latter pair feels like a still growing, less actualized, somewhat inverted version of the first.

Arturia is Theresa: focused on emotion and empathy, has weird mental powers (that interact pretty well with Theresa's, as seen in her interactions with Amiya), her ultimate ideal is a level of connection that goes beyond the scope of her own civilization and in trying to achieve it she's at the same time dooming herself, her halo almost looks like the Black Crown (which I doubt wasn't intended, since the Law is definitely comparable to Civilight Eterna). The contrasts between them are pretty evident too: a white Devil who perfectly looks the part of the saintess and a black Angel who perfectly looks the part of the villainess.

Federico is Theresis: the more down-to heart, more serious, less idealistic brother, who has difficulties expressing emotions to others (or even understanding them in Fede's case) and is extremely close to his sister but also feels he must stop her as her ideals lead her down a dangerous path for others. Theresa/Arturia are going against the will of the Myriad Souls/the Law, and Theresis/Federico confront them by acting as protectors of that will for the sake of the people that would be affected. Even in this case, there are evident contrasts: Theresis is seen as a negative figure, the villain in Theresa's story, while Federico is seen positively and Arturia is presented as the villain in his story.

Despite everything, the siblings know each other best. Federico can tell if a crime is Arturia's fault or not because he understands her more than anyone else; when Arturia's ideals crumble after the discussion with the Witch King and she seeks death, Federico is the one she wants to be killed by. Years of civil war and aiming for the others' destruction didn't put a dent in the trust and affection that exists between the Sarkaz twins, and when they're reunited in Londinium they're once again betting everything on each other like it's the most natural thing do to.

Civilight Eterna chose both Theresa and Theresis as successors for the will of the Sarkaz; they were special, the legendary twins with the potential to change Kazdel's fate. The Law calculated the immense adversities Terra is going to face in future, and chose both Arturia and Federico as the next Saints, essential for Laterano to prepare against them.

The one advantage the Giallos have over the twins is that they're younger, less caged by the collective will of their people. They can still reach a good middle point and work together for a better future without needing to extinguish the other for their ideal to prevail. While Theresa and Theresis understood the value of the other's belief, they were fundamentally opposed because they acted as the symbols of two separated possibilities for the Sarkaz, possibilities that clashed with each other despite their continued survival being the ultimate objective for both. Instead, Zwillingstürme im Herbst shows Federico taking steps towards Arturia and learning to use emotion as a way to understand her even if he can't feel them the same way she does, while Arturia realized the value of Federico's logical approach and that his approach can make her objective more concrete rather than just an abstract ideal.

Federico helps Arturia give footing to her philosophical inquiries, reminding her that it is possible to find an answer and reach a conclusion and that her ideals do not need to remain abstract but she can actually take steps to realize them; meanwhile, for how strong the Kazdel twins' bond is, Theresis will always be an eternal reminder that most of the Sarkaz reject Theresa and her dreams for an hopeful future, and was never able to truly help her sustain Babel. And just as Federico one-ups Theresis on this matter, the same does Arturia to Theresa: she wants to see her ideal realized, she has learned that she also has a role in her utopia and that she shouldn't forget about herself while seeking it, in opposition to how Theresa can only see herself as a sacrifice, the soil upon which the flowers will grow after her death. Theresa and Theresis were doomed by the weight of Kazdel's history and suffering, but the two Sankta's story ends in a hopeful tone as their fate is not yet written, and in fact both of them are less a symbol of the will of Laterano and more clear outsiders in their society, rare different voices in a very conformist state and thus have the potential to change it rather than be shackled by their people's voices.

[thelanor-s-astame]

Hollow Knight Resurrected really helped me get out of a massive writing slump when it started releasing, and has since been a huge boost of inspiration for the past couple of years. This series has been nothing but a lot of fun to watch, and I've enjoyed it alongside your analyses as well (especially the Ori ones, those are a riot).

That being said, which episode would you say you're the most proud of script-wise? And how long did you initially plan HKR to be early on? Did anything deviate from your initial ideas?

Absolutely love hearing this! I'm real glad I could make something that could inspire someone else's writing! Like, it's shocking to me! And I'm sorry for the lack of updates. My entire life kinda imploded last year and I've been trying to put it back together. But I do intend to finish this thing (I've also been learning how to animate in blender which is a huuuuuge door opener that kind of allows me to do literally anything, including a few scenes that I just had no idea how I was gonna do.) So as far as script-wise, Absolutely gotta be the Grimm special. A lot of the episodes have Charlie just walking around and most of those bits are just jokes that came to my brain while either playing to get the footage, or while I'm looking at it on a timeline. Whereas most of the dialogue bits are the ones I write. The Grimm Special, is mostly dialogue. So that *entire thing* was script, which I hadn't done before, and on top of that it was enough script to fill almost 90 minutes! There's also just a lot going on, particularly w/regaurd to generational differences and how each of the Troupe deals with Grimms Plan and how it absolutely isn't going to pan out. And it changed pretty quickly from early on just because I didn't have a hellova lot of initial ideas. Like the first time charlie mentions getting to "The Bottom" is in like the 3rd episode. I didn't think to give the boy a goal until halfway through editing that one lmao. Most everything else has gone according to plan. Biggest surprise was actually the Grimm episode because until a month before I made it I had no fuckin' clue what to do with Grimm and His Boys until I remembered a throwaway line I gave to cloth about the "Iridescent Neo-streetfighting movement" (A play on the Italian Neo-realist movement. Because all of the fighting history is just simplified film history I put new words on top of And was like "You know, I could just take that and make that Grimms Circus act... But if that's the case... well so after that the big thing the Italian Film Industry got into was Spagetti Westerns, and then a little later Giallo so... Oh fuck Rodeos and Giallo is just The Weird Bloody Fighting Grimm Does for An Audience" And went from there. But aside from that there hasn't honestly been a tone of deviation from the original ideas I'd set in place since episode 3. Mostly I've just added bits and pieces here and there. Exept for maybe a lot of Hornet's stuff. This was meant to be a quick, few episode series as a prelude to the Silksong Videos i was Bound to have been finished with by now lmaaaaaaao Some stuff in particular was this idea that Hornets deal is that she can essentially See the internal song of someone, and that was going to be, like, a huge combat thing. Similar to how Charlie keeps changing his name, Hornet would keep trying to find a different song. Bringing back the My Body Is A Cage meme, and eventually having it switch to Swimmers by Zero 7 as she realizes she found her home and is ready to move on from Hallownest. I was going to make the Silksong videos the First Series Like This I did. But it's taking it's time and so am I so I s'pose I can't complain. Swear I'm the only human being on the planet who wipes a little sweat off my brow every time we *don't* get a release date. It's like "OH THERE'S STILL TIME FOR ME TO FINISH MY THING!"

[demento-mori]

(inspired by @goryhorroor's watchlist challenge)

My October horror movie watchlist!!🎃👻

day 1: silent horror movie: Häxan (1922 dir. Benjamin Christensen)

day 2: a 30s horror movie: Dracula's Daughter (1936 dir. Lambert Hillyer)

day 3: a 40s horror movie: Cat People (1942 dir. Jacques Tourneur)

day 4: a 50s horror movie: The Thing from Another World (1951 dir. Christian Nyby)

day 5: a 60s horror movie: Eyes Without a Face (1960 dir. Georges Franju)

day 6: a 70s horror movie: Martin (1977 dir. George A. Romero)

day 7: a 80s horror movie: The Lost Boys (1986 dir. Joel Schumacher)

day 8: a 90s horror movie: Event Horizon (1997 dir. Paul W. S. Anderson)

day 9: a 2000s horror movie: Battle Royale (2000 dir. Kinji Fukusaku)

day 10: a 2010s horror movie: It Follows (2014 dir. David Robert Mitchell)

day 11: a 2020s horror movie: Late Night with the Devil (2023 dir. Colin Cairnes, Cameron Cairnes)

day 12: pick a horror movie from your watchlist: Lake of Dracula (1971 dir. Michio Yamamoto)

day 13: pick a movie from my essential underrated horror: Let's Scare Jessica to Death (1971 dir. John Hancock)

day 14: pick a hammer productions horror movie: Dracula A.D 1972 (1972 dir. Alan Gibson)

day 15: pick a remake of a horror movie: Psycho (1998 dir. Gus Van Sant)

day 16: pick a horror movie released this year: Cuckoo (2024 dir. Tilman Singer)

day 17: pick a horror short film: La Sirena (2017 dir. Rosita Lama Muvdi)

day 18: pick a horror movie with a female villain: Misery (1990 dir. Rob Reiner)

day 19: pick a blumhouse horror movie: The Black Phone (2021 dir. Scott Derrickson)

day 20: pick a horror movie with a cult: Rosemary's Baby (1978 dir. Roman Polanski)

day 21: pick a giallo horror movie: Blood and Black Lace (1964 dir. Mario Bava)

day 22: pick an a-24 horror movie: Bodies Bodies Bodies (2022 dir. Halina Reijn)

day 23: pick an animated horror movie: The Wolf House (2018 dir. Cristóbal León, Joaquín Cociña)

day 24: pick an analog horror movie: Noroi: The Curse (2005 dir. Koji Shiraishi)

day 25: pick a criterion horror movie: Godzilla (1954 dir. Ishiro Honda)

day 26: pick a shudder horror movie: Host (2020 dir. Rob Savage)

day 27: pick a technicolor horror movie: The Birds (1963 dir. Alfred Hitchcock)

day 28: pick a slavic horror movie: Solaris (1972 dir. Andrei Tarkovsky)

day 29: pick a female directed horror movie: Ravenous (1999 dir. Antonia Bird)

day 30: pick a horror movie from directors’ faves: The Devil's Backbone (2001 dir. Guillermo del Toro)

day 31: freestyle; pick a horror movie of your choice: Trick 'r Treat (2007 dir. Michael Dougherty)

gonna try and squeeze a couple more in as well, but these are my main picks for my watchlist!! i tried to go for ones i havent seen yet, but there are a few familiar favourites in there too

[celuloideycarbono]

I’d like to write a bit about my videos. These are my first experiences with video editing, but I’ve enjoyed it a lot, even though it has taken me a long time. I’ve realized that any video longer than three minutes is quite challenging to create. I’ve always loved cinema, which is why I chose film soundtracks. I had a fairly clear idea of what I wanted to convey, and in a way, these videos reflect my feelings. Or at least, that’s what I’ve tried to do.

The first video came about after hearing that Morricone piece. I wasn't familiar with it, nor with the movie it belongs to, Revolver, which I still haven't watched. Morricone's music from the '60s and '70s is closely associated with Leone's films and the giallo genre. It’s a blend of violence and lyricism, which I felt was essential to illustrate the moments of battle between our two guys.

For the second video, I wanted a more intimate feel, and it took me a while to find the right music. I finally settled on the main song by Sharon Van Etten for the movie Past Lives. Besides being a wonderful song, it seemed perfect as it scores a film about two soulmates, connected by something greater, incomprehensible, and eternal. Destiny, perhaps. What could be better to represent that Tadejonas fandom? The song's calm tone helped me arrange the initial images that create parallels (the time trial, victories, defeats, drone shots). Then, in the final part, when the song intensifies, I added the moments of hugs and handshakes.

Finally, for this third video, I was more indecisive about the song choice. I wanted it to accompany moments where Pogacar and Vingegaard have collaborated, taking relays. I wanted a song that wasn't too sad (I discarded Delerue's for Le Mépris and Sakamoto's for The Sheltering Sky), nor too long (which is why I also discarded my first choice, the OST of Drive My Car by Eiko Ishibashi). In the end, I guess the music from La Jetée is a fantastic option because it’s ethereal and eventually transports you to a place beyond this time. That’s what I wanted to achieve, within my humble abilities as an "editor": aerial shots, dreamlike landscapes, and unreal and magical images. Additionally, in the central part, I tried to relate them, Tadej and Jonas, with a tone in the music—deeper for Tadej, higher for Jonas.

I need to rest now. I hope you enjoy it.

[nitrateglow]

Halloween 2023 marathon: 9-11

The Slumber Party Massacre (dir. Amy Holden Jones, 1982)

A serial killer breaks free from jail, but the local high school population could not care less. There's sex to be had and joints to be smoked at the latest slumber party. Anyone not invited to the party either aims to crash it (the horny high school boys) or stay at home trying not to think about how uncool they are (the new girl who's better at basketball than her catty peers). All will be drawn together once the killer makes his way into town with a handy power drill that totally won't be used inappropriately.

I saw this movie for the first time earlier this year and immediately fell in love with its goofy charm. Apparently, it was written to be a parody of slasher tropes. The movie isn't played for broad comedy, but the humor is ever present in both overt and subtle ways. There's also a blend of cattiness and affection between the female characters that reminds me of the sorority house dynamics of Black Christmas, and the dialogue is often hilarious.

However, for all the humor, there are some creepy moments. The Driller Killer's "love" monologue is skin-crawling-- even if it is followed by a glorious parody of "the killer should be dead but isn't" trope.

This is one I love showing to other people. Everyone usually falls over laughing by the end, so it's a great group movie, but even alone, it's a fabulous time. You can currently catch it on Tubi for free.

Eyes of Laura Mars (dir. Irvin Kershner, 1978)

Controversial fashion photographer Laura Mars starts having psychic visions of the murders of her associates right as the crimes are being committed. She and everyone she knows become suspects of the slayings. The police find it particularly interesting that Laura's photos, which pair high fashion with images of murder and violence, resemble the subsequent crime scenes. Confused and feeling guilty, Laura teams up with cynical investigator John Neville, hoping to track down the killer before she or anyone else she loves becomes the next target.

This is a new-to-me horror film I caught on Tubi. All I knew about Eyes of Laura Mars is that it was directed by Irvin Kershner, a journeyman filmmaker best known for The Empire Strikes Back, and written by John Carpenter (though tampered with by many before shooting began). The movie is essentially an American spin on the Italian giallo genre. You have the familiar setting of the fashion world, sexy models who become murder victims, a hapless protagonist drawn into the mystery, and some very nasty kills.

There's a lot I like about this film, but in the end it didn't completely work for me. Maybe it's because unlike the best giallo, the movie doesn't have that otherworldly, psychedelic vibe that makes an audience able to swallow the sillier parts of the story. This is a very grounded, gritty presentation of New York City, making the more outrageous things in the film (like the unexplained psychic powers) stand out and not in a good way. Faye Dunaway's performance also verges into unintentional camp, with her wailing like she's in a 1940s melodrama much of the time. And I love melodramatic 1940s movies with appropriately overheated performances, but when the rest of your story is trying to be more realistic, that approach just takes me out of it because it doesn't gel. (Don't even get me started on the final twist, which I can't decide if I find laughable or clever.)

And yet, this is hardly a bad film. What frustrates me so much about it is that there's a lot that's pretty great. The supporting characters aren't the deepest in the world, but they are likable, so when they got picked off, I actually felt something. The movie also has an appealing time capsule element in its presentation of NYC during the height of the disco era. The fashions and the music are dated in the best way.

Despite my complaint about Dunaway's campy moments, Laura Mars is an interesting protagonist. She takes her art very seriously despite the derision she receives from her critics. She doesn't allow anyone to push her around, be it her boozy ex-husband, hostile reporters, or the police. She clearly loves the models, make-up artists, and other associates who work with her, and Dunaway does well lending a genuine sense of bereavement to the character as her social circle gets picked off one by one. However, I feel like the movie doesn't do much with her and she doesn't really have an arc.

I just really wish this film were a better version of itself. However, I can definitely see myself rewatching it someday, so maybe knowing the twists will make me better appreciate what is there. I don't know.

The Curse of Frankenstein (dir. Terence Fisher, 1957)

From adolescence, Baron Victor Frankenstein has had one dream: to cheat death. He and his research partner Paul Krempe delve into the mysteries of life, managing to reanimate a dead dog. Paul is satisfied with this achievement, but like a Disney Princess, Victor wants more. Like, creating a superbeing from bits and pieces of corpses more. This does not end well. At all.

It isn't spooky season without some Hammer Horror. I really have a hard time picking a favorite Hammer film, but The Curse of Frankenstein is definitely up there. Peter Cushing is so perfectly amoral and charming as Victor Frankenstein. I love Colin Clive in the Universal movies, but Cushing is my favorite in the part.

I've always admired how this movie sets itself apart from the Universal series without overdoing the opposition. The Universal movies were influenced by 1920s German expressionism, whereas the Hammer films go for more of a Victorian gothic meets explicit (by 1950s standards) sex and gore vibe. The sets and costumes are always wonderful in these films. I really love Cushing's glorious jackets, particularly the emerald green one.

<spoilers down below-- beware!>

Curse is also interesting for its frame narrative with Frankenstein telling the story from prison the hour before he is to be guillotined for his crimes. No one believes there was ever a creature and Victor wants everyone to know that, hey, he didn't commit ALL the murders. What's most fascinating about the frame story is the way it presents Paul, Victor's former tutor and research partner. Throughout the story, Paul is an unheeded voice of conscience tormented by the crimes Victor commits to achieve his goals. It's also implied Paul is in love with Victor's fiancee Elizabeth, and that this passion ignites further resentment against Victor on Paul's part because Victor clearly does not care about Elizabeth at all but is going to marry her anyway.

The film ends with Victor begging Paul to tell the authorities about the Creature, but Paul acts as though Victor is insane or just making it all up. He doesn't want to save Victor-- but is that because he wants to see justice done? Or is he also tight-lipped because he wants to secure Elizabeth for himself and knows she'll feel too duty-bound toward Victor (who supported her and her destitute aunt during Elizabeth's childhood) to break off the engagement unless the groom-to-be is, well, headless? It's a wonderfully ambiguous touch and it makes Paul more than just a nagging moral center.

<spoilers over>

Anyways, this is a perfect Halloween movie. Don't miss it if you've never seen it!

[ecargmura]

Metallic Rouge Episode 4 Review - Verde The Phantom

Metallic Rouge’s strongest points are characters and animation while its weakest aspect is the story. It’s already been four episodes yet I have no idea what the heck is going on. Important details are shown but never told—I feel like the writer is expecting the viewers to dissect everything going on without explaining. Maybe I’m too stupid to understand? Regardless, I am not dropping this because I don’t really like dropping shows. Maybe it’ll get better, who knows?

From what I can tell, there was a bit of an invasion in the Nean community. Soldiers attacked and took some of the Neans prisoner. Rouge is suspected to be Yuval’s murderer. Naomi suggested she escape, but she refuses as she wants to stay to let Verde find her as she believes someone associated with him is a mole.

It sucks to see so much oppression with Neans. Given that this could be only 12-13 episodes long, Nean rights probably won’t be dived in too much as a topic, I feel like. I mean, Rouge is a Nean herself, but it does feel weird to see her fight for other Neans when she’s rather detached from her own people. However, people like Lion do exist. They could either be supportive or could be someone who betrays his own people for selfish purposes. While I still do feel bad that he got killed, he did kind of deserve it.

Naomi shows that she has combat skills. Her kicks are strong enough to catch Giallo off guard. I do like that she has self-defense skills. Though, it does make sense why she doesn’t use them as much as her opponents are either crazy people or androids who are much more powerful than her. Other than that, I do like how Naomi essentially mimics Rouge in that she sees a human and a Nean duo and asks them to help her get into the community. This time, she meets Ash Stahl and his Nean assistant. They’re on the lookout for the red Nean, aka Rouge.

I actually did NOT see Afdal being Verde. It makes sense when thinking about it, but given that I was trying to comprehend the plot, so the foreshadowing flew over my head. Verde reminds me of the Pokemon Scyther because of the green body and the knife-like hands. I feel like having him die feels more saddening as he has been present since Episode 2.

What I learned from The Case Study of Vanitas is that anything circus related is NOT to be trusted. The pig-tailed lady is definitely not to be trusted at all. Will Naomi and Rouge be reunited? What did you think about the episode?

[kowarth]

Tagged by @pers-books

Last listened to: Scott Bradlee's Postmodern Jukebox Blue Mirror

Reading: the Zygon Invasion by Peter Harness

Watching: Season 2 of Good Omens and Arrow Videos's Giallo Essentials collection.

Current obsession: @technicallywrite 's Cosmogate saga

Tagging @tea-with-miss-smith @wildphoenixofthe80s - with absolutely no obligation to participate as usual.

[solmints-messyocdiary]

I remember we were saying about the patron being a monsterfucker monster lover but honestly he sort of reminds me of a vampire himself. I mean the long black hair, the mysterious aura, he seems very nocturnal as well. I just wanted to say that since I’ve been seeing him a lot lately.

Anyway my window is always open for him <3 lol

Yes, he is both 👀

Thank you!!!

He was mainly inspired by Gabriel May and Giallo movies! But the goth/vampy vibes were also essential for his design for the reasons you pointed out! He is all about the allure, the danger and the seduction.

And you're totally right, he is nocturnal! A night owl through and through and many of his... ahem... activities are done at night.

He also finds comfort in the night... in his studio, drowned in the darkness and with only a night lamp illuminating the desk he is on. Either reading or drawing or writing in comfortable silence. Soft music flowing in the room from his gramophone.

Oh? Aren't you bold! Don't mind if he does~

[goryhorroor]

masterpost of horror lists

here are all my horror lists in one place to make it easier to find! enjoy!

sub-genres

action horror

analog horror

animal horror

animated horror

anthology horror

aquatic horror

apocalyptic horror

backwoods horror

bubblegum horror

campy horror

cannibal horror

children’s horror

comedy horror

coming-of-age horror

corporate/work place horror

cult horror

dance horror

dark comedy horror

daylight horror

death games

domestic horror

ecological horror

erotic horror

experimental horror

fairytale horror

fantasy horror

folk horror

found footage horror

giallo horror

gothic horror

grief horror

historical horror

holiday horror

home invasion horror

house horror

indie horror

isolation horror

insect horror

lgbtqia+ horror

lovecraftian/cosmic horror

medical horror

meta horror

monster horror

musical horror

mystery horror

mythological horror

neo-monster horror

new french extremity horror

paranormal horror

political horror

psychedelic horror

psychological horror

religious horror

revenge horror

romantic horror

dramatic horror

science fiction horror

slasher

southern gothic horror

sov horror (shot-on-video)

splatter/body horror

survival horror

techno-horror

vampire horror

virus horror

werewolf horror

western horror

witch horror

zombie horror

horror plots/settings

road trip horror

summer camp horror

cave horror

doll horror

cinema horror

cabin horror

clown horror

wilderness horror

asylum horror

small town horror

college horror

plot devices

storm horror

from a child’s perspective

final girl/guy (this is slasher horror trope)

last guy/girl (this is different than final girl/guy)

reality-bending horror

slow burn horror

possession

pregnancy horror

foreign horror or non-american horror

african horror

spanish horror

middle eastern horror

korean horror

japanese horror

british horror

german horror

indian horror

thai horror

irish horror

scottish horror

slavic horror (kinda combined a bunch of countries for this)

chinese horror

french horror

australian horror

canadian horror

decades

silent era

30s horror

40s horror

50s horror

60s horror

70s horror

80s horror

90s horror

2000s horror

2010s horror

2020s horror

companies/services

blumhouse horror

a24 horror

ghosthouse horror

shudder horror

other lists

horror literature to movies

techno-color horror movies

video game to horror movie adaption

video nasties

female directed horror

my 130 favorite horror movies

horror movies critics hated because they’re stupid

horror remakes/sequels that weren’t bad

female villains in horror

horror movies so bad they’re good

non-horror movies that feel like horror movies

directors + their favorite horror movies + directors in the notes

tumblr’s favorite horror movie (based off my poll)

horror movie plot twists

cult classic horror movies

essential underrated horror films

worst horror movie husbands

religious horror that isn’t christianity 

black horror movies

extreme horror (maybe use this as an avoid list)

horror shorts

[oswednesday]

---

the way youre soft block from using this website like it wont even let me reblog this post,,,thats so dfgdsfgd, omg like nothing in particular like in general, but it really askew the, like average persons like mental picture of what a movie is when you say a thriller-like, i think we can get away with a little more because its early scorsese and because robert deniro is staring in it its like mainstream art house but we have to remember its also the passion project of matteo j who is unbounded by the constrictions of hollywood and usamerican sensibilities, i think like film as like taxonomy Thriller is like higher up like Class and horror is Order but giallo is like species but to like a usamerican in 2022 like thriller is a species itself even if its not really a word people use that often, so like being like hey imagine it a thriller that comes with like dramatic gun scenes, lengthy dramatic speeches, explosions, fire, really bold and obvious symbology so the action isnt slogged down, maybe there’s criminal high stakes intrigue, like a giallo is a Thriller and is Horror in that broader category sense, but like how there is a difference between something like a cop procedural and a noir (never mind that most noirs are technically melodramas and people only really remember ones that are thrillers fdsf), there’s like a finer category of difference, like the godfather and gonchanov and reservoir dogs and scarface are all vastly different movies even having this (”mafia movie”) at their core, so i guess its less like people are Wrong when they say thriller more like you know theyre thinking about it wrong cause nothing has indicated otherwise

its too tame to be the Best exploitation piece of all time and too rooted in the mainstream to be the Best giallo of all time but whats essential to both of these is that its not a blockbuster gfdgfdgdf

[sbknews]

Special Liveries for the Official WorldSBK and MotoGP Teams for the Misano Races

The return of Giallo Ducati: special liveries for the official WorldSBK and MotoGP teams for the Misano races. Ducati pays tribute to its history in the world of racing by announcing that both the official WorldSBK (Aruba.it Racing – Ducati Team) and MotoGP (Ducati Lenovo Team) teams will compete in the Misano rounds of their respective World Championships with a special livery characterized by the return of Giallo Ducati colour.

The project was presented during a press conference held at the Misano World Circuit Marco Simoncelli in which Centro Stile Ducati Director Andrea Ferraresi took part together with the Italian designer Aldo Drudi, the man who created the special livery . The unveiling for the fans took place shortly before the formation lap of Race-1 of the Italian WorldSBK round, when the Aruba.it Racing – Ducati Team opened the garage door and the official riders, World Champion Alvaro Bautista and teammate Michael Ruben Rinaldi, entered the track astride their respective Panigale V4 R in Giallo Ducati with race suits coordinated with the shades of the bike.

Yellow is a colour that has an important tradition in the history of the Bologna-based motorcycle manufacturer. The first sport motorcycles in this colour date back to the first half of the '70s (the 750 Sport and 750 SS Desmo of the Spaggiari team), but it was in the '90s that Giallo Ducati, the colour that specifically inspired this livery, had the moment of greatest popularity with the adoption in the world of racing, which then extended to series production. The memorable models in Giallo Ducati certainly include the Ducati 748, whose racing version took Paolo Casoli to victory in the 1997 edition of the Supersport World Series, without forgetting superbikes such as the 916, 996, 749, 999 and other various models in the range.

“Ducati has an extraordinary history of which its passionate fans are extremely proud. The yellow colour is an important part of this and we have chosen to celebrate it through a contemporary livery full of energy. – declared Andrea Ferraresi, Ducati Centro Stile Director - Colour is an essential ingredient for brand recognition and a fundamental element for all Ducatisti. Ducati is Red, but Yellow also belongs to us and at the same time has an important tradition in Italian motorsport. Giallo Ducati reflects important aspects of our identity, such as energy, enthusiasm and audacity and is a really nice tribute to our sporting history in the year in which we race as World Champions in the two most important motorcycle championships".

From a chromatic point of view, the livery of the Panigale V4 R of the Aruba.it Racing – Ducati Team has been designed starting from the original graphic base. Giallo Ducati becomes the dominant colour of the bike and is crossed by black, grey and white blocks and lines, creating a combination that celebrates the sporting history of the Bologna-based motorcycle manufacturer, but at the same time gives Giallo Ducati a modern identity. For more Ducati news check out our dedicated page Ducati UK News or head to the official Ducati UK website ducati.com/gb/en/home

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[cosmic--marmalade]

Hallo Briar!

Do you have a favorite horror movie?

What is your favorite horror franchise?

<3 - Mitch

Hi Mitch!!

7. Yes I do, it's Suspiria (1977)! Giallo horror movies are some of my favorite because of their dedication to over the top visuals, and therefore their campiness. It's just so oooooooooo tasty to me. I think the 2018 remake is really good too. I like that while retelling essentially the same story the movie also engages in some really fascinating explorations of themes that aren't necessarily present in the original film, but rather are elaborated on and extrapolated from the original material. It's hard to watch in that its visuals are grounded but the 1977 film is grosser overall, in my opinion lol, because it leans into practical visual effects that just feel tangible groddy.

8. So here's the thing, I'm not just a monsterfucker. I'm also a slasherfucker (womp womp). As much as I would love to say like idk, Hellraiser (because wow what a set of movies huh, we love psychosexual religious turmoil here), or even Scream (everything after the second one sucks to me idk sorry), I have to go with Halloween (Michael Myers my beloved). It's stupid, it's schlocky, the first time I watched it I was so caught up in how Big and Strong Michael was that I didn't even get tense. That whole franchise, as crazy bad and meandering as it gets, is like a feast for me. In an effort to keep Michael relevant the franchise goes in some wildly bad directions, and I don't even care! I get to watch this Big Scary Man wreck house for 2 hours!! Nice!! Why did they make him attached to a satanic cult in the 4th one?? Idk!! Why did they make him the father of his niece's child?? Beats me man!! WHY DIDN'T THEY MAKE CORY FUCK THAT OLD MAN IN THE NEW ONE??? IDK!!!BUT THEY SHOULDA!!! Anyways I'm a simp.

I promise I watch indie horror and high brow horror too but I really am a sucker for my schlocky faves.

[watching-pictures-move]

Movie Review | Single White Female (Schroeder, 1992)

This review contains mild spoilers.

I don't know how much this comes across in my writing, but I am not good at making new friends in real life. I am frequently socially awkward. I am usually not sure how much I want to open up and make myself vulnerable, so I can come across as either cold or a lousy conversationalist, or worse, downright weird. And when I do manage to make friends, there's sometimes a certain lingering insecurity, a question of whether they consider me to be as close a friend to them as I consider them to me that nags at the back of my neck. I think one of the reasons I find online interactions easier is that, depending on where you are on the internet, you're presenting that interiority up front, allowing people to get a sense of who you are and what interests you have before they begin talking to you, that helps cut out that initial awkwardness.

These are things that I was chewing over during the first act of Single White Female, which I think captures this tension in the Jennifer Jason Leigh character. When we first meet her, there's a certain ambiguity over whether this person is just awkward, overeager, excited to make a new friend, or whether this person really is insane. We see her gently insinuating herself into the life of Bridget Fonda's heroine, in ways that cross boundaries but with uncertain intent, but we see Fonda essentially do that same thing, as she starts going through Leigh's things when she thinks she isn't looking. This is a lot more invasive than going through someone's online posts and pulling up their social media profiles, but perhaps the impulses behind them aren't too far apart. When Fonda makes the decision to get back with her fiance, after Leigh has clung to her so closely and begun shaping her identity around her, I didn't find it hard to understand why Leigh would view this as a betrayal.

Leigh plays this material empathetically, and her performance is the primary reason to watch this movie. I am less enamoured, however, with the way the movie frames her. There are forebears for this movie's premise, but I don't get the sense the movie wants us to fully identify with Leigh's character, eyeing her from a distance, likely so it can function as a thriller through its initial ambiguity, but failing to implicate us in either her or the heroine's actions and motivations, like, say, Alfred Hitchcock was wont to do. My familiarity with Barbet Schroeder's work is limited to his documentaries, and perhaps there are similarities in how both this and General Idi Amin Dada gawk at their deranged subjects, but I think that works better in the unyielding pitch black cringe comedy framework of the other movie than in the slickly crafted thriller mode this movie operates in.

The style can likely be described as gentrified giallo, having some of the same verve and appeals to warped psychology, but never really committing to the perversity or externalizing the characters' headspace. The movie is far from sexless, but doesn't go in the more perverse directions that Hitchcock or one of the Italians could have taken it in. ("Not perverted enough" is another complaint coming out of my garbage viewing habits, although this time I can cite some classier directors.) There are appeals to yuppie anxieties, but no real sense of economic insecurity from either character (although these strains do allow the movie to introduce a nicely unctuous Stephen Tobolowsky performance). I feel like I am watching something play out from a distance, not like something is happening to me. But like I said, there is some good thrillering here, with two of its best moments (a chipper conversation where the heroine turns out to be gagged and duct taped to a chair, and an anguished monologue revealed to be a suicide note the villain is dictating) hinging on reversals, and at least one shot that looks suspiciously like a key image from Nightdreams. I have no idea if Schroeder's seen that other movie, but it's fun to speculate.