stages its slasher carnage inside a Uruguayan movie theater as a madman works his way through unsuspecting ticket-buyers—takes its cues most from Lamberto Bava’s 1985 exploitation classic. The film is overrun with visual references to gialli and creates inspired images of its own, like smoke swirling out of a slit throat.
, which followed a mysterious killer as he stalked and slaughtered models in a Roman fashion house. A masked butcher of young women, his black leather gloves wielding a glinting knife, soon became the giallo’s defining symbol, and the opulent style with which films exploring such figures were made—especially once Dario Argento emerged in 1970 with—further distinguished the giallo as a uniquely aestheticized, textural genre.
In weighing the cultural significance of gialli, it might be helpful to consider them proto-slashers, given the sizable influence they exerted over American slasher films of the ‘70s and ‘80s. Bava was especially influential here: His 1971 featureBlood and Black Lace
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