Triumphant cinematic returns are what filmmaking and film loving is all about. They’re made that much sweeter for how long we have to wait for them. Whether its a favorite character or a favorite creator, nothing beats the giddy feeling of seeing a long-awaited name on screen again.
When I first heard that Dario Argento’s return to filmmaking after a decade long absence would center around a disabled character, naturally I couldn’t wait to see what he would do. One of giallo’s masters of the weird, twisted plot, running with that signature eye-popping red while that unforgettable pulse-pounding score beat in the background? What more could you ask for? On most fronts DARK GLASSES— which just had its Canadian Premiere at this year’s Fantasia International Film Festival—is a successful return to the things that make Argento so beloved. The long-standing collaborations that set his work apart, including with writer Franco Ferrini and special effects artist Sergio Stivaletti, form the visual and narrative backbone. What’s changed is the approach. Rather than lean into anything too over-the-top, DARK GLASSES favors a narrower, slightly more sensitive focus. The story revolves around Diana (Iliana Pastorelli), recently blinded following an accident instigated by a madman intent on her demise, and her fight for survival.
As a result, a large chunk of the usual guesswork involved in Argento’s films is removed in favor of giving Diana as much of the focus as possible. This works, to an extent, despite her predominantly depending on those around her. It also positions DARK GLASSES somewhat uniquely as both return and departure, perhaps best used as a lure for potential new fans more than a fully satisfying experience for die hard consumers. It’s a novel opportunity for Argento and fans alike to return to what’s familiar—gorehounds will be just as pleased here as elsewhere, and Arnaud Rebotini’s propulsive score keeps the energy up—while presenting a more pared down side to the filmmaker’s abilities. Tamer, yes, but with enough of the same potential for bite that DARK GLASSES can, and should, be considered a successful return with an aim to bring in new fans.
Tags: Andrea Gherpelli, Arnaud Rebotini, Asia Argento, dario argento, Dark Glasses, Fantasia Film Festival, Film Festivals, Franco Ferrini, Giallo, Ilenia Pastorelli, Sergio Stivaletti, Xinyu Zhang
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