After the box office smash Suspiria comes this second mind scrambling instalment of the 'Three Mothers' trilogy a psychedelic trip into gut wrenching horror. Join master of terror Dario Argento as he takes you inside a world of surreal fear and bloody violence! As a brother and sister delve into a series of gruesome New York murders it soon becomes clear that the devil is at work. A coven of witches are abroad and they bring murder death and escalating insanity with them... Get fired up for one of the masterpieces of Euro-Horror... Get ready for Inferno!
In this companion piece to his Nun And The Devil director Domenico Paolella refines the genre often imitated but never equaled which denotes both the origin of Nunsploitation cinema and its artistic peak. Eleonora Giorgi (Argento's Inferno) gives a powerful performance as Carmela a young aristocrat who refuses an arranged marriage and is sent to a convent. Her arrival intensifies the power struggle between the decadent nun Elizabeth (Catherine Spaak Argento's CatT O'Nine Tails) whose influential family maintain her debauched Sapphic lifestyle inside the cloister and the stern but evil Mother Superior (Suzy Kendall - Argento's Bird With A Crystal Plumage) as both women are smitten by Carmela's beauty.
Dario Argento's sequel to Suspiria, his first and to date only American hit, is an even more incoherent nightmare fantasy. Laden with symbolic imagery and fantastic explosions of death shot in candy-colored hues, it's a bloody feast for the eyes. Mark (Leigh McCloskey), an American music student in Rome, rushes home to New York after a frantic phone call from his sister only to find an empty apartment and obscure clues about a supernatural presence in her spooky building. It all has something to do with the mysterious Mater Tenebrarum, one of the "Three Mothers" of Argento's murky mythology, and the fun house of an apartment house she inhabits, complete with a fully furnished underwater ballroom, miles of secret tunnels flooded in red and blue light, and hidden passageways under the floorboards. Meanwhile, there's a killer running around stabbing beautiful women for who knows what reason, a crippled bookseller attacked by rats, and a homicidal hot-dog vendor in Central Park. Why? It's best not to ponder such mysteries--Argento obviously isn't as concerned with making sense of his meticulously staged murders as he is with lighting them with just the right hue. Dramatically it's inert, a parade of quirky but faceless victims dispatched with elaborate care, but it's beautifully designed and executed, a spectacle of elaborate set pieces and magnificent decor orchestrated with a complete disdain for narrative logic. --Sean Axmaker
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