Dark Glasses (Occhiali neri)

Directed by Dario Argento

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sat

july

Showings

Sat July 30, 2022

9:45 PM

Auditorium des diplômés de la SGWU (Théâtre Hall)
PRESENTED WITH A.S.M.ort

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Credits

Official selection

Berlin International Film Festival 2022

Director

Dario Argento

Writer

Dario Argento, Franco Ferrini

Cast

Asia Argento, Andrea Gherpelli, Ilenia Pastorelli

Editor

Flora Volpeliere

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WILD BUNCH INTERNATIONAL

PRESENTED WITH

A.S.M.ort

Maxime S. Girard

Following the viewing of a strange video, a young woman becomes dangerously obsessed by the ASMR phenomenon, to the great displeasure of her roommates.

Quebec 12 mins

France, Italy 2022 87 mins OV Italian Subtitles : English

Genre Horror

"DARK GLASSES finds ingenious ways to retain the core of the Giallo while adapting to our current times”

– Elena Lazic, THE PLAYLIST

For high-end sex worker Diana (Ilenia Pastorelli, THEY CALL ME JEEG), being blinded in a car accident is just the beginning of her trauma. The white-van-driving psychopath who caused the crash, and has already murdered another call girl, is out to finish the job, relentlessly stalking Diana through Rome and its outskirts. And because she’s been harboring Chin (Xinyu Zhang), a young boy whose parents were also victims of that accident, Diana can’t go to the cops, who suspect her of kidnapping the child. So she and Chin have only each other to depend on as they flee through the night, trying to stay one step ahead of the maniac and facing other perils along the way.

Dario Argento’s first directorial outing in the decade since his ill-fated DRACULA finds him in a somewhat more sentimental frame of mind. A good deal of DARK GLASSES’ first half is a sympathetic depiction of Diana adjusting to her new sightless life, and her burgeoning, protective relationship with Chin. But don’t worry, Argento hasn’t gone kinder and gentler; when his latest killer strikes, the screen runs dark red with the graphic makeup effects of longtime collaborator Sergio Stivaletti. Back in the giallo genre that has served him so well so often in the past, the director (who scripted with another frequent partner, Franco Ferrini) eschews the complex plotting of his past murder mysteries to deliver a more stripped-down and focused story of survival in the face of madness, driven by Arnaud Rebotini’s urgent score. – Michael Gingold