STORY: Day of the Flowers: Edinburgh Review We watch Gilderoy and company, including bad-tempered producer Francesco ( Cosimo Fusco), watching the movie – for which the Studio, in accordance with typical practices of the day, provides the entire soundtrack. The film-within-the-film The Equestrian Vortex – directed by the flamboyant Giancarlo Santini ( Antonio Mancino) and seemingly modeled on Argento’s masterpiece Suspiria – of which we see only the amusingly ludicrous opening-titles. Taken on its own terms, the film works as a character-study of fortysomething, mild-mannered, workaholic Gilderoy (Jones) – first name or surname? – a fish out of water amid these tempestuous southern-Europeans. Familiarity with these pictures isn’t essential to get the gist of what’s going on in Berberian Sound Studio, but it certainly helps. Prince Harry Wins Partial Victory With $180K Damages Ruling in Phone Hacking CaseĮvidently inspired by such inside-baseball predecessors as Michael Powell‘s Peeping Tom and Brian De Palma’s Blow Out, Strickland displays intimate knowledge of the lurid Italian 1960s-80s giallo wave of violent thrillers and horrors from the likes of Dario Argento, Mario Bava, Lucio Fulci and Sergio Martini. The film therefore looks likely to emulate Strickland’s Transylvania-set 2009 debut Katalin Varga and enjoy a lengthy festival run followed by small-scale art-house distribution and small-screen sales. But while the plethora of sly references and in-jokes will delight genre aficionados and cinephiles, a third-act spiral from queasy dark comedy into more ambitious David Lynch-ish territory will likely leave more general audiences frustrated. Starring superlative British character-actor Toby Jones in a rare lead role, this UK/Germany co-production follows the misadventures of a timid sound-mixer working on a grisly shocker in 1970s Italy. EDINBURGH – The nightmarish side of moviemaking is imaginatively if unevenly dramatized in writer-director Peter Strickland‘s sophomore effort Berberian Sound Studio, the most critically lauded of the Edinburgh’s 18 world premieres.
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