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“I think that’s what you start to see in those later films in the ’80s and ’90s.” “The trajectory of his filmmaking can only go deeper and deeper in continuing to explore trauma, and it’s going to inevitably get more uncomfortable and disturbing,” Wilson says. In The Stendhal Syndrome, for example, the director’s career-spanning fixation on Freudian analysis seems to edge its way to the front of the camera, with Asia appearing in several graphic scenes of sexual assault. Later working with Asia, Argento frequently pushed the limits of meta-narrative beyond the point of good taste. Nicolodi has described her improvised, comically sustained scream at the film’s close as a “cathartic release from the whole nightmare.” Daughter Asia later claimed that moment inspired her to become an actress. On set, Argento was alleged to have tormented his then–wife, actress Daria Nicolodi, believing she was romantically involved with her co-star. Tenebrae also marks an incline in Argento’s tendency to insert himself into his work through the women in his family, to increasingly chilling effect both on–screen and off. “For lack of a better phrase, he sort of doubles down on a lot of the criticism that was leveled at him early in his career,” Wilson says.
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The latter, about a crime novelist whose writing inspires a serial killer, represents a shift toward self-reflexivity in the director’s career.
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“It’s sort of overdue to look at Argento’s career as a whole,” Wilson says, distinguishing series focused on early giallo fare and/or Suspiria from FLC’s nearly comprehensive slate.Īrgento will appear in person to present his debut film Bird with a Crystal Plumage (1970) and Tenebrae (1982). The question of “Why now?” could have been answered easily at any point in the last 30 or 40 years. But as organizer Tyler Wilson argues, his popularity can be traced back decades, through his influence on American slasher films up to and beyond directors like Nicolas Winding Refn, Julie Ducournau, and even Wes Anderson. It’s the mystery of my films, the succession of generations.” Argento’s chromatic, archly composed aesthetic holds obvious appeal for the Instagram and Tiktok generations.
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The program, presented in partnership with Cinecitta, will feature the world premiere of 17 new 4K restorations overseen by Argento himself, plus 35mm screenings of Inferno (1980) and Mother of Tears (2007), alongside rare showings of deeper cuts like The Stendhal Syndrome (1996), 2012’s Dracula 3D (in 3D), and the Harvey-Keitel-led Edgar Allen Poe adaptation The Black Cat (1990).Īcknowledging the sneaking sense that his fans were trending younger, Argento told Italian newspaper la Repubblica earlier this year, “my retrospectives are full of kids. When the 1977 film wasn’t showing at midnight at a repertory house, it was playing on mute, filtered through projectors’ bulbs at image-conscious bars, clubs, and parties frequented by denizens of a new scene whose headquarters were a stone’s throw from Metrograph Theaters.īeware of Dario Argento finally starts soon, albeit uptown at Lincoln Center. In the fall of 2019, when Film at Lincoln Center’s extensive Dario Argento retrospective was first scheduled to premiere, it seemed possible to catch a screening of Suspiria in New York City without even intending to.
Dario Argento (all images courtesy Film at Lincoln Center)
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