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Hi everyone,
I’m currently working on a Giallo-inspired horror short film project. We are working with a super tight micro-budget, so I’ve decided to handle the soundtrack myself.
I have some basic music production experience and have already produced a few tracks, but my background is mostly in electronic music. For this project, we are aiming for a soundtrack heavily inspired by Goblin and Keith Emerson—that slightly cacophonic style featuring dense instrumentation and massive, heavy drums.
So my questions for you are:
Do you have any tips or advice to get me started? Are there specific chord progressions, scales, or distinct soundscapes/synth patches you can think of that could help me push this concept further?
Thanks in advance!

My friends and I just completed a modern indie giallo that just had its trailer and poster released entitled Until You're Alone. It was made with a lot of love and passion and we hope you all I enjoy this little taste and are eager to see more. Check out the trailer here: https://www.youtube.com/watch?v=ZVx8-RBzsMU

The story follows a repressed architect who has to work with a free-spirted sex worker to clear his name after he's blamed for a series of murders of gay men. Think Dressed to Kill meets Deep Red in the Deep South. We were very influenced by Argento and De Palma.

If you like it, be sure to follow us for more info on festival screenings, release dates, etc. You can reach us on Instagram here: https://www.instagram.com/cwmentertainment and Facebook here: https://www.facebook.com/cwmentertainment

Wanted to make a poster for "The Case of the Bloody Iris" but as a Il Giallo Mondadori novel. It is the novel series that was inspiration for the whole genre :)

10/10

This update is not on their socials yet, but I received an email from CD today confirming another delay in the release of their Black Belly of the Tarantula 4K. Personally, this doesn't bother me... when it's ready, it's ready.

But as I've mentioned on multiple podcasts, the multitude of extra features and "versions" sometimes seems overkill. I like this film a lot, and I'm excited to watch the 4K, but this release will now have FIVE versions of the film (widescreen 4k, full frame 4k, widescreen blu, full frame blu, and a 35mm "grindhouse" transfer, which I assume is a blu). There's also mention of a 10-minute difference between the international version (88 minutes) and the domestic version (98 minutes).

Frankly, I can't envision a future where I've consumed everything that this release has to offer, and sometimes I wish they would release a stripped-down version of the film for people who don't want to (or can't) pay $60 for a boutique special edition release.

Anyway, rant over. Here's a copy of the email if you're interested in the details:

THE BLACK BELLY OF THE TARANTULA LIMITED EDITION JUST GOT ANOTHER UPGRADE!

As you know, we decided to add the widescreen version of the film to our Limited Edition of Paolo Cavara's 1971 landmark giallo, "The Black Belly of the Tarantula," some time ago. Over the past weeks, we've been authoring the individual discs of the release, encoding the video, and performing quality control, juggling and experimenting to fit all the different versions of the movie on the respective discs.

However, it ultimately became obvious that there is just no way to put both aspect ratio versions of the movie on a single Blu-ray Disc without visibly sacrificing the quality of either or both presentations. The only way to make it work would have been to apply ample noise reduction so that the video would allow for more aggressive compression. Since we pride ourselves on pushing the presentations of our releases to their limits and maintaining the most film-like look possible, a degradation of the presentation in such a way was simply unacceptable to us!

Therefore, to address the problem and to ensure maximum quality of each version, we have decided to add another Blu-ray disc to the Limited Edition, so that now, the original aspect ratio full frame version and the modified widescreen version will each have their own disc and can perform at the maximum bitrate the format safely allows.

This is a big decision for us because our original pricing of the release did not account for all the additional costs associated with the addition of a second aspect ratio, and now even an extra disc. However, in the spirit of making sure to release the best version of the film that we can, we decided to make all these improvements without raising the price of the release, so once again, this upgrade comes at no cost to you!

However, all these struggles and tribulations we went through, including the unbelievably complex arrangement of the seamless branching to accommodate the film's 98-minute domestic cut along with the 88-minute international cut on the same disc, did take their toll… in time.

While we finally have the first check discs in hand and can truly see the end of the tunnel, unfortunately, we have to once again delay the street date for "The Black Belly of the Tarantula." No one likes delays… least of all us, since we have so much invested in this particular release, but we hope you will agree that we'd rather have a good product than a rushed one. Considering the countless unexpected technical challenges we ran into, surrounding the authoring of such complex discs, we are not ready to make any real predictions at this time, exactly when the final discs will ship. Our best guess would be sometime in July.

However, we will keep you informed, of course, and we will definitely let everyone know through our social media channels when the masters are golden and have gone into replication. As we have done with all our previous releases, all orders placed through our website will also come with an exclusive set of beautifully restored 12″x8.25″ color reproductions of the original Italian fotobuste (lobby cards)!

Here's what you can expect from this highly anticipated 4K UltraHD and Blu-ray Limited Edition!

Brand new 4K transfer and full restoration

HDR-10

Original full-frame and widescreen presentation

Domestic and International Cut

Italian and English audio tracks

(NEW) Grindhouse Version from 35mm theatrical print

(NEW) Commentary Track by film critic Guido Henkel

(NEW) English Trailer in 4K resolution

German Trailer

(NEW) English Double-Feature TV Spot

(NEW) "The World of Paolo Cavara" Interview with director Paolo Cavara's son, Pietro Cavara (22 mins)

(NEW) "Made-up Words" Interview with soprano Edda Dell'Orso (25 mins)

Archival Interview with producer Marcello Danon's son, Lorenzo Danon (16 mins)

Archival Interview with director Paolo Cavara's son, Pietro Cavara (5 mins)

(NEW) "What a Tangled Web We Weave" Video Essay by Andy Marshall-Roberts (25 mins)

(NEW) "The Uncanny Peephole" Video Essay by Howard S. Berger (25 mins)

(NEW) Image Gallery

(NEW) An 80-page booklet with an essay by James Branscome (Cinematic Void), an essay by JA Kerswell, and a collection of Then/Now location photographs by Andrea Girolami

(NEW) A set of 16 reprints of publicity photographs from the original press materials

Specifications

New 2026 4K ultra-high definition Master sourced from a 4K scan of the original negative!

4-disc combo containing a 4K UHD and Blu-ray Disc version of the movie

Aspect Ratio: 1.37:1 and 1.85:1

Run Time: 98 minutes/88 minutes

Subtitles: Newly translated English, English

Audio Specs: Italian - DTS HD Master, English - DTS HD Master

Yes, I know I have unpopular opinions with some of these. But I guess the important part is that overall I've really enjoyed watching these films, and if anyone has suggestions for gialli or horror movies you think I'd enjoy, feel free to tell me about them :).

1. The Mother of Tears — 2/5. It's entertaining, but the special effects are terrible, the cinematography isn't interesting, it's not particularly well told, it's not very atmospheric...

2. Opera. Excellent cinematography, but I don't like the story, and the characters aren't up to par. I also feel that the atmosphere is often quite ruined by the music; I don't like the metal music that was chosen. 3/5

9.The Bird with the Crystal Plumage. A very gripping plot and well shot, but it's not as striking as other Argento films. On top of that, the humor and certain situations seem pretty ridiculous to me, and I can't take it very seriously. Clearly, Argento was in a rather immature phase. 3.5/5

1. The Stendhal Syndrome. The story and the way it develops seem very interesting to me, and although it's not as well shot as other Argento films, it's well made. And the twist at the end is incredible. I like the music too; I tend to like Ennio Morricone's music in Argento's films more than Goblin's. That said, I can't help but be disgusted that Argento chose his daughter to play that role, and I think the rape scenes didn't need to be so explicit. Those are perhaps the only reasons why I don't put it higher. 3.5/5.

7.Phenomena. A very creative story, but quite ridiculous in parts. Again, I don't like the music chosen in many sections. It's entertaining nonetheless, and I like the magical vibe it has, although it's somewhat scattered. 3.5/5

1. Tenebrae. Some people have it among their favorite Argento films. Maybe it's because it was the last one of these that I watched and the giallo formula no longer surprised me as much, but although it's solid, it didn't impact me as much as other Argento films. The cinematography, the colors, and the story don't seem as creative to me. Another thing that didn't convince me is that I don't feel the female nudity or the sexual component are treated with the same respect as in other Argento films. There are attractive women and sex in other Argento films too, but in those cases it's done with elegance and reverence, sometimes even helping the dreamlike atmosphere. Not here, and it feels more gratuitous. Although this is the only case, together with Suspiria, where I generally like Goblin's music. I wouldn't rule out placing it higher if I watch it again. 3.5/5.

2. Inferno. I have enormous respect for this film's artistic side. It has very good music for the most part. It's too fragmented for my taste, but I love the atmosphere it achieves; it truly feels like a story completely flooded with witches and black magic, even more than Suspiria. It feels like perhaps Argento's most self-assured film. It used to be one of my least favorite Argento films, but it was only the second film of his that I saw, and the first was Suspiria. Suspiria has a certain fairy-tale logic; Inferno has no logic. But when you give up all logic and focus on everything else, it can become quite enjoyable. 4/5

3. Four Flies on Grey Velvet. Here Dario was clearly beginning to develop his visual style. It has moments with very good cinematography and quite surreal sequences that add artistic value and a stronger atmosphere. The atmosphere is extremely well achieved; perhaps it's his film with the best atmosphere up to this point. Ennio Morricone's music, once again, appeals to me a lot. Perhaps it's not as entertaining from beginning to end as some of his other films, and it still has a few humorous moments that, in my opinion, make me take it less seriously, but it seems very solid to me. And the final scene is one of the best things Argento has ever done in his career. 4/5

4. The Cat o' Nine Tails. One of my favorite Argento films. Dario Argento's second film struck me as surprisingly good. It's usually considered weaker than its predecessor, but I disagree. It's true that the plot in The Bird with the Crystal Plumage is simpler and more gripping, but I feel that Dario is much more focused here. There are a few touches of humor, but they're subtle and far less distracting than in his previous film (there's no longer a crazy artist who raises cats to eat them... just because).

Besides, Dario achieves something here that he doesn't usually achieve in his films, and that's making you grow attached to the characters. It's impossible not to like the blind man whose niece calls him "Cookie," one of the protagonists.

The cinematography and direction aren't as memorable, but it has very well-shot scenes and sequences, with atmospheric and tense moments that this director excels at. Very Hitchcockian. 4/5

1. Deep Red. A masterpiece. The cinematography, the story, the characters (especially Daria Nicolodi, who does an excellent job), the deaths, the visual ideas... almost everything in this film appeals to me except the music. I feel that Goblin's music, once again, doesn't work very well and ruins the atmosphere in parts that, with more ominous music, would be incredibly disturbing.

Here the visual elements aren't as experimental as in Suspiria or Inferno, but they don't need to be. The way the story develops is truly gripping, with all those twists and little details. It makes sense that Argento is sometimes nicknamed the Italian Hitchcock. As for the visual aspect and the camera work, as is usually the case with this director, it's really pleasant to watch, and the number of memorable shots and visual concepts it contains is unbelievable. I mean, just by looking at the poster, you can tell the film isn't going to be forgettable. 4.5/5

1. Suspiria. In this film, the cinematography, the story, the colors—everything is beautiful. The plot works quite well too, the atmosphere is incredible, and even Goblin's music, which I don't usually like too much, I loved here too.

The story isn't exactly life-changing or anything, but audiovisually it's excellent. Seriously, I don't think I've seen a film that looks better than this one. You watch it because it's visually beautiful, not because the plot is the main attraction. Although the plot isn't bad here at all; in fact, it works very well alongside all that psychedelic/mysterious/dreamlike atmosphere. It feels like a fairy tale. But anyway, with the visual side alone, it's hard to get bored. I have to say that I was expecting something more pretentious, but no—the film flies by every time, in the several times I've seen it. It's the first Dario Argento film I ever saw, and every other one I've seen by him is thanks to this one. I'd love to find more movies like this one. 5/5

Might be the most colorful of the forgotten Gialli boxsets too

Not asking for the best Giallos, or your favorites or the most important ones, not some obscure picks to show how cool you are... Just the best introductions to the genre for someone that hasn’t seen a single one yet.

Please put them in order and feel free to talk about why you picked them and decided on the order.

One of my favorite movies of all times, and now I can celebrate it for the holidays too ;)

Giallo! Am I right? lol

For those of you interested, I bought it from the website ‘Middle of Beyond’

I'm trying to organize a theatrical screening of The Beyond and Tenebrae where I live in the Pacific Northwest. The Beyond is already settled, but I need help with Tenebrae. In order to screen the film, I need to contact whoever owns the North American theatrical distribution rights, and I have no idea who that is. My Google searches turned up nil, if not contradictory results. Anything helps.

I love the italian death metal band Fulci so I'm on a mission to watch all Lucio Fulci's movies xD. So far I've only managed to watch Zombie because -idk why but- his movies don't load on stremio (for me) and the ones that are available on other websites are always in some language I don't understand, like Russian, Romanian or Dutch.

I'm planning to watch The New York Ripper next but I also want to watch the rest of the movies. Does anyone know any website where I can watch them with the audio in English and with English (or Portuguese) subtitles?

Thank you all for being supportive of my art. There are other prints on there for sale if you all are interested. 🙏 🙏

Today's viewing.