Written and directed by Simone Scafidi, co-written by Giada Mazzoleni and Manlio Gomarasca, a film crew documents horror director Dario Argento as he works on his latest script in a hotel room, revisiting the isolation where he dreamed up his most iconic films, removed from distractions to explore his dark imagination. Featuring Argento’s family and collaborators, as well as filmmakers Guillermo del Toro, Gaspar Noé and Nicolas Winding Refn.
Hearing from the man himself on his most famous works from The Bird with the Crystal Plumage to Deep Red to Suspiria and more, is always going to be a big draw for any horror fan. Not only that but taking a look back at how Dario Argento entered the industry in the first place. It may be surprising to learn that his family already had connections with the film and entertainment world, making him a part of it before he was even old enough to hold a camera.
The style takes a rather meandering look at his films and life, it does follow a linear path but it never quite feels like it’s building upon itself. With so much ground to cover, it never really has the time to do too much of a deep dive into any of the projects, there’s constantly a move onto the next. Although one thing it does do, is establish the type of person Argento is and how he comes with a certain level of difficulty.
There’s a mixed quality to the talking heads, some are more interesting than others. Guillermo del Toro is top of the pack because hearing del Toro talk about anything is a wonderful experience. He’s a man filled with such infectious enthusiasm and so was a perfect choice here. Gaspar Noé on the other hand, immediately dives into talking about sexuality, out of absolutely nowhere and with no preface. It’s not really a surprise considering how much those themes are deeply imbedded in his work, but it feels as though he doesn’t have a lot of insight to offer, despite having directed Argento.
There’s no denying that Dario Argento Panico gives you a desire to return to his works and appreciate them even more, but whether it makes you appreciate the man behind them more is debatable. It’s fairly lightweight, there’s nothing too fascinating or surprising to be found, and while including Asia Argento makes logical sense, it’s an unnecessary distraction. Ultimately, it’s a nostalgic trip through Argento’s past but not much more.
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