Francesca

As a fan of giallo movies I was very excited about this modern one. But this one was more experimental than giallo. The plot is incoherent and I still kinda do not understand why did some murders happen... overall 5.2 rating here corresponds to what I think. I had big hopes, instead I feel like I want to say a big "no" to this movie.

A truly stunning simulacrum of a 1970s giallo. The illusion is so convincing that I'd never have guessed it was made last year.

If you're not a fan of gialli, this one will do nothing to change your mind. It has no interest in covering new ground or breaking the well-worn mold, but if you treasure the thought of exploring a whole new one, this is the movie for you.

If we were judging by looks alone, this would be a solid ten, but some story issues (and not ones really typical of or inherent in the genre in my view) require a deduction.

I may change my mind on subsequent viewings, but I'd rate this a must-see for giallo fans. Non fans might be able to use this as a gateway, but it's probably better to start with the real thing.

"Francesca" was my first acquaintance with the works of the Onetti brothers; - Luciano and Nicolás. As a major fan of the Italian Giallo, I instantly fell in love with the DVD-cover, bought it, and then put it safely away in my honoree-closet for more than three years because I waited for a special occasion. During these three years, however, I saw two newer and truly disappointing films of the Onetti brothers that gradually made me wary. "What the Waters Left Behind" is a dreadfully uninspired "Texas Chainsaw Massacre" clone, while also their other giallo-homage "Abrakadabra" was a serious misfire. Maybe, just maybe, it was best to lower my expectations for "Francesca" as well.

Happy to say that "Francesca" is definitely the best, or at least my personal favorite, of the Onetti tribute thus far! Still, the giallo is such a periodically and culturally specific 70s sub-genre that it simply doesn't this current post-Millennial era. Even though I admire the Onetti brothers' goodwill and enthusiasm to pay tribute to these unique films, "Francesca" just didn't evoke any feelings of nostalgia or excitement. Exceptions aside, the true Gialli came from Italy and were released between 1969 and 1975. They are wonderfully deranged movies with convoluted plots, absurd twists, graphic violence, gratuitous sex and experimental stylistic aspects. The Onettis most certainly did their homework in terms of look & feel, as "Francesca" features chaotic color patterns, a psychedelic atmosphere, perverted characters, theatrical death sequences, and bloody bizarre imagery. For some reason, however, they also assumed that an incoherent plot and a horribly slow pacing were also mandatory trademarks. That's not the case, or at least I never felt so! I honestly don't understand why a film with such a solid basic plot (a series of grisly murders leads back to the disappearance of a young girl 15 years ago) must suffer from so many needless pacing-interruptions and premature plot revelations. There are some really great aspects, like the soundtrack and certain murder sequences, but overall "Francesca" is not as awesome as that cool film-poster suggests.

Giallo fans can only gorge on this one. The colour contrast is worthy of Argento. There are tropes galore, the leather gloves, the scarlet blood, the mannequin doll - and a story that even evokes a canto from Dante's Inferno. It's all Italy at its best to the umpteenth power.

As with all giallo genre films, the beauty is not to be found in the plot, the dialogue or the acting, but more in the imagery. In contrast to Argento's 'Suspiria', there are numerous outdoor scenes. The eye-witness account is exploited and no venue is exempted from being a crime scene.

I spent the whole film trying to spot a non-1970s anachronism. With the possible exception of what looked like a child-proof lock on a bottle of pills, I didn't find any. My only complaint is that the acting struck me as being 'too good for a real giallo' - but that's more of an unexpected bonus really.

A mysterious veiled woman, who's obsessed with The Divine Comedy (a poem that is widely known for its first part, "Dante's Inferno") is going around killing sinners, and people who she deems sinners, in horrific, violent ways. Her calling cards are a quote from the divine comedy and some coins she places on her victim's eyes. Coincidentally, these crimes started happening 15 years after a mischievous little girl was kidnapped. It is up to the police inspector to find the connection between these recent crimes and a crime that happened oh so long ago.

This is a creepy yet artsy giallo film. From the camera effects to the editing, and, while watching it, I had to remind myself a few times that this was made, like, 10 years from now. I love the soundtrack, the mysterious killer, and just the overall vibe it gives off.

However, this movie does have its flaws and questionable moments.

For example, the inspector of the film feels ... I don't know, flat I guess. He doesn't have a full personality. All through the film, he is trying to solve the case, and ... that's about it. We don't see him have any character development and, like I said before, he doesn't have any personality. Another example is when the inspector doesn't fully explain why he thinks this series of murders is related to a 15-year-old kidnapping case.

Another thing I've noticed that's questionable is the soundtrack.

See, during the beginning of the film's opening credits, we hear some music that came/was clipped from Edgar Froese's "Drunken Mozart In The Desert (1979)". And, whenever a character plays Francesca da Rimini, the music itself isn't being played by said character, nor was it prerecorded by the staff. Instead, the music itself was from a real-life piano concert performed by Karen Kornienko.

Nonetheless, this film is great and, if you ask me, is completely underrated.