After a car accident that caused the loss of her baby, Jane experiences an increasing amount of nightmares that shake her to her core. After seeking professional help, her haunting visions turn into an even more frightening reality, one full of black magic, blood orgies, and murder.
Day of the Maniac, Demons of the Dead, All the Colors of the Dark, They're Coming to Get You, Toutes les couleurs du vice, L'alliance invisible, Todos los colores de la oscuridad, Die Farben der Nacht, Strange Vice of Mrs. Ward No.2, Sve boje mraka, Yılan Ruhlu Kadının Kâbusu, Karanlığın Tüm Renkleri, Todas as Cores da Escuridão, เสียว, A sötétség összes színe, Все оттенки тьмы, 梦魇之瞳, Wszystkie odcienie mroku, 올 더 컬러스 오브 더 다크
Italy 
Turkey 
USAR 
Germany16 Germany16 Germany Italy Turkey USA 
Sergio Martino’s psychedelic/psychosexual satanic panic rural hallucinogenic gothic giallo—occupied by sex blood orgy cults, nefarious blue eyed stalkers, numerous red herrings, fingernails that look like evil death talons, and the lacerated psyche of an unreliable narrator.
Equal parts kaleidoscopic surreal dream and phantasmagorical nightmare logic, All the Colors of the Dark Initially opens with bizarro grotesque dreams and the mystery of the psychological trauma surrounding them before spiralling into a trippy supernatural satanic cult jam where ultimately the greatest mystery isn’t necessarily a murder or said nefarious blue eyed demon man watching your every move—it’s what is real and who can you trust?
Edwige. Hilton. Rassimov. Nieves. Staples from the giallo Golden age, all in top form, as Martino (also in…
inarguably the greatest pure giallo, Martino's masterpiece, and (at least for me) Edwige Fenech's most iconic role. here she's a perpetually terrified lady suffering from extreme penetration anxiety (while she fucks her spicious-actin fiancé George Hilton the poor woman has flashbacks to her mother's fatal stabbing) who essentially finds herself sexually awakened after being hypnotized by a Satanic rape cult. this is some classic freakout stuff, subtexually pretty misogynist, with an absolutely drop-dead score by Bruno Nicolai, and Martino shoots everything with these perspective shredding anamorphic short lenses. also it's got one of the best out-of-nowhere, bluntly expository wrap-ups the genre ever saw.
I mean if Edwige Fenech joined a cult I feel like that’s a pretty solid endorsement. If she asked me to join with her I’d be like “gee gosh you’re pretty ok let’s do it” because she really is one of the greatest, most beautiful non-divalike divas of ALL TIME.
Sigh...I love this psychedelic giallo so much. Crazy sex cults. 70’s fashions. Amazing music. Shady characters. Edwige. George Hilton. Nieves Navarro. Ivan Rassimov. Fingernails that look like metallic Bugle snacks. Beautiful apartment building I’d totally live in. Red herrings galore. J&B all around. Crazy camera angles. As far as I’m concerned, Sergio Martino only makes 4 and 5 star gialli. Have I mentioned that Edwige Fenech is FAB? Because she really is and there will never be enough gialli or sex comedies with her in them. There also just aren’t enough Martino-made gialli for us to treasure even if I’ll never ever get tired of the ones we do have.
*extremely Italianly* “Reechard”
86
Intensely vulnerable. Pills and nightmares and evil men. Piercing blue eyes constantly in pursuit. A Giallo that is both perverse and fearful - a paranoiac journey of institutions and ceremonies.
Spooktober IV: Morte all'italiana
My rather uneven journey through Martino's work fortunately ends on a high note as the director takes on the subject of trippy satanic cults as we follow a traumatized woman who joins a satanic cult on the advice of a neighbor, and, to no one's surprise, this does not go well and she finds herself haunted by disturbing nightmares and people out to get her.
This is another stunningly shot film. More so than many of the other films I've mentioned that use the glossy look, this one is among the greatest to use it in specific scenes -like everything in the Black Mass- to create these nightmarish, trippy sequences, which are heightened by some incredible…
gorgeous women, glitter, and psychosexual trauma yes please
This review may contain spoilers. I can handle the truth.
An Italian giallo riff on the post-Rosemary's Baby satan cult/gaslight thriller, though Martino makes the curious choice to structure it around the reveal that its supernatural feeling terror is ultimately just a psychological warfare plot. I'm intrigued by how abrupt and almost dissatisfying that conclusion is after 1) successfully sustaining the intense, psychosexual and fever dream-y paranoia for such an impressively unbearable amount of the runtime, and 2) stylistically blending the real traumatic histories of the characters with the surreal ritualistic sex/death violence + experimental nightmare (prog-rock heavy) psychosis together so well they basically become indistinguishable from reality anyway. It's essentially a very unreal depiction of real fears/dangers in a way that seems to imply insanity is both a completely…
I don’t think I was high or horny enough for this.
This was all the colours of so many misconstrued stories. I can't say I jelled with the material but it had a lot of salacious material with cult influence and family matter all the while giving you a guess of psychologist being the harbour of bad witness that was some what infectious but really does feel railroaded. I do sense a problem with this genre of always being forced and either overly complicated or not explained enough. What a troublesome genre. Phew!
🪬 Giallo— Sergio Martino (1972) 🇮🇹 Italy
"I already lived this moment."
All the Colors of the Dark did something special: it spooked me during the opening sequence, and I had to pause before continuing.
I don’t know exactly how this happened. I stopped being easy to scare two years ago, and here there’s just creepy imagery and music—nothing extreme. But the imagery was disturbing somehow, and it was more effective than films exponentially more bloody.
My reaction reminded me of the experience I had when I had to pause the very uncomfortable father/son “coaching” scene about 20 minutes into What Josiah Saw. The content is not gruesome, but the creepiness is very high.
To be clear, all of this…
#Giallo
'Consider yourself neither crazy nor someone who's seeing things. Real madmen never think of themselves as crazy.'
The mind. A confluence of wealth and a wealth of destruction. More often our own enemy than we'd like to admit. Many people link the mind purely to intellect. That, of course, is an apt approach, but in itself, not adequate. The mind is an amalgam of much more, springing both from our cerebral realm of reason and our creative center that spurs imagination.
After ticking off 5 entries in Martino's filmography, I think I figured out why his takes on self-oriented–and destructive psychology resonate with me. He seems to care less about intellect, and instead places reason (among whose prerequisites intellect…
