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Synopsis
Alexis Carpenter wants to be the best model of all... Even when she’s dead
Buenos Aires, 1985. It's the first anniversary of the death of Alexis Carpenter, the unstable supermodel who died tragically when she was set on fire while closing a runaway show. Lucia L'uccello - Editor-in-Chief of the most important magazine in Buenos Aires - chooses supermodels Eva Lantier and Irene del Lago to honor Alexis on the cover of the anniversary issues dedicated to the famous model. The night before the photo shoot, Alexis's original dresses that were going to be used by the models are stolen. From that moment, members of the important fashion magazine and the agency begin to disappear, one by one, at the hands of a stealthy, sinister female silhouette in a long black leather raincoat. Is someone seeking revenge? Or has Alexis returned from the grave?
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Crystal Eyes does a great job nailing that late 80’s giallo vibe—Mannequins, check. Fashion models, check. Straight razors, check. Cool looking Leather clad creepy masked killer with automatous movements, check… plus the sound design, the score, and the underwhelming reveal all feel and look more authentic than most of the modern giallo potpourri or 80’s throwbacks of the last ten years.
It’s solid and flies by super fast so I don’t have many complaints—I’ll take 9 million more of these dopey and enjoyable pastiche offerings over that wet intrusive fart known as The Strange Colour of Your Body’s Tears.
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1st Ezequiel Endelman, 1st Leandro Montejano
Part 7 of January Films 2024
1/52 of Podcast Macabre 2024- "From the 2010s you have not seen before"
Probably the queerest giallo I’ve seen. There’s the obvious hairdressers and costume designers but you also have the killer assuming a cross-gender identity to deal with his grief. But this isn’t the moral quagmire of Psycho. This is more like drag with the exaggerated femininity of a catwalk model and the bitchy backstage world (everyone throwing shade, everyone serving... I'm too straight to complete that thought). Pay close attention to how the masked killer moves, it’s fascinating and revealing all at once. Endelman and Montejano don’t know how to instil a film with any tension…
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Quite possibly the most eighties movie I have ever seen that is not actually from the eighties. A much talked about film going into Frightfest and a much talked about film coming out of Frightfest. An Argentinian giallo that delivers everything it sets out to achieve.
I had a feeling I would either love or hate this and I totally respect that a lot of people may fall under the latter category however I was fortunate enough to be in the former. I adored its use of colour, style, location and camera work while its actors and crew were on fine form throughout. I have not seen many modern giallos and while I know they are out there, I have…
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I should have just gone with the real thing. There are so many gialli I've not seen and here I've wasted a late night watch on something that's either intended as a parody or a watered down homage to that exciting wave of Italian horror. Something about its look had me thinking about Verotika about halfway in. At least that had genuine sleaze and lots of boobs to get me through. You know a movie is bad when it's got me pining for more Verotika.
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Even though this film had a very low budget, it looked stylish and had a lot of creativity in what the film accomplished, making a homage to gialio films of the 80s, I liked the look of the killer where they dressed as a mannequin and moved very strangely, it had some gory bits and lots of violence. It's short too amd didn't feel very long. There's some acting that wasn't great and I didn't like thebbeginning, only got interesting for me when the killer started showing up.
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look good and 1:20hr running time? i am just as confused as everyone else as to why i loved this but hated the love witch
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It’s mind-blowing that this isn’t an actual ‘80s giallo. The way they managed to capture the aesthetic perfectly down to the cinematography, wardrobe, score, kills, even the story itself is so incredibly impressive. I had a fun time!
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This review may contain spoilers. I can handle the truth.
crystal eyes is a modern giallo film released in 2017 that has no right being as authentically '80s as it is. jam-packed with tasteful homages and set in 1985, everything feels of the era: the intense fashion, catchy soundtrack, bright sets, experimental cinematography, and the campy dialogue all work together in making it clear that this is a genuine love letter to that time in pop culture, while still being its own unique entity.
a lot of horror movies of the past have used the supermodel shtick, but this arthouse slasher goes full out in utilising it to the extreme — our fierce mannequin killer spends their screen-time robotically striking a pose and strutting as if they're on a couture…
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CRYSTAL EYES is one of those fun discoveries that is so much better than it should be. Considering what had to be a very low budget, the film evokes an incredible amount of creative inspiration that made me feel like I was watching one of the better Italian giallo films from the 1980’s. Since the perpetrator portrays a mannequin, I was also flashing back on TOURIST TRAP ... it had some of the same genuinely creepy vibes.
Filmed in Argentina, the story centers around the one year anniversary of the death of top fashion model, Alexis Carpenter (Camila Pizzo). The owner (Silvia Montanari) of the magazine that made her a household name is hosting a new presentation to…
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An Argentinean giallo pastiche, specifically a pastiche of those glossy late-period gialli such as Fatal Frames, Dial: Help and Too Beautiful to Die. And it does look the part, to an extent, with authentic pop video lighting and good set design, although the construction of the sets as well as the picture quality do leave something to be desired. The dialogue recording is a bit ropey at times too.
Plotwise, it's about as daft as the real things. Set at a very bitchy high-end fashion magazine (of course), the star model dies in an accident of her own making, leaving two others in contention for the next front cover. But everyone starts getting killed by what initially appears to be…
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This was exactly what I was hoping it was.
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Mirada de Cristal es una de las más sentidas cartas de amor al cine de género. Su enfoque está en el giallo y el horror italiano de los 80s en general, pero también hay referencias a The Hunger y las telenovelas argentinas de los 80s.
La estética ochentosa está excelentemente lograda, con una fotografía y dirección de arte bellísimas que inundan la pantalla con colores, estilo y glamour. Su "ochentismo" es aún más resaltado a través de la increíble banda sonora, con momentos carpenterianos y varios hits en clave synthpop/italo disco, como debe ser.
La historia sigue el clásico formato "whodunnit" de una forma efectiva y satisfactoria, con una buena cantidad de personajes (ELENCAZO!) y una linda variedad de muertes.…
