Cinema, in its purest form, is a mirror. But some mirrors are distorting, dark, capable of reflecting not what we are, but what we could become under pressure. The independent thriller is this kind of mirror. Far from the reassuring formulas of Hollywood, this film genre has evolved from a tale of external crimes to a detailed map of our internal landscapes. It is a cinema that does not fear exploring the gray areas of the human experience, using suspense and tension not as an end, but as a tool for psychological investigation.
In these works, the monsters, mysteries, and doppelgängers are not mere narrative devices; they are powerful metaphors for our deepest fears, our wildest ambitions, and the parts of ourselves we would rather not know. Through the stories of characters pushed to their limits, we are invited to question the nature of our identity, the fragility of our memory, and the resilience of the human spirit. This definitive guide is an invitation to look beyond the surface of fear, to discover the uncomfortable but vital truths about personal growth that only great independent cinema can reveal.
The Characteristics of the Thriller
The main purpose of the thriller in fact is to create adrenaline, suspense and great uncertainty in the development of the story. The thriller is a whirlwind of strong emotions in which revelations and mysteries, suspense and moments of reflection, danger and reasoning alternate. The whole story is usually filled with an impending sense of death.
The tension, in a successful thriller, should gradually increase and leave less and less space for moments of pause, until the final climax. In the final climax, as in all successful narratives, there is a point of no return, from which the protagonist can emerge victorious or defeated.
What the public wants is to be in suspense until the end. If the dose of adrenaline is massive, the result is guaranteed for the majority of the public. The language and quality of the film become secondary. The thriller movies were especially successful in the United States and were less popular with European directors. The plot of the thriller is characterized by conspiracies, false clues and sudden twists.
In every thriller, there is the villain, the antagonist, or a group of antagonists, who create a series of obstacles for the protagonist, often putting his life in danger. Conflict, therefore, an essential element of all narratives, reaches its highest levels in the thriller genre.
The Sub-Genres of the Thriller Movies
The thriller genre encompasses a wide array of sub-genres, with new variations continuously emerging from the film industry. Notable sub-genres of thrillers include legal thrillers, spy thrillers, action or adventure thrillers, medical thrillers, crime thrillers, romantic thrillers, historical thrillers, political thrillers, religious thrillers, high-tech thrillers, and military thrillers.
The common denominator is to keep the viewer poised on the armchair, to create anxiety and suspense until reaching the final Climax. In the most successful Thrillers, the final climax can be a highly stressful experience for the audience and become a scene that is not easily forgotten.
A typical expedient of the thriller genre is to place the protagonist in front of a mystery. Often the protagonist of the thriller is a detective or an investigator, but even if an ordinary man is forced to become one during the events of the tale. Hitchcock’s films often feature unjustly accused ordinary men who are confronted with a mystery greater than themselves.
The primary subgenres of thrillers include psychological thrillers, crime thrillers, and mystery films. Additionally, since the Cold War era and the assassination of President Kennedy, political thrillers and technological thrillers have also gained significant popularity.
Often the thriller genre overlaps with the horror and action genres, in films that are a mix of various genres. The seminal film that gave rise to the thriller may be Alfred Hitchcock’s first movie The Boarder and M by Fritz Lang, an expressionist masterpiece from the 1930s not to be missed. Fritz Lang, however, has a strong social and anthropological component.
How a Thriller Works
For thriller movies, we find two different narrative devices: that of suspense, which at times becomes real fear, and that of the enigma to be solved, of the mystery. The first hooks the viewer to the emotional level, stimulating adrenaline. The second hooks it to the mental level, stimulating reasoning to get closer to the solution of the mystery. Depending on the prevalence of the emotional or mental component, we have two very different types of thriller movies.
Making the viewer witness a crime that the protagonists of the film have not seen is one of the most functional tricks to create tension and involvement. Letting the audience know of an imminent danger that the protagonist ignores is a narrative device used very often in the cinema of Alfred Hitchcock.
In the thriller, the plots merge with the subplots in an ever-increasing complexity that confuses the public’s ideas. There are characters, especially the antagonists, who operate in the shadows and have contradictory attitudes. One of the characteristics of the thriller is therefore to be initially difficult to understand and to untie the threads of the plot as the narration proceeds.
The thriller can be told without physical and violent confrontations as a psychological and mental battle between the villain and the protagonist. Typical examples of this genre of Thriller, defined as a thriller, are for example the books by Agatha Christie or the episodes of the TV series Lieutenant Colombo.
In pure thriller, on the other hand, action prevails. They can be government conspiracies, mass murder, or physical confrontations between the protagonist and the antagonist. Often thriller blends with the action genre, adventure, or spy story on the model 007.
Crime, Mystery and Psychological Thriller
The crime thriller are stories of kidnappings and ransoms, imprisonments. The most common themes of the mystery thriller are investigations and deductive situations. In psychological thrillers there are mental and psychological games, stalking and traps. False accusations and paranoia are common in paranoid thrillers. International threats, spies, dangerous technologies, assassinations and electronic surveillance are common in the spy thriller.
Noir thriller
In classic noir the psychological component prevails and the rhythm is slower and more reflective. In the Noir thriller, the typical elements of the Noir cinema blend with action and direct confrontation. The pace is more pressing and shootings, assaults, murders and physical fights of various kinds can occur.
Action Thriller
In the action thriller the viewer’s attention is drawn more to the spectacular action than to the plot and psychological nuances of the characters. In the classic thriller, however, the events remain covered in mystery and the tension is generated by the mystery and the unknown. It is a genre of high-budget films, often productions of the largest movie studios.
Drama Thriller
In the drama thriller, the pace is slower and the director’s attention is focused more on the psychologies of the characters, on their inner life, and on the dramatic and realistic aspects of their life. The effectiveness of the dramatic thriller lies in the fact that the whole narrative becomes quite plausible. The element of fear and extraordinary threat is lowered into ordinary reality.
Other Sub-Genres of the Thriller Movies
The legal thriller takes place in and out of the courtrooms and the protagonists are often lawyers, prosecutors and men who clash on a legal level. The medical thriller takes place in hospital wards and in medical laboratories where the analysis of the elements found in the crime sites is carried out, and the protagonists are usually the doctors who collaborate in the investigation.
The political thriller usually tells about characters who are victims of a large-scale conspiracy, in which the political class is also involved and from which there seems to be no way out. Crimes occur at the highest levels of society. As happens in many movies by Alfred Hitchcock in the psychological thriller, the clash between the protagonist and the antagonist takes place almost entirely on a psychological level, without real physical clashes. Many movies of David Lynch fall into the genre of psychological thrillers.
In the religious thriller, the elements of the thriller genre blend with religious settings in convents and monasteries. The tale often presents elements of esoteric and demonic temptation. Or of conspiracies and corruption in religious organizations.
The constant success, vitality, and ability of the thriller genre to constantly renew itself make it one of the movie genres in most important the history of cinema. Its popularity is because it is a genre that creates strong emotions. If a thriller doesn’t create adrenaline then it’s not a thriller.
The Protagonists of the Thriller
The protagonists of the thriller genre are often ordinary people who are faced with dangerous situations against their will. Or because of their ineptitude and their greed as often happens in the Noir genre. In the crime subgenre they are often private detectives, policemen, detectives, tough and lonely men. Both the strongest protagonists and the common man, at the beginning of the story, are unable to face the dangerous situation.
Among the protagonists and antagonists, we often find criminals, murderers, innocent victims, women threatened by stalkers, characters with a dark past, psychotics, serial killers, sociopaths, special police agents, terrorists, policemen, escapees, private investigators, people involved in twisted relationships, people tired of life or psychologically unstable. A veritable gallery of thrilling human fauna.
The Directors of Thriller Movies
Some of the directors mainly influenced by the thriller genre are: Alfred Hitchcock, defined as the thriller master, David Fincher, David Lynch, Henri-Georges Clouzot, William Friedkin, Carol Reed, Michael Mann, Ridley Scott, Sydney Pollack, John Frankenheimer, Brian De Palma, Quentin Tarantino, Jonathan Demme, Alan Pakula, Roman Polański, Martin Scorsese, Bong Joon-ho, Steven Soderbergh.
Thriller Movies to Watch
Great classics and new independent productions: here is a list of Thrillers not to be missed.
The Hands of Orlac (1924)
The Hands of Orlac (1924) is a silent horror film directed by Robert Wiene, based on the 1921 French novel The Hands of Orlac by Maurice Renard.
Orlac, a well-known pianist, is on a train that crashes and loses his precious hands. A severe cure is attempted: a transplant of 2 new hands. They belong to a murderer. Orlac enters a conflicted relationship with them and refuses to use them as soon as he learns who his new hands are. To make the circumstance complex is the murder of his father, to whom his partner had turned for a cash loan.
The Hands of Orlac is one suspense movie among the last works of art of the expressionist cinema of which Robert Wiene had actually made the manifesto film, The Cabinet of Dr. Caligari.
The film is set in a dark and oppressive atmosphere, typical of German Expressionism. The use of light and shadow, distorted camera angles, and the characters’ facial expressions contribute to create an atmosphere of suspense and dread.
The Hands of Orlac is considered a classic of horror cinema. It has been praised for its original story, its unsettling atmosphere, and the performance of Conrad Veidt, who portrays Orlac with great intensity.
The film has been remade several times, including in 1935, 1960, and 1986.
M (1931)
M (1931) is a German noir film directed by Fritz Lang. The film is considered one of the masterpieces of film noir and one of the most important films in cinema history.
The city is terrorized by a murderer of little girls, and the police can find no trace. The criminal organizations have constant problems with police raids and decide to hunt down the monster on their own, managing to discover a clue: the “monster” whistles a macabre tune as he approaches his victims.
The film is set in a dark and oppressive Berlin. The use of light and shadow, angular shots, and the characters’ facial expressions contribute to creating an atmosphere of suspense and dread.
M – The Monster of Düsseldorf is a complex and meaningful film. It is a film about the nature of evil, justice, and social responsibility. It is also a film about the fear and horror that a serial killer can generate.
The film was starred by Peter Lorre in the role of Hans Beckert. Lorre gave an exceptional performance, which helped make the film a classic.
Masterpiece by Fritz Lang considered one of the progenitors of the noir genre that was successful in Hollywood in the 1940s, he is inspired by the heinous crimes committed in Germany in the 1920s by Fritz Haarmann and Peter Kürten. Unmissable movie for every cinephile.
Hollow Triumph (1948)
Hollow Triumph (1948) is a film noir directed by Steve Sekely, starring Paul Henreid, Joan Bennett, and Eduard Franz. It is an adaptation of the novel The Scar by Cornell Woolrich.
Fresh out of prison, John Muller (Paul Henreid) organizes a robbery of a forbidden gambling den run by Rocky Stansyck (Thomas Browne Henry). The raid goes badly and they capture several of Muller’s men, then force them to identify the rest before eliminating them.
Stanwyck has the credibility to track down and kill his enemies no matter how long it takes, so Muller decides to go into hiding. He takes an office job recommended by his brother, Frederick (Eduard Franz), however, he quickly realizes that working for a living is not for him.
This is among the movies on gangsters more popular. The film was directed by Paul Henreid (Casablanca). Henreid went uncredited as director of Hollow Triumph, which was basically his directorial debut. He would go on to direct Live Fast, Die Young and 28 Episodes of Alfred Hitchcock Presents.
A Better Life
Drama, thriller, by Fabio Del Greco, Italy, 2007.
Rome: Andrea Casadei is a young investigator specializing in audio wiretapping who conducts investigations commissioned by husbands betrayed by their wives, or by parents worried about what their children are doing outside the home. But what interests him most is understanding the human soul, listening to casual conversations in the streets, knowing what people think. He often meets in Piazza Navona with his friend Gigi, a frustrated street artist obsessed with success at all costs, with whom he shares a passion for wiretapping. Shocked by the mystery of the disappearance of Ciccio Simpatia, another street artist common friend, Andrea decides to abandon the commissioned works to seek a better life and reflect on his own and others' existence. He will meet the actress Marina and with a bug he will slowly enter her life until he discovers her most unthinkable secrets. The film deals with an important theme of contemporary Western society: the lack of love. The mysterious and tormented figure of Marina is reflected in a gloomy and soulless Rome.
Director Fabio Del Greco declared about his film: "Perhaps this film is a reflection on the art of observing, of listening, in short, of what one does when one leaves the real world to tell about it. Perhaps he wants to talk about the subtle relationship between the mirages of success touted by today's society, power and the most authentic human relationships.A 'dark cloud' hangs over the city: it is engulfing everyone in a sort of indistinct, uniform mass, where everyone thinks the same things, where everyone they are more alone. Where is the truest part that makes us unique? Maybe you can try to intercept it only secretly."
LANGUAGE: Italian
SUBTITLES: English, Spanish, French, German, Portuguese, Dutch.
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Force of Evil (1948)
Force of Evil (1948) is a film noir directed by Abraham Polonsky, starring John Garfield and Thomas Gomez. It is a social drama film that explores the theme of corruption and the power of organized crime.
The film tells the story of Joe Morse, a lawyer who works for Ben Tucker, a mob boss. Joe is an ambitious and determined man who wants to make money and climb the social ladder.
However, Joe is also a man with a sense of justice and morality. When he discovers that Tucker is involved in a series of criminal activities, Joe is forced to make a choice.
Joe can continue to work for Tucker and become an accomplice to his crimes, or he can report Tucker to the authorities. Joe chooses to report Tucker, but this choice will have devastating consequences for his life.
One of Martin Scorsese’s favorite thriller movies. Like T-Men, the film makes fantastic use of capturing images on location. At times, the film’s familiar themes and stylized writing help elevate the conflict to almost Shakespearean (or Biblical, considering how often it alludes to the story of Cain and Abel) levels. Though quite small in scale, Force of Evil finds success in its goal of communicating grand, large-scale ideas.
The Third Man (1949)
It is a 1949 British thriller movie, directed by Carol Reed and written by Graham Greene. The film is considered a classic of the noir genre and an example of British cinematography and culture.
The plot follows Holly Martins, an American writer who arrives in Vienna shortly after the end of World War II, invited by his old friend Harry Lime. Martins learns that Lime died in a car accident and finds himself immersed in a mystery when he discovers the circumstances of his death is not as told to him.
Martins meets several people connected to Lime, including her ex-boyfriend and a British police officer, who give him conflicting information about Lime’s death and her past. Martins begins to investigate on his own and discovers that Lime was involved in an illicit penicillin trade, selling the medicine at exorbitant prices to wounded soldiers during the war.
Martins is faced with the truth about Lime’s life and death and is constantly threatened by those who want to keep their criminal activities a secret. The storyline approaches a climax when Martins meets the so-called “third man”, a mysterious man who witnessed the accident that claimed the life of Lime.
The film was a huge success upon its release and continues to be enjoyed by audiences and critics alike for its intense screenplay, extraordinary performances from the cast and majestic direction by Reed. In particular, Orson Welles’ performance as Harry Lime was hailed as one of the best of his career.
The film was hailed as a cinematic masterpiece and influenced many subsequent works, both in terms of plot and style. The soundtrack to the film, composed by Anton Karas, became a classic and the film was listed as one of the 100 best films of all time by the British Film Institute.
Stray Dog (1949)
Stray Dog (野良犬, Nora inu) is a 1949 Japanese neo-noir crime drama film directed by Akira Kurosawa and starring Toshiro Mifune and Takashi Shimura. It was Kurosawa’s second film of 1949, produced by the Film Art Association and released by Shintoho.
The film follows the story of Murakami (Toshiro Mifune), a young detective in the Tokyo Metropolitan Police Department, who loses his service revolver during a struggle with a suspect. Desperate to find the gun before it is used in a crime, Murakami embarks on a relentless search that takes him through the back alleys and neon-lit streets of post-war Tokyo.
Along the way, Murakami encounters a variety of characters, including a sympathetic prostitute, a hardened gangster, and a mysterious woman who may hold the key to the missing revolver. As the clock ticks, Murakami’s obsession with finding the gun grows, threatening to consume him entirely.
Stray Dog is a film about obsession, guilt, and the struggle to find justice in a chaotic world. It is also a portrait of post-war Tokyo, a city still reeling from the effects of the war and grappling with the challenges of modernization.
The Man Who Cheated Himself (1950)
The Man Who Cheated Himself (1950) is a classic film noir directed by Felix E. Feist, starring Lee J. Cobb, Jane Wyatt, and John Dall. The film explores the themes of deception and corruption.
The film tells the story of John Cullen, a corrupt detective who tries to frame an innocent young man for a murder that he committed. Cullen is an ambitious and unscrupulous man who is willing to do anything to get what he wants.
However, Cullen finds himself trapped in his own web of lies. As the case progresses, Cullen becomes increasingly paranoid and loses control. In the end, Cullen is exposed and arrested.
This is among the best-reviewed titles at the time of its release. Lee J. Cobb (12 Angry Men, The Exorcist) plays the detective trying to right a dastardly crime. At the time, studio executives were unsure of this distribution due to his previous portrayal of Willy Loman in Death of a Salesman on Broadway.
Altin in the City
Drama, thriller, by Fabio Del Greco, Italy 2017.
Altin, aspiring Albanian writer arrived in Italy aboard a large ferry in the 90‘s, works in a butcher shop when he’s selected to audition for a reality of writers and finally sees a chance to be successful with his book “the journey of Ismail.” Unfortunately, this is the begin of the adventures which will lead him to learn about revenge, loneliness and extreme poverty, to the dark side of wealth and success.
The theme of Altin in the City should not lead to the assumption that it is merely the story of a young immigrant trying to integrate. In reality, it is a tale where greed, thirst for power and success, cynicism, and ambition intertwine, creating a sort of modern-day Faust and a new "pact with the devil" belonging to the 22nd century, which we could summarize as: show business. The reality show becomes the Mecca, the keystone, and the springboard for those who wish to achieve success without effort. Del Greco presents this world with subtle irony, characterized by kitsch nuances and parodic tones. However, success without effort comes at a price: Altin has sold his soul to the devil and, from being an easy prey of television showbiz, will soon become a victim of himself.
LANGUAGE: Italian
SUBTITLES: English, French, Spanish, German.
Pickup on South Street (1953)
Pickup on South Street (1953) is a film noir directed by Samuel Fuller, starring Richard Widmark, Jean Peters, and Thelma Ritter. It is a spy film that explores the themes of morality and corruption.
The film tells the story of Skip McCoy, a pickpocket who steals the purse of Candy, a woman who works for a Soviet agent. Unknown to Skip and Candy, the purse contains a microfilm that contains secret information about the Manhattan Project.
Skip is approached by an FBI agent who offers him $5,000 for the microfilm. Skip accepts the offer, but he is soon contacted by the Soviet agent as well.
Skip finds himself trapped between two opposing forces: the FBI and the Soviet Union. Skip must choose which side to stand on, but whatever choice he makes will have dramatic consequences.
Pickup on South Street is a dark and pessimistic film that explores the themes of morality and corruption. The film has been praised for its direction, cinematography, and performances.
Richard Widmark plays Skip McCoy, a cynical and opportunistic man. Jean Peters plays Candy, an innocent and naive woman. Thelma Ritter plays Moe Williams, a gruff and determined FBI agent.
The film was a critical and commercial success, and it helped to solidify Samuel Fuller’s reputation as one of the great directors of film noir.
The Wages of Fear (1953)
The Wages of Fear (1953), also known as Le Salaire de la peur in French, is a French action thriller film directed by Henri-Georges Clouzot and starring Yves Montand, Véra Clouzot, Gert Fröbe, and Peter van Eyck. The film is based on the novel Clean Break by Pierre Boule.
The film tells the story of four desperate men who take on a dangerous mission to transport nitroglycerin over treacherous roads in South America. The film is known for its suspenseful plot, its realistic portrayal of danger, and its nihilistic themes.
The Wages of Fear was a critical and commercial success, and it is considered to be one of the greatest films of all time. It was nominated for two Academy Awards, including Best Foreign Language Film.
In Las Piedras, a small, isolated town in South America, four men are desperate to leave. They are Mario (Yves Montand), a Corsican playboy; Jo (Peter van Eyck), an aging ex-gangster; Luigi (Gert Fröbe), a strong but simple man; and Bimba (Folco Lulli), a quiet and introspective Dutchman.
When an oil well fire breaks out at a nearby refinery, the oil company offers 2,000 pesos to the first man who can transport nitroglycerin to the fire. The four men decide to take on the mission, knowing that it is likely to be fatal.
The Wages of Fear is a dark and nihilistic film that explores themes of greed, desperation, and the futility of life. The film’s characters are all flawed and self-motivated, and they are ultimately undone by their own actions. The film’s ending is particularly bleak, as it suggests that there is no escape from the consequences of one’s crimes.
Mr. Arkadin (1955)
“Mr. Arkadin” is a 1955 film written, directed, and starred by Orson Welles, one of the most influential directors in the history of cinema. The film is also known as “Confidential Report” and is a noir thriller revolving around the enigmatic figure of Gregory Arkadin, a billionaire with a mysterious past.
The plot of “Mr. Arkadin” follows the adventures of Guy Van Stratten, a private investigator played by Robert Arden, who is hired by a mysterious man named Jakob Zouk to uncover Arkadin’s past. The story unfolds through a series of flashbacks and testimonies from characters who have had dealings with Arkadin, each revealing a piece of his dark past.
Arkadin is an extremely powerful businessman, but his origins and previous activities are shrouded in mystery. During the investigation, Van Stratten encounters a series of eccentric and dangerous individuals, including a mysterious woman named Mily, played by Paola Mori, and a former associate of Arkadin named Bracco, played by Akim Tamiroff. Each character offers a different version of Arkadin’s life, leaving Van Stratten confused about the truth.
The film is renowned for its distinctive visual style, with the use of suggestive lighting and shadows characteristic of film noir. Orson Welles, as the director, creates an atmosphere of suspense and tension as the protagonist seeks to uncover the truth behind Arkadin. The intricate plot and high-quality performances contribute to making “Mr. Arkadin” an engaging and captivating film.
However, it is important to note that “Mr. Arkadin” has undergone several edits and versions over the years. Welles initially delivered a version of the film to producer Louis Dolivet in 1955, but the film was later reworked and re-edited without Welles’ direct involvement. As a result, there are different versions of the film in circulation, each with slight variations in the plot and narrative structure.
Despite the controversies surrounding the various versions of the film, “Mr. Arkadin” remains a significant work in Orson Welles’ filmography. It is an example of auteur cinema that explores themes such as identity, power, and a mysterious past. Although the film did not achieve great commercial success upon its release, it has been reevaluated over the years and is considered a milestone in film noir and Welles’ body of work.
Diabolique (1955)
The Diabolique (1955) is a French psychological thriller film co-written and directed by Henri-Georges Clouzot, starring Simone Signoret, Véra Clouzot, Paul Meurisse, and Charles Vanel. It is based on the 1952 novel She Who Was No More (Celle qui n’était plus) by Pierre Boileau and Thomas Narcejac.
The film tells the story of Nicole Horner, a teacher at a boarding school for boys, and Christina Delassalle, her husband and the headmaster of the school. They are tired of Michel’s despotism, and they decide to kill him.
Together, Nicole and Christina devise a perfect plan: they make Michel believe he is going on a business trip, and then they poison him. However, Michel’s body disappears, and the two women find themselves trapped in a spiral of lies and paranoia.
Nicole sees in the paper that the police have found the body. When Christina goes to the morgue, she discovers that it’s not actually Michel’s body. This stunning psychological thriller is based on the original She Who Was No More (Celle qui n’était plus) by Pierre Boileau and Thomas Narcejac. The film was the tenth highest-grossing film of the year in France, and was also awarded the Louis Delluc Prize in 1954.
Henry George Clouzot, after completing The Wages of Fear, optioned the rights to the film’s screenplay, preventing Alfred Hitchcock from making the film. This film helped motivate the making of Hitchcock’s Psycho. Robert Bloch, author of Psycho, mentioned in a meeting that his favorite horror film of all time was Les Diaboliques.
Beyond the Mist
Thriller, mystery, by Giuseppe Varlotta, Italy 2018.
A week before Easter a great actor disappears from the set where he shoots a historical film. A private investigator is discreetly in charge of the fact. From the beginning he feels the disturbing perception of being somehow involved in the past events of the deceased. The places, including a former chocolate factory, where a girl had died in mysterious circumstances years before, are full of esoteric signs.
LANGUAGE: Italian
SUBTITLES: English
Kiss Me Deadly (1955)
Kiss Me Deadly (1955) is a film noir neo-noir crime film directed by Robert Aldrich and starring Ralph Meeker, Albert Dekker, Paul Stewart, Juano Hernandez, and Wesley Addy.
Based on Mickey Spillane’s novel of the same name, the film follows Mike Hammer, a tough and cynical private investigator who becomes involved in a search for a mysterious suitcase containing a powerful weapon. The film is known for its dark and violent atmosphere, its nihilistic themes, and its shocking ending.
Kiss Me Deadly is considered to be one of the most important films of the film noir genre. It is praised for its gritty realism, its cynical view of humanity, and its innovative use of camera angles and lighting. The film has also been praised for its performances, particularly that of Ralph Meeker as Mike Hammer.
Kiss Me Deadly is a classic film noir that is still relevant today. It is a powerful and disturbing film that explores the dark underbelly of American society.
Rififi (1955)
Rififi (1955) is a French film directed by Jules Dassin and starring Jean Servais, Carl Möhner, Jules Dassin, Robert Manuel, Marie Sabouret, Janine Darcey, Claude Sylvain, Dominique Maurin.
The film is based on the 1954 novel of the same name by Auguste Le Breton. It tells the story of four men who plan and execute a daring robbery of a jewelry store in Paris.
Rififi is known for its long, silent sequence of the robbery itself, which was shot in one take throughout five nights. The sequence is praised for its realism and tension, and it has been imitated many times since.
The film was a critical and commercial success, and it is considered to be one of the greatest heist films of all time. It was nominated for the Palme d’Or at the 1955 Cannes Film Festival, and it won the Academy Award for Best Foreign Language Film in 1957.
Rififi is a dark and suspenseful film that explores themes of greed, betrayal, and the corrupting power of money. It is a gritty and realistic portrayal of the criminal underworld, and it is often cited as an influence on the French New Wave.
The Killing (1956)
The Killing is a 1956 American crime film directed by Stanley Kubrick and written by Jim Thompson, based on the novel Clean Break by Lionel White. The film stars Sterling Hayden, Coleen Gray, Timothy Carey, Elisha Cook Jr., and Marie Windsor.
The film tells the story of Johnny Clay, a career criminal who plans one last heist before retiring. He assembles a team of five men, each with their own unique skills, to rob a racetrack. However, the heist goes awry, and the men are forced to improvise to escape.
The Killing is a classic noir film that is known for its suspenseful plot, its innovative use of non-linear storytelling, and its nihilistic themes. The film was a critical and commercial success, and it is considered to be one of Kubrick’s best films.
Kubrick’s direction in The Killing is masterfully suspenseful. He uses a variety of techniques to create a sense of unease and dread, including close-ups, low-angle shots, and sudden cuts. The film’s non-linear storytelling also adds to the suspense, as the audience is not always sure what is happening or who is to be trusted.
The Killing is a dark and nihilistic film that explores themes of fate, greed, and betrayal. The characters are all flawed and self-motivated, and they are ultimately undone by their own actions. The film’s ending is particularly bleak, as it suggests that there is no escape from the consequences of one’s crimes.
Touch of Evil (1958)
It is a 1958 film directed by Orson Welles. It is considered one of the great classics of the film noir genre and a masterpiece of 20th-century American cinema.
The plot focuses on the relationship between Mike Vargas and Hank Quinlan. Mike is an American deputy sheriff who is in town to marry Susan, the daughter of a wealthy Mexican industrialist. Shortly after their arrival, a bomb is detonated in a car with some prominent members of the city aboard, and Mike and Quinlan team up to investigate the case.
Quinlan is a local police officer who has a long history of corruption and is known for his ability to solve cases with questionable methods. However, his manner becomes increasingly suspicious to Mike, who begins to suspect that Quinlan is hiding something. The tension between the two characters builds as their investigation progresses and they learn shocking information about the city and its organized crime.
Meanwhile, Susan is kidnapped by some criminals who are trying to blackmail her father and who want to stop Mike and Quinlan from continuing their investigation. The plot becomes even more complicated when other characters, including a crime boss, a drug dealer and a private detective, come into play and make the case more and more complex and dangerous.
Welles directed and starred in the film, and also wrote the screenplay and did the cinematography. His direction is noted for its long one-take sequences, use of innovative editing techniques, and a strong emphasis on dark and complex characters and atmospheres.
The film was critically well received upon its release but was not commercially successful. However, in the following years, it became a cult film and gained a reputation as one of the best film noirs of all time.
Dementia
Horror, noir, by John Parker, United States, 1955.
It's night. A woman suddenly wakes up from a nightmare in a seedy hotel in the Los Angeles suburbs. She leaves the room and wanders the neighborhood. She meets a dwarf who sells newspapers with the title "Mysterious Stabbing". In a dark alley, a drunkard harasses her and a policeman rescues her. She then she meets a smartly dressed man with a thin mustache. The man gives her a flower and convinces her to get into the limo with a rich fat guy. As they drive through the city, the man thinks back to his childhood trauma and the violent father who stabbed him with a knife after he shot his unfaithful mother. The rich man takes her to have fun in several nightclubs and then to her apartment. He first ignores the woman while she gorges herself with a big meal. She seduces him, and he approaches her excitedly.
A visionary and hallucinatory nightmare, without dialogue, during a night of a lonely woman in Los Angeles. Between horror, film noir and expressionist film, initially conceived as a short film by Parker based on a dream told him by his secretary, Barrett, who also became the film's interpreter. The film was blocked by the New York State Film Board before being released in theaters in 1955. Later Jack H. Harris bought it and created a new version, with a different cut of editing, also adding a voiceover. and changing the title. This is the original version.
Without dialogue
Elevator to the Gallows (1958)
Elevator to the Gallows (1958) is a French crime thriller film directed by Louis Malle and starring Jeanne Moreau, Maurice Ronet, and Lino Ventura. The film is based on the 1954 novel of the same name by Noël Calef.
Julien Tavernier, a businessman, kills his wife Corinne for the insurance money. To create an alibi, he traps himself in an elevator. However, his plans go awry when the elevator mechanic is injured and cannot repair it. Julien is forced to fend for himself in the confined space, while his wife’s body lies undiscovered in their apartment.
Elevator to the Gallows explores themes such as paranoia, isolation, and guilt. Julien finds himself trapped in a desperate situation, from which he cannot escape. The elevator becomes a symbol of his mental and physical imprisonment. The film also highlights Julien’s guilt for killing his wife.
Elevator to the Gallows was a critical and commercial success upon its release. The film was praised for its claustrophobic and suspenseful atmosphere, its performance by Jeanne Moreau, and its innovative direction by Louis Malle.
The Manchurian Candidate (1962)
The Manchurian Candidate is a 1962 American psychological thriller film directed by John Frankenheimer, written by George Axelrod, and based on the 1959 novel of the same name by Richard Condon. The film stars Laurence Harvey as Sergeant Raymond Shaw, a Korean War hero who has been brainwashed by the Soviets to become a Communist assassin, and Frank Sinatra as Major Bennett Marco, a fellow soldier who suspects something is wrong with Shaw.
During the Korean War, Sergeant Raymond Shaw and his platoon are captured by the Chinese and taken to Manchuria. There, they are subjected to brainwashing techniques and programmed to kill on command. Shaw is chosen as the perfect sleeper agent because he is a war hero and the son of a prominent political figure.
The Manchurian Candidate is a suspenseful and disturbing film that explores themes of brainwashing, political manipulation, and the Cold War. The film is also a commentary on the dangers of unchecked power and the corruption of the American political system.
The Manchurian Candidate was a critical and commercial success, and it is considered to be one of the best films of the 1960s. The film was nominated for seven Academy Awards, including Best Picture, Best Director, and Best Actor for Laurence Harvey.
Knife in the Water (1962)
Knife in the Water (Polish: Nóż w wodzie) is a 1962 Polish psychological thriller film co-written and directed by Roman Polanski in his feature debut, and starring Leon Niemczyk, Jolanta Umecka, and Zygmunt Malanowicz.
A couple, Andrzej and Krystyna, take a day trip on their yacht, accompanied by a hitchhiker they picked up along the way. As the day progresses, tensions rise between the three men, and Andrzej becomes increasingly suspicious of the hitchhiker’s intentions.
Knife in the Water explores themes such as power, masculinity, and jealousy. The film is a study of the dynamics of power and control between men, and it also examines the destructive nature of jealousy.
Knife in the Water was a critical and commercial success upon its release. The film was praised for its sharp writing, psychological insight, and performances. It has since been recognized as a landmark film in Polish cinema.
Cape Fear (1962)
Cape Fear (1962) is a taut, suspenseful psychological thriller film directed by J. Lee Thompson and starring Gregory Peck, Robert Mitchum, and Polly Bergen. It was adapted by James R. Webb from the 1957 novel The Executioners by John D. MacDonald.
Sam Bowden (Gregory Peck) is a small-town lawyer in North Carolina. He has a successful law practice, a loving wife and daughter, and a comfortable home. However, his idyllic life is shattered when Max Cady (Robert Mitchum), a recently released convict, arrives in town.
Max Cady is a psychopath who is obsessed with revenge. He believes that Sam is responsible for his eight-year prison sentence and he is determined to make Sam pay. Max begins to stalk and harass Sam’s family, and Sam is forced to take desperate measures to protect them.
Cape Fear explores themes of fear, paranoia, and the nature of evil. It is a dark and disturbing film that examines the lengths to which people will go to protect their loved ones.
Detour
Thriller, noir, by Edgar G. Ulmer, United States, 1945.
Al Roberts, an unemployed pianist, hitchhikes. After getting a ride, he arrives at a restaurant in Reno, Nevada. Another restaurant customer plays a tune on the jukebox: Al is upset because it reminds him of his life in New York City. He remembers a time there when he was bitter about his lack of success as a musician, forced to play in a poor club. One day her partner, Sue Harvey, who is a singer in the same club, seeing no prospects in their relationship, goes to seek her fortune in Hollywood. Al ends up being depressed. After some misadventures he decides to take a trip to California to see her again and marry her. For little money, however, he is forced to hitchhike across the nation. In Arizona, bookmaker Charles Haskell Jr. offers Al a ride to Los Angeles. That night, Al drives while Haskell sleeps. When a storm forces Al to stop to raise the convertible top, he can't wake Haskell. Al opens the passenger door and Haskell falls to the ground: he's dead.
Low-budget independent film made by Edgar G. Ulmer, assistant director of the great Murnau in "The Last Laugh" and "Aurora", Detour is a noir inspired by German expressionism. The protagonist Al Roberts tells the story of him speaking directly to the audience, but several clues suggest that maybe we are not listening to what really happened but what Al Roberts wants us to think happened. Sometimes terrible experiences can be remodeled into fantasies that are less complicated to deal with, sometimes we have to build an alibi: perhaps this is the ambiguous charm of "Detour". Ann Savage's portrayal is phenomenal: there isn't an ounce of humanity in her portrayal of Vera. "Detour" is a perfect example of a low-budget film that transforms its limitations into a strong and consistent style. A cult film where the darkness of noir captures the viewer without the need for technical virtuosity, famous actors or special effects.
LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese
The Girl Who Knew Too Much (1963)
The Girl Who Knew Too Much (1963) is a thriller film directed by the Italian director Mario Bava, it’s a Giallo film that stars John Saxon as Dr. Marcello Bassi and Letícia Román as Nora Davis. The Girl Who Knew Too Much is considered the first crime film ever, a category of films with a mix of sensuality, horror and thriller.
On vacation, Nora Davis (Letícia Román) arrives by plane in Rome to visit her sick elderly aunt. Nora’s aunt is cared for by Dr. Marcello Bassi (John Saxon). Nora’s aunt dies on the evening of Nora’s arrival and she goes to the nearby health facility to inform Dr. Bassi.
During the journey, she is robbed in the Spanish Steps. She sees the body of a dead woman lying on the ground next to her; a bearded male pulls a knife from the woman’s back. Nora reports him to the authorities who however discover no evidence and believe that he is hallucinating.
Repulsion (1965)
Repulsion (1965) is a psychological horror film directed by Roman Polanski, starring Catherine Deneuve, Yvonne Furneaux, Ian Hendry, John Fraser, and Patrick Wymark. It is considered one of Polanski’s greatest works and a landmark film in the genre of psychological horror.
The film explores the themes of isolation, alienation, and sexual repression, and tells the story of Carol Ledoux, a young woman who becomes increasingly withdrawn and paranoid after her sister leaves her alone in their London apartment.
A man, Colin, loves Carol and makes passionate efforts to charm her, but Carol seems indifferent. Carol is annoyed by Helen’s relationship with a boy named Michael, who Carol doesn’t seem to like. When Carol gets home from work, she is bothered by road construction under her house.
Colin meets her, strolls through her house and attempts to kiss her numerous times, but she refuses, running upstairs and brushing her teeth before sobbing. That night Helen interrogates Carol for flushing Michael’s toothbrush and electric razor down the toilet.
Based on a short story written by Roman Polanski and Gérard Brach, the plot follows Carol, a woman who undergoes a series of terrible experiences. It is a suspense film that focuses on Carol’s perspective and her hallucinations as she comes into contact with men. Ian Hendry, John Fraser, Patrick Wymark and Yvonne Furneaux appear in supporting roles.
The Bird with the Crystal Plumage (1970)
It is a 1970 crime film directed by Dario Argento in his directorial debut. The film is the progenitor of the yellow Italian category. Upon its release, the film was a notable success earning 1,650,000,000 Italian lire. It was also a success outside of Italy.
Sam Dalmas is an American author on holiday in Rome with his English girlfriend, Julia, is experiencing writer’s block and is on the verge of returning to America, however, he witnesses the attack of a lady in an art gallery by a strange fellow in black gloves wearing a raincoat.
Trying to reach him, Sam is trapped between 2 mechanically operated glass doors and can simply watch the man escape. The lady, Monica Ranieri, was attacked and the police confiscated Sam’s passport to prevent him from leaving the country. The attacker is thought to be a serial killer who is killing girls all over town and Sam is a crucial witness.
The Red Circle (1970)
The Red Circle (1970) is a French crime film directed by Jean-Pierre Melville. The film stars Alain Delon as Corey, a recently released prisoner who teams up with two other criminals to plan a major heist.
The film begins with Corey being released from prison. He is determined to go straight, but he is soon tempted back into a life of crime by an old associate named Vogel. Vogel is a notorious escapee who is planning a major heist. Corey reluctantly agrees to help Vogel, and they soon recruit another criminal named Jansen.
The three criminals plan to rob a jewelry store, but their heist is complicated by the presence of a determined police inspector named Mattei. Mattei is determined to stop the heist, and he is willing to go to any lengths to do so.
The film culminates in a tense standoff between the criminals and the police. The Red Circle is a stylish and suspenseful crime film that is considered to be a classic of the genre.
The film explores themes of fate, free will, and the nature of crime. It also examines the relationship between the individual and society.
Scarlet Street
Thriller, by Fritz Lang, United States, 1945.
Lang reprises the cast and the ambiguous triangle from "The Woman in the Portrait" and makes one of his best films, telling a story of guilt and degradation. A senior bank employee, Christopher Cross, has an insufferable wife and only one pastime: painting. One day he meets a woman, Kitty, who begins to exploit him discovering that the paintings the cashier paints can be sold at a good price.
LANGUAGE: italian
SUBTITLES: english
A Bay of Blood (1971)
A Bay of Blood is a 1971 Italian mystery/thriller movie directed by Mario Bava. Bava wrote the screenplay for the film with Giuseppe Zaccariello, Filippo Ottoni, and Sergio Canevari. The film stars Claudine Auger, Luigi Pistilli, Brigitte Skay, Nicoletta Elmi and Laura Betti.
Carlo Rambaldi produced the gruesome special effects. The story shows a series of ritual killings taking place around a bay. It is a film that influenced the slasher films that would follow years later, considered among the 50 greatest mystery/horror films ever.
While staying overnight at her bayside estate, the wheelchair-bound Countess Federica Donati is attacked and strangled to death by her companion, Filippo Donati. A few minutes later, Philip himself is stabbed to death by an assailant, and his remains are then dragged into the bay. Upon examination, the policemen discover what they think is a farewell note written by the Countess, however Philip’s murder is not discovered.
Real estate agent Frank Ventura and his girlfriend Laura plot to take over the bay. After the countess refused to offer them the house, the couple hatched a plan with Philip to kill her husband. To complete their strategy, Ventura requests Filippo’s signature on several legal files. They have no idea, however, that Philip himself was actually killed.
Mean Streets (1973)
Mean Streets (1973) is an American crime film co-written and directed by Martin Scorsese, and produced by Irwin Winkler and Robert Chartoff. The film stars Harvey Keitel and Robert De Niro as two young men involved in the underground world of Little Italy, New York City, during the early 1970s.
Charlie “Chazz” Palantine (Keitel) is a young man who is trying to make a living in the tough streets of Little Italy. He is caught between his loyalty to his friend and fellow small-time hoodlum, Johnny Boy (De Niro), and his desire to live a straight life.
Johnny Boy is a wild and unpredictable character who is constantly getting into trouble. He owes money to a loan shark and is constantly being chased by the police. Charlie tries to help Johnny Boy out, but Johnny Boy’s reckless behavior always seems to land them both in hot water.
The third film directed by Martin Scorsese Mean Streets is among the most important in his filmography. Scorsese said he was attracted to the idea of making a film about him and his friends. He even challenged De Niro’s character Johnny Boy, the film’s reckless lunatic.
The film takes place in the location of Little Italy, New York, in addition to telling the experiences of Scorsese, there is the mafia, the corruption of the cops, and crime. The packaging is still the same as an indie movie low budget, shot in 16mm: this makes this mafia film even more realistic and fascinating.
Deep Red (1975)
Deep Red (1975) is an Italian Giallo film directed by Dario Argento and starring David Hemmings, Clara Calamai, Macha Méril, Eros Pagni, and Giuliana Calandra. The film tells the story of Marcus Daly, a jazz pianist who witnesses the brutal murder of a psychic. The young man decides to investigate on his own, but he soon realizes that everyone who can help him solve the mystery is being killed.
Marcus Daly is an English jazz pianist living in Rome. One day, while walking down the street, he witnesses the murder of a psychic, Helga Ulmann. The woman was killed by a masked man wearing a pair of black gloves. Marcus is shaken by the event and decides to start investigating on his own.
Deep Red is a film that explores themes such as violence, mystery, and paranoia. The film is characterized by a strong atmosphere of suspense and unease, which is created by several elements, including the eerie soundtrack by Goblin, the dark and claustrophobic cinematography by Vittorio Storaro, and Dario Argento’s nervous and tense direction.
The American Friend (1977)
The American Friend (German: Der amerikanische Freund) is a 1977 neo-noir film directed by Wim Wenders and adapted from the 1974 novel Ripley’s Game by Patricia Highsmith. It stars Bruno Ganz, Dennis Hopper, Gérard Blain, Nicholas Ray, Samuel Fuller, Jean Eustache, and Roger Cox.
The film follows the story of Jonathan Zimmermann (Bruno Ganz), a terminally ill picture framer in Hamburg, Germany, who is approached by Tom Ripley (Dennis Hopper), a wealthy and amoral American art dealer. Ripley proposes that Zimmermann act as a courier for a series of art forgeries, promising him a large sum of money in exchange for his help.
Zimmermann is initially hesitant, but he eventually agrees to Ripley’s plan to provide for his family after his death. However, as Zimmermann becomes more involved in the forgeries, he begins to question the morality of his actions and the true nature of his relationship with Ripley.
The American Friend explores themes of guilt, morality, and the nature of evil. It is also a film about the relationship between art and crime, and how people can be manipulated for personal gain.
Silent night, bloody night
Horror, by Theodore Gershuny, United States, 1972.
1972 American Slasher, is a forerunner horror genre several years before Carpenter's Halloween, with a complex script and first person shooting of the killer, which inspired many subsequent films. Its originality and its narration are what manage to make it a small and little known pearl of the genre. A series of murders in a small New England town on Christmas Eve after a man inherits a family estate that was once a madhouse. Many of the cast and crew members were former Warhol superstars: Mary Woronov, Ondine, Candy Darling, Kristen Steen, Tally Brown, Lewis Love, director Jack Smith, and graduate Susan Rothenberg.
LANGUAGE: english
SUBTITLES: italian, french, spanish
Dressed to Kill (1980)
It is a 1980 American sensual thriller movie written and directed by Brian DePalma. Starring Michael Caine, Angie Dickinson, Nancy Allen and Keith Gordon, the film illustrates the events leading up to the murder of a New York City housewife (Dickinson) before meeting a prostitute (Allen) who witnesses the murder. It includes numerous references to Alfred Hitchcock’s 1960 film Psycho.
Released in July 1980, Dressed to Kill was a box office hit in the United States, earning over $30 million. It garnered mostly positive ratings and has been called the first wonderful American film of the 1980s. Dickinson won the Saturn Award for Best Actress for her performance. Allen garnered both a Golden Globe Award election for New Star of the Year and a Golden Raspberry Award for Worst Actress.
Sexually frustrated housewife Kate Miller is on her way to treatment sessions with New York City psychoanalyst Dr. Robert Elliott. During a consultation, Kate tries to seduce him, but Elliott refuses, saying it would endanger his happy marital relationship. Kate goes alone to the Metropolitan Museum of Art where she suddenly flirts with a strange unknown person. Kate and the stranger follow each other into the tunnel until they finally end up outside, where Kate joins him in a taxi. Most likely they go to his house and make love.
Blow Out (1981)
Blow Out (1981) is an American neo-noir thriller film written and directed by Brian De Palma and starring John Travolta, Nancy Allen, Dennis Franz, and John Lithgow. The film follows Jack Terry, a sound effects man who believes he has recorded evidence of a political assassination.
Jack Terry, a sound effects man for low-budget films, accidentally records a strange noise while working late one night. The noise turns out to be a gunshot that has killed presidential candidate Governor Burke. Terry believes that the assassination was covered up and sets out to uncover the truth.
Blow Out explores themes such as paranoia, obsession, and the power of sound. The film is a dark and gritty look at the underside of American politics, and it is unflinching in its portrayal of violence and corruption.
Blow Out was a critical and commercial success upon its release. The film was praised for its sharp writing, suspenseful direction, and performances. It has since been recognized as a landmark film in the neo-noir genre.
Videodrome (1983)
Videodrome is a 1983 Canadian science fiction horror-mystery film written and directed by David Cronenberg and starring James Woods, Sonja Smits and Debbie Harry. Max Renn is the head of CIVIC-TV, a mysterious television station in Toronto.
CIVIC-TV’s motorist Harlan introduces Max to Videodrome, a plotless program broadcast from Malaysia that shows people seriously injured and even killed. Believing this to be the future of television, Max orders Harlan to start using the program without a license.
Videodrome was Cronenberg’s first film to gain support from a Hollywood studio. With the higher budget of his previous films, the film was a box office bust, recouping just $2.1 million from a $5.9 million budget plan. It is currently considered a cult classic, listed as one of Cronenberg’s best, as well as a crucial example of body horror and science fiction.
Blue Velvet (1986)
Blue Velvet is a mystery movie and 1986 American thriller movie written and directed by David Lynch. The film stars Kyle MacLachlan, Isabella Rossellini, Dennis Hopper and Laura Dern, and takes its name from the 1951 song of the same name.
The film tells the story of Jeffrey Beaumont (Kyle MacLachlan), a young college student who, returning home after eye surgery, finds a severed ear in a field. Jeffrey begins to investigate the ear and finds himself involved in an underground world of violence, sex, and corruption.
Blue Velvet explores the themes of good and evil, the duality of man, and the nature of reality. The film is an investigation into the dark side of the human soul and man’s capacity for violence and depravity.
Blue Velvet was a critical and commercial success. The film was praised for its direction, performances, cinematography, and soundtrack. The film was also praised for its exploration of complex and controversial themes.
Slow life
Drama, comedy, thriller, by Fabio Del Greco, Italy, 2021.
Lino Stella takes a period of vacation from his alienating job to devote himself to relaxation and his passion: drawing comics. But he did not foresee certain disturbing elements: the intrusive administrator of the building where he lives, the postman who delivers crazy fines and tax bills, an overbearing security guard, a very enterprising real estate agent, the old lady downstairs who raises the feline colony of the condominium. These characters will make his vacation hell.
Food for thought
The larger a social group is, the more rules and bureaucracy are needed, which often do not respect the individual. You have to learn to live with annoying people, but sometimes the social pressure and arrogance can become intolerable. The only laws that always come to our aid are the laws of Nature.
LANGUAGE: Italian
SUBTITLES: English, Spanish, French, German, Portuguese
Body Double (1984)
It’s a erotic thriller movie 1984 American directed, co-written and produced by Brian DePalma. In the cast Craig Wasson, Gregg Henry, Melanie Griffith and Deborah Shelton. The film is a tribute to Alfred Hitchcock’s 1950s films, especially Rear Window, Vertigo and Dial M for Murder, taking on storylines and themes such as voyeurism.
Upon its release, the film garnered warm box office success and mixed reviews, and the role of Melanie Griffith gained appreciation and brought her a Golden Globe election. It is currently considered a film cult.
The star of b movie Jake Scully recently walked away from his role as a vampire in a low-budget scary movie after his claustrophobia hampered his performance. After returning home he discovers that his wife is cheating on him, he separates from her and also remains homeless.
During an acting technique course, where she meets Sam Bouchard, to whom Scully reveals her worries and childhood years, the source of her claustrophobia. Scully finds a place to stay: Sam’s wealthy friend has traveled to Europe and also needs a caretaker for his ultra-modern home in the Hollywood Hills.
Blood Simple (1984)
Blood Simple (1984) is a neo-noir crime thriller film written, directed, and co-produced by the Coen brothers, and starring Frances McDormand, John Getz, Dan Hedaya, M. Emmet Walsh, Deborah Neumann, Raquel Gavia, and Samm-Art Williams. The film is based on the 1981 novel of the same name by James M. Cain.
A sleazy nightclub owner hires two private detectives to kill his unfaithful wife. However, the plan goes awry, and everyone involved finds themselves entangled in a web of deceit and murder.
Blood Simple explores themes such as violence, betrayal, and obsession. The film is a dark and gritty look at the underside of human nature, and it is unflinching in its portrayal of violence and corruption.
Blood Simple was a critical and commercial success upon its release. The film was praised for its sharp writing, taut direction, and performances. It has since been recognized as a landmark film in the neo-noir genre.
Blood Simple had a profound influence on neo-noir cinema. The film helped to define the genre’s style, which is characterized by its dark and gritty atmosphere, its focus on moral ambiguity, and its use of violence. The film has also been praised for its influence on the Coen brothers’ later films, such as Miller’s Crossing (1990) and No Country for Old Men (2007).
The Vanishing (1988)
The Vanishing (1988), also known as Spoorloos in Dutch, is a Dutch thriller film directed by George Sluizer and starring Bernard-Pierre Donnadieu, Geneviève Bujold, and François Berléand. The film is based on the 1983 novel The Golden Egg by Tim Krabbé.
The film tells the story of Rex Hofman, a man who goes on a desperate search for his girlfriend Saskia after she disappears during a stop at a remote service station. The film is known for its suspenseful plot, its bleak and nihilistic atmosphere, and its shocking ending.
Rex Hofman is a man who is traveling with his girlfriend Saskia through France. They stop at a remote service station, and Saskia disappears without a trace. Rex is left to search for her, but he is met with nothing but silence and denial. As he delves deeper into the mystery, he uncovers a web of deceit and violence.
The Vanishing is a bleak and nihilistic film that explores themes of loss, obsession, and the futility of hope. The film’s protagonist, Rex Hofman, is a man who is consumed by his search for his missing girlfriend, and he eventually loses himself in the process. The film’s ending is particularly shocking, as it suggests that there is no justice or closure for those who have been wronged.
Fargo (1996)
Fargo (1996) is a 1996 American black comedy crime film written, produced, and directed by Joel and Ethan Coen. Frances McDormand stars as Marge Gunderson, a pregnant Minnesota police chief investigating a triple homicide that takes place after a desperate car salesman (William H. Macy) stages the kidnapping of his own wife for the ransom money.
Jerry Lundegaard (William H. Macy), a car salesman in Minneapolis, has gotten himself into debt and is so desperate for money that he hires two thugs (Steve Buscemi, and Peter Stormare) to kidnap his own wife, Jean (Kristin Rudrud). Jerry plans to collect the ransom from her wealthy father (Harve Presnell), paying the thugs a small portion and keeping the rest to satisfy his debts. However, the scheme quickly falls apart when one of the thugs accidentally shoots and kills a state trooper.
Fargo explores the themes of greed, desperation, and the consequences of bad decisions. The film is also a study of the contrast between the urban and rural Midwest, with the city of Minneapolis representing the sophistication and ambition of Jerry Lundegaard, while the rural towns of Brainerd and Fargo represent the simplicity and honesty of Marge Gunderson.
Fargo was a critical and commercial success. The film won five Academy Awards, including Best Picture, Best Director, Best Actress for McDormand, Best Original Screenplay, and Best Cinematography.
The Dark Web
Thriller, drama, by Andres Di Bono, USA, 2022.
A desperate father delves into the depths of the infamous Dark Web to find a new heart for his ailing son whose days seem to be numbered. Facing the loss of his family and perhaps more, he must answer the question: "How far is he willing to go?" A tight thriller condensed into a short film that tells a story that seriously tests the protagonist, a father left alone to deal with his own inner resources and who receives no help from the "legal" world around him . To what extent is it possible to rely on the illegal world of the dark web? What happens when we are faced with a crossroads that can mean life or death? There is a point where you are called to bet all you have, and even more, on a single spin of roulette, and to do so requires enormous courage.
LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese
Mulholland Drive (2001)
Mulholland Drive is a 2001 film directed by David Lynch. It is a neo-noir film that develops around two main characters, Betty Elms (played by Naomi Watts) and Rita (played by Laura Harring), who meet following a car accident on Mulholland Drive in Los Angeles.
The plot of “Mulholland Drive” is complex and dreamlike, and can be difficult to sum up in a few words. The story begins with the meeting between Betty Elms, a young actress who comes to Los Angeles to fulfill her dream of becoming a movie star, and Rita, a woman who has lost her memory following a car accident on Mulholland Drive. Together, the two women begin to investigate Rita’s past, revealing a series of mysteries and intrigues involving some bizarre and dangerous characters.
Throughout the film, we witness numerous dreamlike and surreal scenes that question the reality and logic of the plot. For example, there are scenes where characters suddenly change their appearance or behavior, or where seemingly normal situations suddenly become disturbing and inexplicable.
“Mulholland Drive” has been critically acclaimed for its direction, cast, cinematography, and soundtrack, and is considered a classic of contemporary cinema. However, it is also known to be a difficult film to decipher and interpret, and its meaning and plot have been the subject of many different interpretations and theories.
Classified as a psychological thriller, Mulholland Drive won Lynch the Best Director Award at the 2001 Cannes Film Festival, sharing the award with Joel Coen for The Man Who Wasn’t There. Lynch also had an Academy Award nomination for Best Director.
The film greatly enhanced Watts’ Hollywood career and was also the last feature film to star actress Ann Miller. Mulholland Drive is commonly regarded as one of Lynch’s best works and also one of the best films ever.
Passion (2010)
It is a 2012 erotic thriller movie written and directed by Brian De Palma, with Rachel McAdams and Noomi Rapace. It is an English-language remake of Alain Corneau’s 2010 thriller movie Love Crime, with the story significantly changed.
The film was chosen for the competition for the Golden Lion at the 69th Venice International Film Festival. Christine, an American marketing executive based in Germany, is collaborating with her protégé Isabelle on a marketing campaign for a new cell phone. Isabelle, who is secretly meeting Dirk, Christine’s boyfriend, has a great advertising idea.
Isabelle is jealous but makes peace with Christine when she shares the story of how her brother died when Christine claims him as her own. At the urging of her aide Dani, Isabelle posts a version of her ad on the Internet, where it goes viral. Christine vows revenge, teasing her with a sex tape Isabelle had made with Dirk. After a distraught Isabelle crashes her car in the company parking lot, Christine shares the safety video with the rest of the company, embarrassing Isabelle and she falls into clinical depression.
Black Swan (2010)
Black Swan (2010) is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder, and Sebastian Stan. The film is set in the world of ballet and tells the story of Nina Sayers, a young ballerina who is chosen to play the role of the White Swan and the Black Swan in the Bolshoi Theatre production of Swan Lake.
Nina Sayers is a young woman who lives with her overprotective mother, Erica, a former dancer, and dances with a New York City troupe. Nina auditions for the roles and performs flawlessly as Odette, but fails to play Odile. Nina asks Thomas to reevaluate his role. When he forcefully kisses her, she bites him and runs away from her workplace.
Later that day, Nina sees the cast checklist and is surprised to find that she has been given the lead role. At a gala celebrating the new show, a drunken Beth accuses her of providing Thomas sexual favors in exchange for the role. Thomas believes Beth was attempting suicide. Nina sees Beth after an accident in the hospital and also sees that her legs have been badly injured, implying that she will surely no longer have the ability to perform as a dancer.
The screenplay was written by Mark Heyman, John McLaughlin and Andres Heinz, based on an early story by Heinz. The film stars Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey and also Winona Ryder. The director considered Black Swan a companion piece to his 2008 film The Wrestler, with both films chronicling challenging performances for different types of art. Portman and Kunis trained in ballet for several months before filming began.
The Handmaiden (2016)
The Handmaiden (2016) is a South Korean psychological thriller film written and directed by Park Chan-wook, based on the novel Fingersmith (2005) by Sarah Waters. The film stars Kim Min-hee, Ha Jung-woo, Cho Jin-woong, and Kim Tae-ri.
Set in the 1930s during the Japanese occupation of Korea, The Handmaiden tells the story of a young woman named Sookee who is trained to be a handmaiden to a Japanese heiress named Lady Hideko. Sookee is tasked with seducing Lady Hideko and eventually marrying her. However, Sookee is actually part of a plot devised by a con man named Fujiwara to swindle Lady Hideko out of her fortune.
The Handmaiden explores themes of desire, betrayal, and the power of storytelling. The film is also a commentary on the social and political climate of Korea during the Japanese occupation.
The Hitch-Hiker
Thriller, Noir, by Ida Lupino, United States, 1953.
Two friends, Roy Collins (O'Brien) and Gilbert Bowen (Lovejoy) are driving to go fishing in the Mexican Gulf of California city of San Felipe. Just south of Mexicali, they give a ride to a hitchhiker, Myers, who draws a weapon and takes them hostage. Myers forces them to travel for days on dirt roads to the Baja California peninsula to Santa Rosalía, where he intends to take a ferry across the Gulf of California to Guaymas to lose track of him. The criminal terrifies and humiliates the two men. One night during their only attempt to escape, Collins injured his ankle. Meanwhile, authorities in the United States and Mexico are hunting Myers.
Shot in the desert of the southwestern United States, between wild places and small towns, the film is based on a true story: the murderous madness of Billy Cook, who in 1950 killed a family of five and a traveling salesman. Ida Lupino was a famous actress and had the opportunity to direct the film when director Elmer Clifton fell ill. The production company founded by Ida Lupino and her husband Collier Young "The Filmmakers" was created to make low-budget independent films. The director spoke to the two men that Billy Cook had imprisoned and received insights from both them and Cook himself, so that she could integrate real parts of Cook's life into the script. An exemplary film for the economy of means: three skilled actors, harsh landscapes, the talent of producers, screenwriters and director. A typically "masculine" film directed with audacity by a woman, very successful in its raw and noir atmosphere, in which the director never relaxes the tension for a minute. His level of psychological sensitivity towards the characters is ahead of its time. Tense, demanding and completely devoid of masculine glorifications, it is a jewel, with splendid interpretations of its 3 protagonists.
LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese
Primer (2004)
Four engineers work in their garage on tech projects, hoping to achieve a revolutionary invention. By chance, two of them, Aaron and Abe, discover they have created a time machine. Initially, they use it for financial gain, but soon their ambition drags them into a labyrinth of temporal paradoxes, doubles, and paranoia, severely testing their friendship and their very perception of reality.
Primer is a chilling analysis of ambition and the corrupting nature of power, even on a small scale. The film demonstrates how the pursuit of absolute control inevitably leads to chaos. Its narrative complexity and dense, technical dialogue are not a whim, but a thematic tool: the viewer feels lost in the details just as the protagonists get lost in the consequences of their actions.
The lesson on personal growth is as brilliant as it is ruthless. The film warns us against the self-destructive consequences of unbridled ambition devoid of ethics. Aaron and Abe, blinded by the possibility of manipulating reality for their own benefit, lose sight not only of their friendship but also of their own identities. It is a warning about the responsibility that comes with knowledge and the fact that true progress is not about dominating the world, but about mastering oneself.
Moon (2009)
Sam Bell is the sole astronaut on a lunar base overseeing the extraction of helium-3, the solution to Earth’s energy crisis. With his three-year contract almost up, Sam can’t wait to return to his family. But an accident leads him to a shocking discovery: he is not alone. His existence is a lie orchestrated by a ruthless corporation, and his very identity is called into question.
Moon is a deep and moving meditation on what it means to be human in a world that treats us as disposable resources. By forcing Sam to confront a younger version of himself, a clone, the film compels him to question the nature of his memories, his love, and his purpose. His struggle is not against an alien monster, but against corporate dehumanization.
Sam’s personal growth manifests through an act of extraordinary empathy: empathy towards himself. Instead of seeing the clone as a threat, he learns to see him as a brother, a victim of the same system. His final choice to sacrifice himself to allow the “new” Sam to escape is a powerful affirmation of individuality and humanity. The film teaches us that growing up means recognizing the intrinsic value of life, even when the world tries to convince us that we are replaceable.
Black Swan (2010)
Nina Sayers is a ballerina in a prestigious New York company, whose life is entirely dedicated to dance. When the artistic director decides to replace the prima ballerina for the production of “Swan Lake,” Nina is the perfect choice for the White Swan. However, a new rival, Lily, perfectly embodies the sensuality of the Black Swan, pushing Nina into a spiral of obsession and paranoia that threatens her sanity.
Darren Aronofsky’s film is a terrifying depiction of the dangers of perfectionism. Nina’s journey is not towards growth, but towards self-destruction. It shows us that suppressing vital parts of ourselves—in this case, her sensuality and aggression, her “Black Swan”—in the name of an unattainable ideal is a recipe for psychological disaster.
True personal growth requires integration, not annihilation. Nina, instead, tries to kill the part of herself that does not conform to the ideal of perfection, ending up destroying everything. Black Swan is a powerful warning against the obsessive pursuit of external validation at the expense of one’s mental health, a fierce critique of the “all or nothing” culture that we often mistake for ambition.
Nightcrawler (2014)
Lou Bloom is an unemployed petty thief desperately trying to find his place in the world. One night, he stumbles upon a group of “nightcrawlers,” freelance journalists who film accidents and crime scenes to sell to local news stations. Seeing an opportunity, Lou throws himself into this ruthless world, demonstrating a natural talent for capturing raw and shocking images, pushing himself further and further, beyond all ethical and legal limits.
Nightcrawler is a scathing and chilling satire of the American dream and the “hustle culture” mentality. Lou Bloom is the embodiment of personal growth stripped of any moral compass. He learns, adapts, succeeds, and builds a business from scratch. His path, however, is a linear descent into sociopathy. He exploits, manipulates, and ultimately destroys anyone who gets in his way, all in the name of success.
The film forces us to an examination of conscience. In a world that rewards results above all else, where do we draw the line? Lou’s story questions our definitions of success and the ethical compromises we are willing to make, or tolerate in others, to achieve it. It is a disturbing portrait of how ambition, without empathy, can create monsters.
The Red House
Thriller, noir, by Delmer Daves, United States, 1947.
A young girl named Meg lives with her adoptive brother Pete and her elderly father on an isolated farm. The house is surrounded by woodland and seemingly inaccessible land known as 'The Red House'. The house is shrouded in mystery and local legends, and her presence casts an ominous shadow over the lives of Meg and her family. When Meg starts attending school, she falls in love with Nath, one of her classmates. Tensions mount when Nath decides to explore the grounds of the Red House and tries to uncover the secrets hidden within. This provokes the worried and intimidating reaction of Meg's father and Pete, who seem to want to hide something obscure related to the Red House.
The Red House is a psychological thriller that explores the buried secrets of the family's past and their impact on the present. The gloomy and claustrophobic atmosphere of the story creates a feeling of suspense and mystery. As the story unfolds, the secrets of the Red House and its connections to the family emerge, leading to shocking revelations and a tense climax. The film that mixes elements of noir and suspense with elements of family drama. It is known for its evocative cinematography and the intense performances of the cast and explores themes such as guilt, secrecy and redemption, with a psychological look at complex family dynamics. It is a lesser-known work of the psychological thriller genre that has become a cult movie over the years for its gripping storyline and intense performances.
LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese
Uncut Gems (2019)
Howard Ratner is a charismatic jeweler in New York’s Diamond District, but he’s also a man on the brink, crushed by gambling debts. When he comes into possession of a rare, uncut black opal from Ethiopia, he believes he has found the solution to all his problems. Instead, he triggers a frantic and chaotic series of events, bets, and dangerous encounters in a race against time to save his life.
This film by the Safdie brothers is a two-hour-long panic attack, a visceral immersion into self-destruction. Howard is not growing; he is plummeting in an unstoppable spiral. The film serves as a powerful negative example of personal growth: it is the portrait of a man who refuses to learn, reflect, or change. Every opportunity for salvation is turned into another bet, every relationship is sacrificed on the altar of the next, illusory, big win.
Uncut Gems is a masterful analysis of addiction, not just to gambling, but to chaos itself. Howard thrives on tension, feeling alive only when he is one step away from disaster. It is a terrifying warning about the human capacity to sabotage one’s own happiness and the tragic illusion that the next bet, and not an inner change, can solve everything.
Sound of Metal (2019)
Ruben is the drummer of a heavy metal duo, perpetually on tour with his girlfriend and singer, Lou. His nomadic and loud life is turned upside down when he suddenly begins to lose his hearing. Faced with a silent future and the threat of a relapse into drug addiction, Ruben is convinced to enter a rural community for deaf people, where he will have to confront a new identity and a new way of being.
Sound of Metal is a profound and moving story about acceptance. Ruben’s initial obsession is to “fix” his hearing, to return to his old life. His true personal growth begins only when he surrenders to this struggle and starts to learn that deafness is not a handicap to be corrected, but an identity to be embraced, a culture to be discovered.
The film’s revolutionary sound design catapults us into his head, making us experience firsthand the frustration, confusion, and, finally, the peace of silence. The lesson is powerful: growth is not about restoring what we have lost, but about finding new meaning in what we have become. It’s about discovering inner stillness in the face of irreversible change and understanding that happiness lies not in the noise of the world, but in peace with oneself.
Oldboy (2003)
Oh Dae-su, an ordinary businessman, is kidnapped and imprisoned in a hotel room without any explanation. For fifteen years, his only company is a television. Suddenly and inexplicably released, he is given a cell phone, money, and an ultimatum: discover the identity of his captor and the reason for his imprisonment in five days. His quest for revenge drags him into a spiral of violence and shocking revelations.
Park Chan-wook’s masterpiece is a modern Greek tragedy about the all-consuming and self-destructive nature of revenge. The film argues, with brutal force, that the pursuit of revenge not only brings no catharsis but ends up annihilating the soul of the avenger as much as that of his target. The shocking final revelations show that the past cannot be buried and that the consequences of our actions, even forgotten ones, come back to haunt us.
Personal growth, in this ruthless universe, would lie in forgiveness and understanding, a path that the characters tragically fail to take, condemning themselves to absolute ruin. Oldboy forces us to question our own desire for summary justice, showing us that true strength lies not in returning the blow, but in breaking the cycle of violence.
Blue Ruin (2013)
Dwight is a homeless man living on the fringes of society in his old, rusty blue Pontiac. His apathetic existence is shattered when a police officer informs him that the man who killed his parents is about to be released. Armed with a desire for revenge as intense as his inexperience, Dwight embarks on a clumsy punitive mission that triggers a bloody feud with a violent, entrenched family.
Blue Ruin is a masterful work that demolishes any romanticism associated with violence and revenge. Dwight is not an action hero, not a skilled assassin; he is an ordinary man, scared and tragically unprepared for the chain consequences of his actions. The film is a stark reminder of how violence only begets more violence, trapping everyone involved in a senseless cycle of retaliation.
The lesson on personal growth is a humbling one. It shows us the futility of revenge as a tool for healing. True maturity lies not in settling scores, but in understanding the need to break the chains of hatred. Dwight’s journey is not a glorious ride towards justice, but a clumsy and sad descent into a hell he helped create, a powerful warning about the real consequences of violence.
The stranger
Thriller, by Orson Welles, United States, 1946.
Orson Welles, a filmmaker who has always been against the Hollywood system, did not like this film made inside the studios, but strangely he managed to create a commercial product beyond his own expectations, managing to insert his unmistakable style into it, leaving us an amazing movie. In the small town of Harper, lives Charles Rankin, who is about to marry the daughter of an important judge. But Charles Rankin is actually Frank Kindle, a Third Reich criminal who has created a new identity for himself. However, Inspector Wilson is on the trail of him.
Food for thought
Forget the untruths. For a while, you may feel a certain boredom, fear or lack of motivation: while what is false disappears, it takes time for what is real to assert itself. There will be a transition period. Let it happen, and hold on. Sooner or later your masks will fall, the falsehoods will dissolve, and your true face will appear.
LANGUAGE: english
SUBTITLES: Spanish, French, Germa, Italian, Portuguese
Green Room (2015)
“The Ain’t Rights,” a young punk rock band, are short on cash during a tour. They reluctantly accept a gig at an isolated venue in the Oregon woods, only to discover it’s a den of neo-Nazi skinheads. After their performance, they witness a murder and barricade themselves in the backstage area, the “green room.” What follows is a brutal siege and a desperate fight for survival against the club’s owner and his ruthless followers.
Green Room is an exercise in pure tension, a siege thriller that strips its characters of any ideological or cultural superstructure to reduce them to their most primal instincts. In this furnace of violence, there is no room for art or politics, only the will to survive. The growth that occurs in this context is brutal and instinctive.
The protagonists are forced to confront their own capacity for inflicting violence when pushed to the absolute limit. They discover a resilience they didn’t know they possessed and a ferocity that emerges only in the face of annihilation. It is a terrifying form of growth, one that leads not to greater wisdom, but to a raw awareness of one’s own animality and the fragility of civilization in the face of horror.
You Were Never Really Here (2017)
Joe is a traumatized war veteran who now makes a living rescuing girls kidnapped from prostitution rings. Armed with a hammer and tormented by fragmented flashbacks of his abusive childhood and military experiences, Joe moves like a ghost on the fringes of society. His latest assignment, to save a senator’s daughter, drags him into a conspiracy that forces him to confront his deepest demons.
Lynne Ramsay’s film transcends the “revenge thriller” genre to become a poetic and brutal meditation on shared trauma. Joe’s violent crusade is not driven by revenge, but by a desperate attempt to save a younger version of himself, to offer another lost soul the protection he was denied. The film’s fragmented and impressionistic visual style perfectly mirrors his post-traumatic stress disorder.
The most significant moment of growth comes not from a final, cathartic explosion of violence, but from an instant of quiet connection with the girl he saved. In that silence, two wounded souls recognize each other. The film suggests that healing from trauma is not found in violence, but in empathy and mutual understanding. They don’t save themselves alone; they save each other.
Promising Young Woman (2020)
Cassie was a promising medical student, but she dropped out after her best friend, Nina, committed suicide following a rape that went unpunished. Now, Cassie lives a double life: by day she works in a coffee shop, by night she frequents bars, pretending to be drunk to unmask and terrorize the “nice guys” who try to take advantage of her. Her mission of revenge takes an unexpected turn when a former classmate re-enters her life.
Beneath its sparkling, pastel-colored surface, Promising Young Woman is a psychological thriller that uses the structure of revenge to launch a fierce and necessary critique of rape culture and the social complicity that fuels it. Cassie’s journey is fueled by unresolved grief and righteous anger. Her “growth” consists in refusing to “move on” in a world that would rather forget and forgive aggressors.
The film courageously explores the psychological cost of trauma and the complex moral ambiguities of revenge. It offers no easy answers but forces the viewer to confront their own biases and question the true meaning of justice. Growth, here, is an act of resistance: the determination not to let injustice be erased by time.
Hell or High Water (2016)
Two Texas brothers, Toby, a divorced father, and Tanner, a trigger-happy ex-convict, reunite to carry out a series of bank robberies. Their goal is not enrichment, but to save the family ranch from imminent foreclosure. On their trail are two Texas Rangers, the aging and sardonic Marcus Hamilton, nearing retirement, and his partner of Comanche and Mexican descent, Alberto Parker.
Hell or High Water is a modern neo-western that uses the structure of a heist film to tell a powerful story about economic crisis, desperation, and family ties. The Howard brothers are not criminals by nature, but ordinary men pushed to extreme measures by a financial system that has cornered them. Theirs is not greed, but a struggle for survival and to leave a legacy for their children.
The film explores a moral gray area, where illegal actions are motivated by noble intentions. The characters’ personal growth is tied to sacrifice. Toby must become a criminal to be a good father, accepting the moral consequences of his actions to secure a future for his family. It is a bitter reflection on how, sometimes, doing the right thing requires breaking the law, and on the heavy burden such choices entail.
In Bruges (2008)
After a hit gone tragically wrong in London, two hitmen, Ray and Ken, are sent by their boss Harry to hide out in the picturesque medieval city of Bruges, Belgium. While Ken, the older and more reflective of the two, is fascinated by the beauty of the place, the young and impulsive Ray is consumed by guilt and boredom. Their forced wait turns into a surreal adventure among tourists, dwarf actors, and a dark code of honor.
Beneath the surface of a brilliant and irreverent black comedy, In Bruges is a profound meditation on guilt, redemption, and the search for a moral code in a violent world. Bruges is not just a location, but a veritable Purgatory, a place suspended between sin and the possibility of atonement. Ray is a tormented soul, a man who has committed a terrible act and cannot forgive himself.
His path of growth is a bumpy journey towards accepting his own humanity. The film explores the idea that even people who have done unforgivable things can have principles and seek a form of redemption. It is a story about conscience, suggesting that the real punishment is not death, but having to live with the weight of one’s actions, and that perhaps, even in the darkest of sins, there is still room for a glimmer of grace.
The Father (2020)
Anthony is an eighty-year-old man, proud and independent, who lives alone in his London apartment and refuses all the caregivers his daughter Anne tries to hire for him. But his perception of reality is beginning to falter. As he tries to make sense of his changing circumstances, he begins to doubt his loved ones, his own mind, and even the fabric of his reality, with people and places changing without warning.
The Father is a brilliant and heartbreaking work that doesn’t just tell the story of dementia, but makes the viewer experience it. Using a non-linear and subjective narrative structure, the film traps us in Anthony’s confused and frightened mind. Like him, we are never sure what is real, who the people coming and going are, or what the timeline of events is.
This psychological thriller about identity and loss offers no lessons of growth for its protagonist, whose mind is dissolving. Instead, growth is an experience imposed on the viewer. The film forces us into a radical exercise of empathy, making us feel the fear, frustration, and vulnerability of someone losing control of their own mind. It is an unforgettable exploration of the human condition and the pain of losing oneself.
The Place Beyond the Pines (2012)
Luke, a motorcycle stuntman, discovers he has a son with his ex, Romina. Determined to provide for them, he abandons his nomadic life and starts robbing banks. His actions put him on a collision course with Avery Cross, a rookie and ambitious police officer. The consequences of this fatal encounter will extend over fifteen years, affecting the lives of their sons, Jason and AJ.
This epic film is a profound reflection on legacy, destiny, and the sins of the fathers being visited upon the sons. Structured in three distinct acts, the film explores how the choices of one generation create an almost inescapable cycle for the next. Luke and Avery, despite coming from different worlds, are both men struggling with their masculinity and the desire to leave a mark.
Personal growth is a central theme, but it is seen as a struggle against determinism. The sons, Jason and AJ, are haunted by the ghosts of their fathers, trapped in a legacy of violence and corruption. The question the film poses is whether it is possible to break this cycle. Growth, therefore, is not just an individual journey, but a battle to rewrite one’s own destiny, to find one’s identity beyond the looming shadows of the past.
The Invitation (2015)
Will and his new partner Kira accept a dinner invitation to the home of his ex-wife, Eden, and her new husband, David. The house is the same one where Will and Eden lived and where they tragically lost their son. As the evening progresses, Will is tormented by memories and a growing paranoia, sensing a strange and sinister atmosphere in the attitudes of the hosts and their new, enigmatic friends.
The Invitation is a masterful psychological thriller that uses pain and grief as engines for almost unbearable tension. The film constantly plays with the viewer’s perception: is Will’s paranoia the result of his unresolved trauma, or is he sensing a real danger that the others, eager to “move on,” refuse to see?
The film is a chilling critique of the culture of forced positivity and easy solutions for complex pain. The “growth” offered by the cult Eden and David have joined is a denial of pain, a dangerous shortcut that leads to violence. True growth, the film suggests, lies in Will’s ability to trust his instincts, not to suppress his pain, and to face the uncomfortable truth, even when everyone around him accuses him of being crazy. It is a film about the validity of our pain and the dangers of those who try to erase it.
It Follows (2014)
After a seemingly innocent sexual encounter, nineteen-year-old Jay discovers she has become the target of a curse. A supernatural force, which can take the form of anyone, will follow her relentlessly and at a slow pace, wherever she goes. The only way to get rid of it is to pass the curse on to someone else through sexual intercourse. If the entity reaches her, it will kill her.
Beneath the surface of an ingenious and terrifying horror film, It Follows is a powerful metaphor for anxiety, trauma, and the inevitable consequences of intimacy. The entity is not just a physical threat; it represents the emotional baggage we inherit and pass on in our relationships, the fear of sexually transmitted diseases, and more generally, the inescapable awareness of our own mortality.
The characters’ personal growth consists not in finding a way to destroy the “monster,” but in learning to live with it. Jay and her friends choose not to simply pass the curse on, but to face it together, creating a supportive community. The film suggests that we cannot escape our fears and traumas, but we can choose not to face them alone. Growth is finding strength in connection and mutual responsibility.
Hard Candy (2005)
Hayley, an intelligent and precocious fourteen-year-old, meets Jeff, a thirty-two-year-old photographer, after flirting with him online. She lures him to his apartment with the promise of a photoshoot, but the situation takes a shocking turn. Hayley drugs Jeff and ties him up, revealing that she suspects he is a pedophile. Thus begins a tense and claustrophobic psychological game of power and control.
Hard Candy is a provocative and uncomfortable thriller that flips the Little Red Riding Hood fairy tale, turning the supposed victim into a calculating tormentor. The film explores complex themes of justice, revenge, and the morality of torture, without ever offering easy answers or taking a clear side. It puts the viewer in a difficult position, forcing them to question their own reactions and biases.
The film can be seen as an extreme exploration of forced growth. Hayley takes on the role of a vigilante, an adult role, to confront an evil that society often fails to punish. Her coldness and determination are both admirable and terrifying. It is a work that questions the limits of vigilante justice and the psychological scars that violence, even when perpetrated in the name of a just cause, leaves on those who commit it.
Drive (2011)
A nameless man, known only as Driver, works as a mechanic and movie stuntman by day, and a flawless getaway driver for robberies by night. His solitary and controlled existence is shaken when he falls for his neighbor, Irene, and her son. When Irene’s husband gets out of prison and becomes entangled with dangerous criminals, Driver decides to help him, getting dragged into a world of violence from which he can no longer escape.
Drive is an existential neo-noir that explores the duality of human nature. The protagonist is a modern knight, a man of few words governed by a strict moral code. He lives in a world of quiet and control, but beneath the surface stirs a capacity for brutal and primal violence. The encounter with Irene awakens in him a desire for normalcy and connection, but at the same time forces him to unleash his darkest side to protect her.
The film is a reflection on the mask we wear and the true nature hidden behind it. Driver’s growth is a tragic acceptance of who he truly is. He realizes he cannot be both the romantic hero and the violent protector. His final choice to walk away, leaving the money and the chance for a normal life, is an act of sacrifice. He recognizes that his violence, even if used to protect, would ultimately contaminate the world of innocence he desired.
I Saw the TV Glow (2024)
Owen is a shy and lonely teenager living in a boring suburb. His life changes when an older classmate, Maddy, introduces him to “The Pink Opaque,” an obscure young adult TV show about two young heroines fighting supernatural monsters. The obsession with the show becomes a deep bond between them, but when Maddy mysteriously disappears, the line between television fiction and reality begins to blur dangerously.
This film is a surreal and melancholic work that uses the aesthetics of ’90s nostalgia to tell a powerful allegory about transgender identity and dysphoria. The Pink Opaque” is not just a TV show; it is an inner world, an alternate reality where the protagonists can be who they truly feel they are. The horror of the film derives not from traditional monsters, but from the fear of being trapped in a life that does not belong to us.
Personal growth is the central theme: it is the painful and terrifying journey to accept one’s true identity. Owen represents the fear of change, the choice to remain in the safe but false “reality,” a decision that leads him to an adult life of emptiness and regret. The film is a moving and unsettling reminder that true growth requires the courage to break the screen of the reality imposed on us and to embrace our true selves, no matter how scary it may seem.
Parasite (2019)
The Kim family, consisting of a father, mother, son, and daughter, lives in a squalid semi-basement and makes ends meet with precarious jobs. Their fortune changes when the son, Ki-woo, through a friend, gets hired as an English tutor for the daughter of the wealthy Park family. With a cunning plan, the Kims manage to infiltrate the luxurious villa one by one, becoming parasites in an ecosystem that had not anticipated them.
Bong Joon-ho’s masterpiece is a black comedy that transforms into a tense and violent social thriller. The film is a powerful and layered metaphor for social inequality and class struggle. There are no true “villains”; both the Kims and the Parks are products of their environment, trapped in a capitalist system that creates an unbridgeable distance between rich and poor.
The film denies the possibility of true personal growth within this system. The Kims do not seek to improve their condition through honest work, but through deception, imitating the rich without ever being able to become like them. The tension explodes when they realize they are not the only parasites. It is a ruthless critique of the illusion of social mobility, suggesting that as long as such disparity exists, anger and violence will always lurk beneath the glossy surface of society.
Civil War (2024)
In the near future, the United States is on the brink of collapse, torn apart by a civil war. A group of war journalists, including veteran Lee and reporter Joel, undertake a dangerous journey from New York to Washington D.C. to interview the President before the capital falls to the “Western Forces.” Along the way, they document the horrors of an America that has turned its weapons against itself.
Civil War is an immersive and terrifying war thriller, not so much for its action scenes, but for its chilling plausibility. Alex Garland’s film wisely avoids explaining the political causes of the conflict, focusing instead on the human and psychological impact of social collapse. Its perspective is that of the journalists, observers trying to maintain professional objectivity while the world around them loses all semblance of logic and humanity.
The film explores desensitization to violence. The growth of the young photographer Jessie is a process of hardening, where she learns to look at horror through the lens, detaching emotionally to survive and do her job. In contrast, the veteran Lee is reaching her breaking point, tormented by the images she has captured. It is a powerful reflection on the role of journalism in times of crisis and the psychological price paid for being a witness to history.
Victoria (2015)
Victoria, a young Spanish woman living in Berlin, leaves a club and meets four local guys. Attracted by their charisma, she joins them for a night walk. But what starts as a carefree adventure and a potential flirtation quickly turns into a nightmare when Victoria gets involved in a bank robbery. The entire event is told in a single, breathtaking long take.
Victoria is a technical tour de force and an immersive thriller that drags the viewer into an escalation of tension in real time. The use of the long take is not mere virtuosity, but a tool to create an unprecedented experience of realism and immediacy. There are no cuts, no breaks: we are trapped with Victoria as her choices lead her deeper and deeper into a no-win situation.
The film explores the nature of chance and the irreversible consequences of decisions made in an instant. Victoria’s growth is a brutal and accelerated transformation. In a few hours, she goes from a carefree tourist to an accomplice in a violent crime, forced to discover a strength and resolve she didn’t know she had. It is a powerful reflection on how life can change in a moment and how, in the face of danger, our true nature emerges.
Pig (2021)
Rob is a former star chef living as a recluse in the Oregon forests, his only companion his beloved truffle pig. When the pig is kidnapped, Rob is forced to return to Portland, the city he abandoned, and confront his past to find her. His journey takes him into the city’s culinary underworld, revealing an unexpected story about loss, love, and what truly has value in life.
Pig brilliantly subverts the expectations of the “revenge thriller” genre. It is not a story of violence and revenge, but a melancholic and profound meditation on grief and the search for meaning in a world obsessed with appearances and success. The pig is not just an animal; it is a living link to Rob’s past, a symbol of the love and passion he has lost.
Rob’s growth is not about punishing the culprits, but about reconnecting with his humanity. Every encounter on his journey becomes an opportunity to remind others, and himself, of the importance of authenticity and passion. The film teaches us that the things we truly love, whether it’s a person, an animal, or a craft, define us. And that facing loss does not mean forgetting, but honoring the memory of what made us happy.
The Banshees of Inisherin (2022)
On the remote island of Inisherin, off the coast of Ireland, in 1923, life flows slowly and immutably. One day, without any explanation, the musician Colm Doherty abruptly decides to end his lifelong friendship with the simple and kind Pádraic Súilleabháin. Baffled and hurt, Pádraic refuses to accept the situation, triggering an escalation of ultimatums and increasingly tragic consequences.
Martin McDonagh’s tragicomedy is a powerful and melancholic allegory about conflict, loneliness, and existential despair. The sudden end of the friendship between Colm and Pádraic is a small, personal event that mirrors the larger conflict taking place on the mainland: the Irish Civil War. The film explores how pride, stubbornness, and an inability to communicate can turn a disagreement into a destructive war.
Colm is obsessed with the idea of leaving a legacy, of creating something that will last beyond his life, while Pádraic represents the value of kindness and companionship. The film takes no sides but shows the tragedy of two irreconcilable worldviews. Growth, here, is impossible. It is a tale about the loss of innocence and the sadness of realizing that some fractures cannot be healed and that loneliness, sometimes, is a choice from which there is no return.
Anatomy of a Fall (2023)
Sandra, a German writer, lives in an isolated chalet in the French Alps with her husband Samuel and their visually impaired son, Daniel. When Samuel is found dead at the foot of the house, his death is considered suspicious and Sandra becomes the main suspect. The ensuing trial is not just an investigation into a death, but a ruthless dissection of their relationship, where every memory and every word is analyzed, distorted, and used as a weapon.
Justine Triet’s masterpiece is a legal thriller that transcends the genre to become a profound exploration of truth, perception, and the elusive nature of a relationship. The film is not interested in giving a definitive answer about Sandra’s guilt or innocence. Instead, it shows us how “truth” is a construction, a narrative we choose to believe based on fragments of evidence and our own biases.
The trial forces every character, including young Daniel, on a painful path of growth. Daniel must choose which version of his parents’ story to accept in order to survive. The film teaches us that in human relationships, there is no objective truth, only conflicting perspectives. Growth consists in accepting this ambiguity, in recognizing that we can never fully know another person, and in finding a way to live with doubt.
Love Lies Bleeding (2024)
In 1989, in a small New Mexico town, Lou, the lonely manager of a gym, falls in love with Jackie, an ambitious bodybuilder passing through on her way to a competition in Las Vegas. Their electric and overwhelming passion, however, drags them into a vortex of violence, tying them to the criminal network of Lou’s family, led by her sinister father. Love, lies, and blood intertwine in an unstoppable spiral.
This neo-noir romantic thriller is a hyperbolic and steroid-fueled exploration of ambition and obsession. Jackie’s body, which transforms and grows disproportionately through steroid use, becomes the visual metaphor for their passion and unbridled ambition. The film mixes raw realism with bursts of surrealism, creating a unique atmosphere where desire and violence are two sides of the same coin.
The characters’ growth is a physical and moral transformation. Jackie pursues her dream of physical perfection, but this ambition makes her an instrument of violence. Lou, on the other hand, is forced to confront her family’s criminal legacy, which she has always tried to reject. The film is an extreme tale about how love can be both a saving force and a push towards self-destruction, and how the pursuit of one’s dreams can have a terrible cost.
Reservoir Dogs (1992)
After a jewelry heist goes wrong, the surviving criminals, who know each other only by code names (Mr. White, Mr. Orange, Mr. Blonde, etc.), gather in an abandoned warehouse. With the police on their heels and a seriously wounded comrade, tension rises as they try to figure out what went wrong and who among them is a traitor. Loyalty and professionalism clash in a bloodbath.
The film that launched Quentin Tarantino is a fundamental classic of independent cinema. Although a heist film, it shifts the focus from external action to internal conflict, concentrating on dialogue, characterization, and the psychological tension that builds among the trapped characters. It set a new standard for the crime thriller, influencing countless films to come.
The warehouse becomes a microcosm where the underworld’s codes of honor are put to the test. Growth, in this context, is impossible; instead, we witness a regression into paranoia and primal violence. The film explores what happens to identity and morality when structures of trust collapse. It is a brutal lesson on how, under pressure, even the most “professional” criminals are governed by fear and the survival instinct.
Fargo (1996)
Jerry Lundegaard, a Minnesota car salesman drowning in debt, arranges the fake kidnapping of his wife to extort a ransom from his wealthy father-in-law. He hires two incompetent criminals, but the seemingly simple plan quickly degenerates into a series of brutal murders. On their trail is Marge Gunderson, a local police chief, pregnant, tenacious, and with an unshakeable optimism.
This Coen brothers classic is a unique hybrid of thriller, black comedy, and drama. The film contrasts the absurd and senseless violence of the criminals with the normality, kindness, and competence of the ordinary people of the Midwest, magnificently embodied by Marge. The horror of the crimes is amplified by the context of a polite and almost banal society.
The film is a profound reflection on the banality of evil and the power of decency. While the male characters are driven by greed, ineptitude, and violence, Marge represents a moral anchor. Her growth is not necessary; she is already a complete character, a beacon of competence and humanity. The film teaches us that true heroism lies not in grand gestures, but in the simple, daily choice to be a good person and do one’s job well, even in the face of the most senseless darkness.
The Stanford Prison Experiment (2015)
In 1971, psychology professor Philip Zimbardo conducts an experiment at Stanford University to study the psychological impact of power and social roles. Twenty student volunteers are randomly divided into “guards” and “prisoners” and locked in a simulated prison in the university’s basement. The experiment, planned for two weeks, quickly degenerates into an orgy of power abuse and sadism.
This film is the faithful dramatization of one of the most famous and controversial psychological experiments in history. It is a terrifying thriller because it is real. It shows with chilling clarity how good people, placed in an evil system, can quickly become perpetrators of cruelty. The guards, invested with arbitrary power, become sadistic, while the prisoners become passive and desperate.
The film denies the idea of positive personal growth under these conditions. On the contrary, it documents a moral disintegration. It is a powerful warning about the fragility of our ethics and how situations and social roles can shape our behavior more than our intrinsic personality. The most important lesson is the one learned by Dr. Zimbardo himself: the need to recognize when a system is corrupting humanity and have the courage to stop it.
Good Time (2017)
After a bank robbery goes wrong, Connie Nikas manages to escape, but his mentally disabled brother Nick is captured and sent to Rikers Island. Consumed by guilt and a distorted brotherly loyalty, Connie embarks on a desperate and chaotic nocturnal odyssey through the New York underworld to raise the bail money and get his brother out before something terrible happens to him.
The Safdie brothers’ film is an adrenaline-fueled and fast-paced thriller, an immersion into the pulsating and dirty heart of the city. The narrative is a succession of bad decisions and increasingly disastrous consequences, which drag the viewer into a vortex of anxiety and desperation. Robert Pattinson’s performance is electric, a mix of toxic charisma and panic.
The film explores the destructive nature of a sick love. Connie’s loyalty to his brother is his only moral compass, but it is this very loyalty that causes the ruin of both. There is no growth for Connie; he is a character trapped in a cycle of impulsivity and self-sabotage. The film is a powerful portrait of desperation and how good intentions, when guided by panic and poor judgment, can lead to total disaster.
The Lobster (2015)
In a dystopian future, single people, according to the laws of the City, are arrested and transferred to a Hotel. There, they are obliged to find a partner in forty-five days. If they fail, they are transformed into an animal of their choice and released into the Woods. David, a man whose wife has left him, finds himself in this situation and desperately tries to find love to avoid transformation.
Yorgos Lanthimos’s film is a surreal and darkly comic satire on the social pressures related to relationships and coupledom. Using an absurd premise, the film exposes the rigid and often ridiculous rules that govern our way of seeking and maintaining love. The Hotel represents the tyranny of the couple, while the Loners in the woods represent the opposite tyranny of forced individualism.
David’s growth is a journey to find authenticity in a world that represses it. He flees one system only to find another equally oppressive one. The film is a critique of conformism, whether in a couple or as an individual. It suggests that true freedom and true connection are found outside of imposed structures, in a space where love is not defined by external rules, but by a personal choice, even if that choice requires an extreme sacrifice.
A vision curated by a filmmaker, not an algorithm
In this video I explain our vision
