Deep Shock (2019)

Deep Shock is another highly awarded short film written and directed by Italian filmmaker Davide Melini that is a return and a celebration of the classic giallo film but with a modern look and feel. It has the added bonus of also being a horror film, with both a giallo and demonic ghost story that seem to run side-by-side but also meet up and interconnect nicely, so if you like a little bit of The Changeling and The Exorcist to go with your Deep Red, there’s a good chance this horror/giallo hybrid might be your cup of tea. At thirty minutes, it far from overstays its welcome. In fact, I felt like watching it again shortly after my first viewing. 

The film was produced in the UK and was shot together with Melini’s other short Lion using the same crew, with Deep Shock taking eight and a half days to shoot. This one has a more expanded cast than the other three short films from Melini I’ve covered, as the story is bigger with themes of grief, trauma, nightmares, mystery, murder, family curses, and religion among others, while also including the beloved black gloved killer whose identity will be revealed when the time is right. 

Just in the opening scene alone, I felt like I noticed homages to three different Argento films, which feels appropriate, before it launches into its own story, starting with a string of nightmare sequences with the film’s lead heroine Sarah (Muireann Bird).

Lion (2017)

Some of you who have been with me long enough might remember me covering two short horror films, The Puzzle (2008) and The Sweet Hand of the White Rose (2010), from Italian filmmaker Davide Melini (assistant director for Dario Argento’s Mother of Tears (2008), Penny Dreadful and Into the Badlands). These were pretty good and provided me with a new experience in reviewing movies much shorter than I was used to. I also briefly spotlighted Melini’s supernatural horror/giallo hybrid Deep Shock (2019) back when it was still in pre-production. The film was delayed for quite some time but was eventually released in 2019. It has a cool classic and modern feel to it with a brutal bathroom murder scene that is worthy of the giallo style film it is celebrating.  

Davide Melini’s horror short from the UK titled Lion is boasted as being the most awarded horror short film in history. It feels like a runaway award effect is taking place with the film, as it is now up to a staggering 902 awards – which are individually posted on the film’s socials.

Down to the Cellar / Do pivnice (1983)

Down to the Cellar is a short film from Czech filmmaker Jan Svankmajer that I’ve grown fond of. I remember feeling a little underwhelmed when I first watched it, but it stayed with me, for some reason, and now it’s one of my favorite short films (I wonder if there’s a name for that kind of art). It was the same with Svankmajer’s Alice (Neco Z Alenky), a creepy vision of Lewis Carroll’s Alice in Wonderland complete with Svankmajer’s disturbing but fascinating characteristics. For me, the last quarter of Alice became a battle to stay awake. I thought Alice just wasn’t the film for me, but that couldn’t have been more untrue. Alice ended up planting itself in my mind before slowly taking its hold on me, and, as if a bug had just bit me, I spontaneously ordered off for the DVD and, on a whim, read for the first time Alice’s Adventures in Wonderland and Through the Looking Glass. As those of you that follow my At the Mansion of Madness fan page on Facebook might have noticed, I have endeavored to watch as many AIW movies as I can slowly but surely come across. This is all primarily thanks to Jan Svankmajer’s vision of AIW. Not bad for a movie that I struggled to stay awake during on first viewing.

Deep Shock (2014)

A new horror short written, directed, and co-produced by Italian filmmaker Davide Melini, titled Deep Shock, is currently in pre-production with a targeted release date for sometime in 2014 as part of a celebration of the fiftieth anniversary of the giallo film; which is considering Mario Bava’s Blood and Black Lace from 1964 to be the starting point, as it is the film that set forth a lot of the immortal giallo tropes we know and love.

I covered two of Melini’s previous horror shorts, The Puzzle and The Sweet Hand of the White Rose, back in May of last year, and if you caught those articles, you’ll know that I am pretty enthusiastic about Melini’s work.

The plot synopsis for Deep Shock goes like this: “Sarah can't completely overcome the deaths of her grandfather and her older sister. The trauma and lack of sleep cause her to embark on a strange journey of apparitions and murders, apparently caused by her mind…” -IMDB/Deep Shock

I love the look of the official movie poster, mainly thanks to the fabulous art, by Cristina Gómez Rosales. It has a nice classic look, which is suitable for what Melini is shooting for with this film: a desire to bring back the ideas used during the golden age of giallo film making, during the ‘60s and ‘70s, and deliver them with new technology to be appreciated by new and longtime fans. The tagline “Italian giallo is ready to make its return” sounds bold, but based on Melini’s previous work, I'm pretty excited about this upcoming new short, and I’ve got a feeling that the writer/director will deliver.

Melini plans to have six actors total. The music in the film will be realized by the Gothic Italian band Visioni Gotiche (multiple samples of their work can be heard on the band’s MySpace page Here). The shooting location will be Málaga, Spain, and it’s possible that a teaser will be released sometime this month or in April.

Deep Shock: Facebook Page 

Deep Shock: IMDB Page

Get Well Soon (2011)

This odd but satisfying psychological horror short is an interesting and nightmarish look at the deterioration of the marriage between its two sole characters, Theodore and Janet (Gresby Nash and Laura Howard). With its claustrophobic home interior setting, the film maintains a consistent tone as we witness a sort of aftermath to Theodore’s bout with breast cancer, now in remission. Contrary to what should be a good thing, the story takes a more downbeat approach as things seem fairly depressing, instead, with the couple apparently growing distant after Janet discovers she is pregnant. Being disappointed by her pregnancy causes Janet to realize that she truly isn’t happy with her marriage anymore, and so she decides to keep the pregnancy from her husband. The idea of feeling trapped is brought out remarkably well with Janet locking herself in the bathroom as a way of escape.

Theodore learns of the pregnancy after overhearing Janet talking on the phone to a friend. It ends up being real hard on him to know that Janet is deliberately keeping the news about their child from him. As events unfold in a days-of-the-week progression, he undergoes a kind of mental degradation. With the cinematography on display during Theodore’s decline, I could almost feel his inebriation when he starts to go heavy on the drugs and alcohol. The horror elements of the film start to come out more as the problem escalates and reality and nightmare start to merge.

GET WELL SOON showcases terrific performances from its two sole actors (I especially loved the chilling way that Laura Howard abruptly switched her facial expression during a key moment that involves her screaming at something off camera). The story by Michael Woodman is engaging and well written, though some viewers might end up with some unanswered questions (being a psychological horror film this is understandable, but I’m interested in knowing if the consistent use of the bathtub symbolized or meant anything). My favorite part consists of an artistically shot nightmare scene that portrays the cause of Theodore’s drug consumption and the effect that this new ordeal is having on him -- a disturbing visual of Theodore resting on Janet’s bosom as she envelops him and feeds him pills. I also enjoyed getting freaked out by the movie’s ending scene, which caused GET WELL SOON to impress me more than I was expecting. It is genuinely scary, and I admire the way Woodman decided to avoid having a predictable ‘guy goes crazy and kills his wife’ ending.

Get Well Soon: Full Movie (14 min and 3 sec)

The Sweet Hand of the White Rose (2010)

Davide Melini’s horror short, THE SWEET HAND OF THE WHITE ROSE, brings to attention the avoidable tragic loss of life from irresponsible driving habits. Alcohol, relationship problems, and cell phone distractions are the root of a tragedy that ends up feeling almost Shakespearean in nature. Normally it would be very difficult to sympathize with the lead character, Mark (Carlos Bahos), for letting such petty issues ruin two lives, but after watching him desperately pray at an altar, Mark’s gut wrenching regret for something that could’ve easily happened to anyone ends up being heartfelt. 

Despite having a sad story, the film starts off with a sexy and rockin’ start in a crowded bar with tabletop dancers and a rock band with an appealing female vocalist. The club scenario is the backdrop to the story’s setup, but it also gives Melini a chance to show some directorial diversity. The club is something that may not have been essential, but it still gives the intro a nice pizazz and is a neat contrast to the movie’s main theme. 

Eventually, the loud music decreases in volume and the sounds of chatter become more eminent as the attention is taken off the band and onto Mark, sitting alone while smoking and taking back a shot while looking troubled. Immediately it becomes apparent that his disappointed girlfriend, Mary (Leocricia Sabán), has tracked him down, and instead of explaining himself, Mark takes the more dramatic approach of walking out on his upset girlfriend.

The Puzzle (2008)

Succeeding in creating a good five minute film takes a creative filmmaking prowess. The premise and everything the viewer needs to know has to be made clear from the start, without any kind of drawn-out setup. Also, because every second is a significant fraction of the runtime, every second must count. With THE PUZZLE, Italian filmmaker Davide Melini makes a basic idea interesting and creates a disturbing and fascinating movie with very little run time.   

The film’s pre-credit sequence is spooky and well done; making use of creepy chants and whispers, in the vein of SUSPIRIA, before a ringing phone sets the stage for the lead character’s evening.

  

A mother (Cachito Noguera) quickly becomes disgruntled after receiving a call from her son (Alessandro Fornari) asking for money. Apparently she finds her son’s reasons disagreeable and highly unsettling, and so, after hanging up, she attempts to remedy her frustrations by sitting down to piece together a jigsaw puzzle that ends up holding an unpleasant surprise.

  

The only spoken dialogue in the film is at the beginning, with the events unfolding in a dialogue-free fashion with visuals, sounds, and SILENT HILL-esque music driving the narrative. The piano-laden montages are the most enjoyable parts for me, which are complete with rotating camera shots and brief moments of black and white. These scenes succeed in making the inclusion of piecing together this puzzle a bit more profound. It immediately starts to answer the question: How interesting can it be to watch someone put together a puzzle?