• anglais Under the Eyes of the Assassin (titre de travail) (plus)


Un célèbre écrivain, Peter Neal, auteur de romans policiers, est invité à Rome pour faire la promotion de son nouvel opus, Ténèbres. Dès son arrivée, plusieurs personnes sont assassinées selon un schéma comparable à celui des meurtres qui jalonnent son roman. (Les Films du Camélia)

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Critiques (5)


Toutes les critiques de l’utilisateur·trice

français Jaune, dans la filmographie de Dario Argento, le prochain "Deep Red" - c'est-à-dire des meurtres sanglants réalisés avec une caméra grand angle. Dans l'ensemble, "Tenebre" est cependant une œuvre moyenne, moins d'une demi-étoile que le classique mentionné. Le mystère et l'atmosphère y sont plus faibles et même la caméra ne fait que suivre plutôt que de mettre en valeur. Le degré de violence augmente à chaque meurtre et culmine dans une scène pour laquelle vous ne respirez pas une seconde, passée à vomir tout préalablement. Un devoir pour les fans du sous-genre. ()


Toutes les critiques de l’utilisateur·trice

anglais A very well crafted thriller. The story follows a classic, well-trodden template where the killer murders according to a book he is a fan of, so, nothing new. There’s also the final “surprising” twist, which at least for me was a bit predictable. What’s interesting, though, is the very stylish murder scenes, Argento uses a garish red-white contrast in each of them. White dresses, white walls (the scene when a severed hand scratches the entire pure white wall with an arcing motion is one of the most unforgettable), a white kitchen, a white sheet on a victim's body, and everywhere the red colour of blood fits like a glove. But I can’t say I was scared. Tenebrae is not a horror film, but rather a crime drama in which the murders are depicted in a slightly harsher way than is usual in this genre, which, of course, it’s to be expected from Argento. ()



Toutes les critiques de l’utilisateur·trice

anglais Some of the special effects and the ending are a bit rough, but what must be acknowledged about the film is its absolutely great music, for which the band Goblin is responsible, with whom Dario often collaborated. But to be more precise, the music was recorded by only three members of this band, which is otherwise a four-piece. They are listed on the soundtrack as Simonetti-Morante-Pignatelli, not Goblin. But it is their music that elevates the film a little more. ()


Toutes les critiques de l’utilisateur·trice

anglais The last of the better known Argento’s Giallo that I hadn’t seen, and I can’t say I’m particularly thrilled –  though after my previous experiences, I wasn’t expecting much. I’ll say it again: Argento does have interesting ideas (mainly technically and artistically speaking), but he’s not that good as a director and the performances of the actors under his baton are amazing sometimes; Tenebrae is a typical example of this. At least there’s an above average number of murders, so there is something to look at and the film is not as boring as some of its predecessors... The climax is quite spectacular and improves the overall impression, but three stars is the most I’m willing to award. ()


Toutes les critiques de l’utilisateur·trice

anglais When he isn’t playing with crayons, making fun of feminists or staging one of his many baroquely spectacular murders, Dario Argento is constructing and deconstructing a detective story, simply and predictably, yet also entertainingly all the way to the bloody climax with a very unusual demonstration of how to paint a room red. 70% ()

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