The Spiral Review
· photography
The Spiral Review: Paolo Strippoli’s Lurid Faustian Tragedy Shores Up His Reputation as Italy’s New Horror Virtuoso
Paolo Strippoli’s “The Spiral” is a film that wears its influences on its sleeve, but in doing so, it may also be obscuring some of its own creative shortcomings. The Italian horror specialist’s fourth feature has been making waves at Venice, with many hailing it as a breakthrough performance by a director who’s quickly become the darling of the genre.
The film’s use of image and sound to create an unsettling atmosphere is striking from the opening sequence, which features a plane in turbulent flight, setting the tone for the rest of the film with its jarring soundscape and chaotic visuals. However, as the story unfolds, it becomes clear that this aesthetic is more style than substance. Strippoli’s script relies heavily on convenient plot twists and contrived tension, detracting from the overall impact of the film.
The character of Anna, played by Jasmine Trinca, exemplifies this problem. Her decision to make a Faustian bargain with a mysterious figure (played by Valeria Bruni Tedeschi) in exchange for her daughter’s health sets off a chain of events that are more confusing than compelling. The non-linear storytelling, which jumps back and forth between different time periods, only adds to the confusion.
Despite these issues, “The Spiral” is still a visually stunning film, with Marcello Di Carlo’s production design creating some truly memorable moments. The church chapel stands out in particular – its gaudy Italo-modernism and aggressively Catholic candlelight create an atmosphere that’s both beautiful and unsettling. Valeria Bruni Tedeschi brings a level of camp energy to her portrayal of the Devil, making it hard to resist.
However, this also underscores the film’s lack of depth – we’re left with a sense of surface-level horror rather than any real exploration of the human condition. Strippoli’s use of bold colors and graphic violence is reminiscent of classic Italian horror films from the 1970s and 1980s, such as those by Dario Argento and Lucio Fulci. But while these films were often more than just exercises in style, “The Spiral” feels like a lesser imitation.
Strippoli’s success can be attributed to his ability to tap into existing trends and genres rather than pushing the boundaries of what’s possible. His reliance on established horror tropes and visual styles may make him a safe bet for studios looking to cash in on the current horror revival, but it also raises questions about the value of innovation and originality in filmmaking.
Ultimately, “The Spiral” is a film that prioritizes style over substance, presenting itself as stylish and edgy rather than delivering meaningful content. While it may be an entertaining ride for fans of horror, it’s unlikely to leave a lasting impact on the genre or inspire new creative filmmakers. As Strippoli continues to build his reputation as Italy’s new horror virtuoso, it remains to be seen whether he’ll be able to move beyond the surface-level spectacle of “The Spiral” and create something truly memorable.
Reader Views
- TLThe Lens Desk · editorial
Strippoli's reliance on style over substance may be a calculated risk in courting genre fans, but it doesn't excuse the sloppy plotting that mars "The Spiral". The film's most striking aspects – its unflinching portrayal of Italy's Catholic guilt and the eerie atmosphere of its production design – are often at odds with its meandering narrative. What's more, this Faustian tale is less a cautionary parable than a thinly veiled critique of neoliberalism's human cost, a theme that's been explored more effectively in other Italian cinema.
- ANAria N. · street photographer
Paolo Strippoli's sophomore slump? Maybe. But what's undeniable is that "The Spiral" has tapped into the nostalgia for Italian horror cinema of the 70s and 80s, and audiences are eating it up. The film's visuals are a feast for the eyes, but upon closer inspection, the narrative feels like a hastily assembled puzzle with mismatched pieces. Strippoli's overreliance on cheap jump scares and contrived tension might be forgiven if his script had some genuine surprises in store – but "The Spiral" is as predictable as it is visually stunning.
- TSTomás S. · wedding photographer
The problem with Strippoli's spiral into horror stardom is that he's prioritizing style over substance. His films are becoming exercises in atmospheric manipulation rather than genuine storytelling. I'd love to see him tackle a more grounded narrative and explore the psychological motivations behind his characters' actions, rather than relying on contrived plot twists and Faustian bargains. Until then, The Spiral feels like a shallow indulgence in style and spectacle, with substance only scratched beneath its glossy surface.