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Opera
"Opera" (1987), directed by Dario Argento, follows a young understudy soprano stalked by an obsessive killer after she's forced into the lead role of a Verdi opera production following the star's accident, notable for its extended sequences filmed from inside an actual working opera house. Its recurring visual device of needles taped beneath the protagonist's eyes, forcing her to watch the killer's violence without being able to look away, became one of giallo cinema's most discussed and unsettling individual images, frequently cited in analyses of the genre's relationship to spectatorship. The film's elaborate crane and Steadicam work throughout the opera house setting demonstrated Argento's continued technical ambition even in the later, more divisive stretch of his directorial career following his most celebrated 1970s work. Its combination of its distinctive opera-house setting and its widely discussed visual set-pieces has made "Opera" one of the most stylistically ambitious later-period giallo films.
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Tenebrae
"Tenebrae" (1982), directed by Dario Argento, follows an American mystery novelist in Rome whose latest book appears to be inspiring a series of murders committed in imitation of its plot, a self-reflexive structure widely read as Argento's response to critics of his own films' violence. Its stark, brightly lit visual style, a deliberate departure from the shadowy, color-saturated aesthetic of Argento's earlier work, demonstrated the giallo genre's stylistic range beyond the gothic darkness most commonly associated with it. The film's elaborate crane-shot sequence traversing the exterior of a house during a murder became one of the most technically celebrated single shots in giallo cinema, frequently cited in discussions of the genre's visual ambition. Its combination of its self-reflexive narrative structure and its technically celebrated cinematography has made "Tenebrae" one of the most critically discussed entries in Argento's giallo filmography.
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