A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
Suzy Bannion travels to Germany to perfect her ballet skills. She arrives at the Tanz dance academy in the pouring rain and is refused admission after another woman is seen fleeing the school. She returns the next morning and this time is let in. She learns that the young woman she saw fleeing the previous evening, Pat Hingle, has been found dead. Strange things soon begin to occur. Suzy becomes ill and is put on a special diet; the school becomes infested with maggots; odd sounds abound; and Daniel, the pianist, is killed by his own dog. A bit of research indicates that the ballet school was once a witches' coven - and as Suzy learns, still is.Written by
The Latin phrase mentioned in the original Italian version, "Quoddam semper, quoddam ubique, quoddam ab omnibus creditum est," translates as "Always, everywhere, some are believed by all." See more »
(76:13) In the English dubbed version, the Latin sentence cited by Prof. Milius is full of mistakes and thus virtually unintelligible ("Quandum ubique, quandum semper, quandum ad omnibus creditur est."). The line as intended by the author can, however, be heard in the Italian version: "Quoddam semper, quoddam ubique, quoddam ab omnibus creditum est." Translated, it means, "There is always a everywhere, some believed by all." See more »
Suzy Banyon decided to perfect her ballet studies in the most famous school of dance in Europe. She chose the celebrated academy of Freiburg. One day, at nine in the morning, she left Kennedy airport, New York, and arrived in Germany at 10:40 p.m. local time...
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What sets Dario Argento apart from many of his contemporaries is his success with visual imagery. In a style where sudden visual shocks are used to thrill the audience, Argento creates elaborate deaths which cannot be quickly forgotten. The highly involved double-murder towards the beginning of the film still remains one of the most memorable scenes in horror history, standing next to the Psycho "shower scene" in pure sensory input. And in a technique so powefully employed here and here alone, Argento sets scene after scene aglow with color, using it to express the mood in ways only the subconscious can fully appreciate. All around, this is an excellent addition to the genre of horror cinema, one of the most expressive films to ever plunge a knife into the psyche of its viewers.
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