10 Must-See Italian Horror Films from the 1980s

      Casey Chong presents ten must-see Italian horror films from the 1980s…

      If the 1970s were the pinnacle of Italian horror, showcasing genre-defining masterpieces such as The Bird with the Crystal Plumage, Deep Red, and Suspiria, then the 1980s can be seen as the peak of Italy's unique style in the genre. While this era had its shortcomings, it also held moments of greatness. The visual boldness, surreal ambiance, and striking imagery characterized Italian horror of the 80s, prominently shaped by filmmakers like Dario Argento and Lucio Fulci. Here’s our selection of ten essential Italian horror films from the 1980s…

      **Inferno (1980)**

      Though it might not enjoy the same level of praise as Suspiria, Dario Argento's quasi-sequel to the 1977 giallo classic is still noteworthy. The film begins with protagonist Rose (Irene Miracle), a poet in New York City, who discovers an ancient book named "The Three Mothers," igniting her quest for clues. The opening scenes expertly build tension and suspense, particularly when Rose uncovers a hole in the floor beneath her building that leads her to swim through a submerged ballroom to find a key.

      The narrative then introduces Rose’s brother Mark (Leigh McCloskey) and his friend Sara (Eleonora Giorgi), though the seemingly fragmented storyline may frustrate viewers seeking clarity. Instead, Inferno should be embraced as a vivid fever dream of supernatural horror, with Argento's striking visuals in red and blue immersing you in an alternate reality. The film's gory violence is equally memorable, highlighted by a horrific rat attack.

      **City of the Living Dead (1980)**

      Lucio Fulci’s initial entry in the Gates of Hell trilogy, City of the Living Dead meshes familiar zombie elements with graphic gore. Fulci establishes a foreboding tone early on with a séance scene where psychic Mary Woodhouse (Catriona MacColl) has a disturbing vision of a priest committing suicide in a Dunwich cemetery. This event creates a gateway to hell that introduces dread and violence throughout the film.

      The movie is filled with unsettling and graphic imagery, from the sight of maggots to a girl weeping blood, including a shocking moment where a drill penetrates a man's head. The final thirty minutes erupt into chaos as the undead swarm the city, challenging Mary and the remaining survivors. Fulci's bleak outlook on hell suggests a grim view of humanity, a theme that extends to his later works, The Beyond and The House by the Cemetery.

      **The Beyond (1981)**

      Among the three films in Lucio Fulci's Gates of Hell trilogy, The Beyond is often regarded as the finest. It’s evident why; Fulci embraces nightmarish logic and the surreal, steering away from a grounded reality to craft an immersive cinematic nightmare. The story follows a New York protagonist, played by Catriona MacColl, who inherits a hotel in rural Louisiana that is unfortunately cursed, built atop a site of damnation linked to seven gates of hell.

      As strange occurrences unfold, a sequence of creepy and shockingly violent deaths ensue, with the tarantula spider scene standing out as one of the genre's most unsettling moments. Fulci's dreamlike visuals elevate The Beyond, blending shocking imagery with a sense of atmospheric dread.

      **The House by the Cemetery (1981)**

      The concluding part of the Gates of Hell trilogy sees Lucio Fulci masterfully weaving a ghost story into haunted-house tropes within a giallo framework. The narrative centers on the Boyle family—Norman (Paolo Malco), his wife Lucy (Catriona MacColl), and their son Bob (Giovanni Frezza)—who move into a countryside home that carries a violent history tied to Norman's former associate, who tragically took his own life after killing his mistress.

      The House by the Cemetery unfolds with a slow-burning supernatural thriller pace, filled with an unsettling atmosphere. True to Fulci's style, the film offers an ample amount of gruesome deaths, including a horrific stabbing scene involving a kitchen knife. Its overall tone is grim, leading to a violent and cynical climax that reveals the evil terrorizing the family within the house.

      **Tenebrae (1982)**

      Tenebrae revolves around a killer who obsessively murders victims while reenacting scenes from a horror novel by novelist Peter Neal (Anthony Franciosa). This is one of Dario Argento's finest giallo films, showcasing his mastery of the subgenre with a compelling blend of whodunit intrigue and themes of identity, obsession, and voyeurism. An excellent Argento film begins with a masterfully crafted opening sequence where a young woman (Ania Pieroni) experiences a dire encounter after catching a ride on a motorcycle, leading to a bloody murder.

      As the killer selects