Masks (2011)

(In French, On Cable TV, February 2022) No one is asking, but the dividing line between slasher and giallo is more significant than we think. Even sticking to a limited definition that focuses on visual style is enough to draw a distinction: slashers tend to be functional, while giallo has something more ambitious on its mind. But that intention affects more than how things are shown: it also influences how scenes are built, the atmosphere of the film and the unreality of the result. No wonder, then, if I tend to tolerate giallo more readily than slashers, no matter the era—I still don’t like the graphic violence, but at least there’s an artistic drive to it that feels more impressive. German film Masks wears its giallo inspirations proudly, most notably in borrowing from Suspiria the idea of a mysterious artistic academy and having our protagonist feel stuck in the middle of a nightmare. The wrinkle here is that this is about acting rather than dancing, and that there’s a mysterious presence hanging over the unconventional techniques taught in this school. The usual number of gory murders follows, then the crazy finale to wrap things up. Those who don’t like horror movies won’t be convinced by writer-director Andreas Marschall’s entry—it’s still very much the same old murders, foreboding atmosphere and lack of thematic meaning beyond the deaths. On the other hand, if you’re willing to dissect the various subgenres of horror, Masks makes for a mildly effective neo-giallo. Not a triumph nor a crossover hit, but a competent entry in a slightly more demanding subgenre than a psycho with a knife.