Stefano Bessoni
Imago Mortis

In Spain in recent years, good horror films have been produced: "Darkness" and "Rec" by Balagueró, "The Devil's Backbone" and "Pan's Labyrinth" by Guillermo del Toro. Our Stefano Bessoni, in his debut feature film, surrounded by Spanish producers, also ventures into horror in an attempt to revive a genre that in Italy died with the old masterpieces of Dario Argento. And it is precisely the good old Dario who inspires the director: referring to "Four Flies on Grey Velvet," the story revisits the theme that before dying, our retina can capture the last image. The narrative theme is based on research conducted by a certain Fumagalli (in reality, it was the German scientist Kircher), who, thanks to the invention of the thanatoscope, was the first to project the last scene "trapped" in the eyes before death.

If the idea might seem quite original even though it’s been explored in the past, the way it is presented seems banal and fairly predictable. The film indeed relies mainly on an atmosphere typical of a Spanish ghost story, attempting a difficult directorial style far from what seems to be Stefano’s standard. The film unfolds over about an hour and a half amidst dull dialogues, a slow and unconvincing story where a few excellent scenes stand out (one above all the lamb scene), which unfortunately cannot uplift the film’s fortunes. Set in a film school, everything will be centered on photographic works during which Bruno, the protagonist, will become aware of facts that the school professors do not want to be made public. After discovering the thanatoscope and the various implications linked to the object, the protagonist begins to suffer from demonic visions that have nothing to do with the story. Instead of splatter, the director focuses on evocative and dark atmospheres, attempting a sound effect. But it is the basic story that is unconvincing, poorly executed, and not explored at all.

Stefano Bessoni attempted with "Imago Mortis" to bring Italian horror cinema back to life. The idea is good, but it's unclear why the story is directed to be self-contained, poorly blended in the film's development. However, there are positive notes: the choice of location is suggestive, and the photography is good, borrowed from Iberian horror films like The Orphanage, Darkness, and The Devil's Backbone. Also noteworthy is the excellent soundtrack, never intrusive and very evocative, with a substantial use of strings to recreate that subdued and dreamlike atmosphere. These good elements, however, are not enough to uplift the fortunes of a horror much awaited by critics and genre enthusiasts. There remains a bitter taste for another film where ideas are not lacking but are poorly executed. Unlikely actors and a haphazard ending provide a backdrop of absolute inadequacy to the film.

"Imago Mortis" has another weakness, the most evident one: the tension. After some initial well-shot scenes with a good dose of suspense, then there is total emptiness. Such a deep void that it seems like you’re not watching a horror...