Name: The Antithesis
Genre: Horror
Released: 2020-05-09
Duration: 1 h 37 min
Rating: 3.9
Cast: Karolina Cernic, Giulia Ivana Clemente, Giuseppe Contino

Indie Italian horror after the image of its antecedents

What seems readily evident as we begin watching is that filmmaker Francesco Mirabelli is a student of giallo films, and Dario Argento specifically. We see this in the opening scene, the way blood manifests, the camerawork, and sometimes indelicate editing and transitions. We see it in the emphasis on color, or use of light and shadow to the same purpose - and not least of all, we hear it in the musical contributions from Claudio Simonetti, which immediately recall his past film work. Factor in a sense of mystery, and add abnormal sound effects to taste: 'The antithesis' is unlikely to appeal to viewers who aren't receptive to that particular style of Italian horror, but it's duly intriguing, and keeps us sufficiently invested.

With all these elements in mind, the picture relies heavily on an overarching atmosphere of growing unease. The runtime is punctuated with acutely unsettling nightmarish sequences or unusual happenings that build as it progresses, but it's not until the climax that these converge into concrete eventfulness. All the while, and even toward the end, 'The antithesis' relies foremost on all the varied facets of production to cement the goings-on, including employment of specific shots or angles, and above all the performances of the cast. With rare exception Crisula Stafida is the apple of the camera's eye, and while I don't think her portrayal of protagonist Sophi is notably remarkable, she aptly fills the part with all necessary shifts in mood.

There's a point to be made that the movie is especially ham-handed in its execution. The music cuts in or fades out very abruptly at times. Long swaths of the feature rely almost solely on the poise and nuance of the Stafida's acting as the camera focuses on her. The execution of specific scenes is less than convincing at points - such as a significant lore dump that comes with 20 minutes left. Yet all these aspects point to the same unmistakable effort by Mirabelli to craft a giallo film in a reflection of those of years past. Moreover, they point to the seemingly very indie nature of the title. I don't begrudge anyone who has difficulty engaging with it; it's a very niche genre, and approach to film-making. But if you're willing to sit with it, and can look past the rough edges, there's a fair bit to enjoy.

I quite like Simonetti's music and the way it's used here, and even the similarly sudden insertions of clips from the songs of metal band Ancestral. I love the strong attention to an atmosphere of disquiet, the chief draw of the film. I'm perhaps less enamored with additional instances of forthright inelegance, such as a computer-animated sequence over which further plot is provided with a voiceover, or the pointed, somewhat crude appearance of specific genre elements in the last minutes. I'm not entirely sold on the ultimate thrust of the plot, and it feels like a rush to the finish toward the very end. But once more, to be fair - this is hardly financed by a major studio; it's a labor of love.

It's imperfect, plays with a very distinct style, and banks on ambience over acutely jarring moments. This is a movie that certainly won't be for everyone. Yet if you're open to giving it a try, 'The antithesis' is reasonably entertaining and satisfying, and a decent experience if you come across it.

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The Antithesis

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