“Last year, a series of Fulci’s films and several exhibitions of postwar Italian painting coincided on New York’s cultural calendar. Shows of Schifano’s work and that of several other figures in the Italian avant-garde of that period, such as Alighiero Boetti, Giulio Paolini, Alberto Burri, and Fabio Mauri, colonized uptown art galleries. Downtown at Anthology Film Archives, the Italian film programming collective Malastrana presented “Lucio Fulci: Genre Terrorist,” an October showcase of 15 films by the Italian director. Though it’s safe to say there was little overlap in the crowds viewing the post-war paintings and those reveling in grindhouse gore, the two seemingly distant bodies of work bear a number of distinct points of comparison and reference.” Chris Shields points out the numerous debts and points of contact between postwar Italian art and the postwar Italian horror film, particularly the bleak, “texturally obsessed” landscapes of Fulci.
“Apart from the idyllic partisan forest, there also exists the tragic universe beyond the forest’s bounds. These two universes, closed on themselves with heightened genre definitiveness and finality, oppose one another and define each other through this opposition. In the forest reigns early autumn, with its sun shining through the luxuriantly yellow foliage. But around the forest is a pre-winter season, with its bare wastelands, where under heavy skies and wind skeletal trees are stripped of their leaves and burned down huts stand still. During some of the shots the viewer is startled: we’re seeing the landscapes from IVAN’S CHILDHOOD.” A newly translated excerpt from Evgenii Margolit’s 2012 book The Living and the Dead places Boris Barnet’s A Good Lad as the wellspring of Soviet war films—despite its unorthodoxy and official banning. Via Mubi.