Argento’s last great masterpiece of his classic period is a violent aria of memory, bad luck, the artistic drive, sadism, forced illusions and the horror of the stare. Astonishing, flamboyant, superstylish, idiosyncratic cinematography; at times sparing but ravishing use of color; a kinetic soundtrack that juxtaposes foreboding classic opera with sudden frantic heavy metal; and several classic gruesome and inventive kill scenes all add up to a magnificently twisted, deliriously accomplished mix of high and low art.  Our heroine is an understudy to the star of an avant-garde opera production of Macbeth who gets her big break when the difficult diva gets injured. What follows is all manner of wild baroque giallo madness, including POV shots of roving ravens, entire networks of unseen secret corridors and crawlspaces, a truly terrifying eye-opening murderer’s contraption involving needles and tape and an insanely bonkers denouement. Through it all, Argento remains obsessed with the signifiers of vision — it’s use, it’s power and it’s vulnerability is a major source of fascination and tension within the world of Opera.