Reflection in a Dead Diamond

Reflection in a Dead Diamond

Sometimes, movies don’t have to make a ton of sense to make sense. Beginning in the late ‘60s, with camp masterpieces like Mario Bava’s Danger: Diabolik (aka, the best film of all time), cinemagoers of a certain persuasion were treated to a wave of European genre films that prioritised kaleidoscopic pop visuals over anything resembling a coherent narrative. This tendency only intensified in the decades that followed: first through the stylistic …