Like so many of these Italian horror films, this one looks great. The colors are exceptional, and the settings and all the objects scattered through them are fascinating. But, as is also frequently the case, the story is slow-moving and not engaging. Even the fascinating and I believe under appreciated Ms. Farmer, as alluring as she is, can't carry this by herself. Even if you are very into horror, the horror of the ending is still no justification for all that comes before it. ( )

Strange, confounding, hypnotic, beautiful and non-linear, "Il Profumo Della Signora in Neto" ("The Perfume of the Lady in Black") is the very epitome of stylish Italian horror. The story by Massimo D'Avak and director Francesco Barilli revolves around research scientist Silvia Hachermann (Mimsy Farmer) who is haunted by a mysterious past. After a jocular discussion about voodoo with friends Silvia begins questioning her reality and slowly begins to retreat into herself. Her boyfriend Roberto (Maurizio Bonuglia) becomes increasingly concerned about her, while neighbour Mr. Rossetti (Mario Scaccia) appears to be ingratiating his way into her life. She begins to see a woman in black in a mirror and a creepy little girl (Lara Wendel) turns up who demands a place in Silvia's life.

D'Avak and Barilli's story is a haunting puzzle that requires patience and no little effort to piece it all together. It is a demanding watch, with more than a few absurdities along the way and in that sense it won't be for everyone. It is, however, a visually beautiful film with Francesco Barilli providing exemplary direction. The atmosphere he builds is dreamlike in parts, nightmarish in others with the audience never quite sure what's real and unreal; what's truly happening, what's hallucination or what is the fevered imaginings of Silvia's fracturing psyche. The atmospherics within the film take it into giallo territory and although there is no black-gloved killer there are plenty of other giallo tropes on offer: the psychologically damaged heroine, childhood trauma, inappropriate sex and the killers complex set of insane motivations. Barilli's direction and cinematographer Mario Masini's approach also place the film in giallo territory, with stunning camera work, elaborate framing, the use of lurid colours and beautifully ornate sets and staging typifying their approach. Nicola Piovani also provides a wonderfully creepy score, with a number of haunting melodies, all of which are very much from the giallo school. Mimsy Farmer does fantastically well in the lead role, carrying the entire film herself with utter conviction and delivering a range of performance subtitles that leave many of her actions open to interpretation. Her fellow performers have little to do other than circle her and provide appropriate support.

"Il Profumo Della Signora in Neto" is far from an easy film - it is complex, demanding, puzzling and more than a touch absurd in places, but it is incredibly fascinating and hugely rewarding. Director Francesco Barilli delivers a near masterpiece of stylish gialloesque film-making; it is cinematically beautiful, elaborately ornate, with an atmosphere dripping in nightmare - a mesmerising, thrilling, creepy gem. ( )

Strange, confounding, hypnotic, beautiful and non-linear, "Il Profumo Della Signora in Neto" ("The Perfume of the Lady in Black") is the very epitome of stylish Italian horror. The story by Massimo D'Avak and director Francesco Barilli revolves around research scientist Silvia Hachermann (Mimsy Farmer) who is haunted by a mysterious past. After a jocular discussion about voodoo with friends Silvia begins questioning her reality and slowly begins to retreat into herself. Her boyfriend Roberto (Maurizio Bonuglia) becomes increasingly concerned about her, while neighbour Mr. Rossetti (Mario Scaccia) appears to be ingratiating his way into her life. She begins to see a woman in black in a mirror and a creepy little girl (Lara Wendel) turns up who demands a place in Silvia's life.

D'Avak and Barilli's story is a haunting puzzle that requires patience and no little effort to piece it all together. It is a demanding watch, with more than a few absurdities along the way and in that sense it won't be for everyone. It is, however, a visually beautiful film with Francesco Barilli providing exemplary direction. The atmosphere he builds is dreamlike in parts, nightmarish in others with the audience never quite sure what's real and unreal; what's truly happening, what's hallucination or what is the fevered imaginings of Silvia's fracturing psyche. The atmospherics within the film take it into giallo territory and although there is no black-gloved killer there are plenty of other giallo tropes on offer: the psychologically damaged heroine, childhood trauma, inappropriate sex and the killers complex set of insane motivations. Barilli's direction and cinematographer Mario Masini's approach also place the film in giallo territory, with stunning camera work, elaborate framing, the use of lurid colours and beautifully ornate sets and staging typifying their approach. Nicola Piovani also provides a wonderfully creepy score, with a number of haunting melodies, all of which are very much from the giallo school. Mimsy Farmer does fantastically well in the lead role, carrying the entire film herself with utter conviction and delivering a range of performance subtitles that leave many of her actions open to interpretation. Her fellow performers have little to do other than circle her and provide appropriate support.

"Il Profumo Della Signora in Neto" is far from an easy film - it is complex, demanding, puzzling and more than a touch absurd in places, but it is incredibly fascinating and hugely rewarding. Director Francesco Barilli delivers a near masterpiece of stylish gialloesque film-making; it is cinematically beautiful, elaborately ornate, with an atmosphere dripping in nightmare - a mesmerising, thrilling, creepy gem. ( )