The Stendhal Syndrome

Crime / Horror / Thriller

IMDb Rating 6.1 10 7


Downloaded times
April 25, 2020



Asia Argento as Sarah Mandy
Marco Leonardi as Luigi
Thomas Kretschmann as Alfredo Grossi
720p.BLU 1080p.BLU
1.07 GB
Italian 2.0
23.976 fps
113 min
P/S N/A / N/A
2.2 GB
Italian 2.0
23.976 fps
113 min
P/S N/A / N/A

Movie Reviews

Reviewed by Disarmed-Doll-Parts 7 / 10 / 10

Argento's vicious return to form, one of his most atmospheric and unsettling from start to finish,

Argento has been cursed with a number of duds in recent years. 'Two Evil Eyes', 'The Phantom of the Opera', 'Sleepless', 'The Card Player' and one of the worst MASTERS OF HORROR episodes yet 'Jenifer'. However, the beautiful, poignant 'The Stendhal Syndrome' is an extremely well crafted rose between a number of poisonous thorns. It sees a return to the atmospheric dream-like charm of his earlier films like 'Phenomena' and 'Suspiria', but adopting his more recent sadism (it's always there, just a different style in his newer films) that gave slight high points in his otherwise dull modern films. After two poorly reviewed films ('Trauma' and 'Two Evil Eyes') Argento has finally done it right. The film stars his daughter, Asia (whose interesting relationship with Dario adds to the intriguing and off-beat persona he puts out), as Anna, a beautiful police detective in Rome. When she is targeted by the serial killer she is hunting, she is raped and beaten and so leads Argento's best character study and one of the most intense of his films to date. Rather than following the madman as he offs prostitutes and impressionable young women through Italy (the film lightly touches on it, but the more left to the imagination the better), the film follows Anna as she loses grip on reality and develops a strange disease in which she can ever paintings in her mind and they help solve the case, called the Stendhal Syndrome. As the film goes on the attacks on Anna become more and more vicious, and the final climatic ending is one of Argento's best. Asia delivers a interesting performance, to say it is good is to stretch the truth, but it is suited to the role and you can tell she has a lot of acting talent. All the other performances are rather flat, but as with all of Agento's films the performances aren't what really matter. The cinematography is bland, but as with Asia's performance suits the film better than if it were Technicolor. The tension and music is amazing, the film devotes itself to really unsettling you, rather than just entertaining you like other recent Argento's. 'The Stendhal Syndrome' is probably the most violent and disturbing I've seen the man go, the rape and murder scenes are gratuitously sadistic and the scenes where Anna is raped are bordering on exploitation. Overall 'The Stendhal Syndrome' is a fantastic return to form fr Argento, and I hope 'The Third Mother' is anywhere near as well-crafted as this. 7/10

Reviewed by ODDBear 8 / 10 / 10

Art can be deadly

This is a completely spoiler filled review. Detective Anna Manni (Asia Argento) is on the trail of a psychotic murder/rapist Alfredo Grossi (Thomas Kretschmann) as she trails him to the Uffizi Gallery in Florens. Inside the gallery she succumbs to the influence of the Stendhal Syndrome. She literally enters the paintings, suffers severe hallucinations and also suffers from memory loss afterwords. Later, while in this desperate state Grossi manages to abduct her and physically abuse her as well as multiply raping her, leaving her completely shattered and beaten. But she manages to break loose and kill Grossi and dump him into the river. At this point the film is only half way through it's two hour running time. The ever so interesting Italian director of the macabre Dario Argento delves into whether or not art can be deadly. The Stendhal Syndrome is actually real, people suffering from it experience an overwhelming and totally consuming feeling of connectedness to the work of art before them. They literally plunge into the object, experience the fear, joy, anger or suffering it depicts. In short; it absorbs them. In the film, the rapist/murderer Grossi somehow knows about Anna's weakness (never quite explained how) and uses it to his advantage, to be on top of her (so to speak) and ultimately degrade her for his own sick amusement. In the end Anna overcomes her weakness and then she can triumph over her abuser. But, as we later find out, she hasn't overcome her illness, she just finds another way of dealing with it, by substituting her self with her abuser. Argento explores many subjects here. Beautiful works of art can have a negative side to it, as is well depicted here because of the Stendhal Syndrome. People can easily be exploited while under the influence and one can think of many similar scenarios to which Argento could be referring to. And in a twist one can think therefore that art can make people kill. So Argento's conclusion is that art can be deadly. In the second half of the film Argento explores another psychological side; where Manni transforms herself into her abuser. Sort of a weird twist in a way of the Stockholm syndrome; where victims connect in a deep way with their tormentors. Also a transmission of guilt (which apparently many rape victims fall prey to) helps her to not have to face what she went through but also meaning that her inner torment will never be over. So probably it's better to connect with the monster than having to face the humiliation he put her through. When Anna fully paints herself (circa 40 minutes into the film) it's like she's in some sort of trance, or high (like junkies), it's like she's embracing the syndrome and learning to control it more, even welcoming it. But I'll admit that this part is something I really don't get. The Stendhal Syndrome is most definitely a detour in the Argento canon. The stylish cinematography, art and set designs and brutal violence are there (as always) but this is much more phsycologically oriented and character driven than his other films. And I'll admit that I completely love the way Argento indulges himself with everything; the slow pacing, the drastic change in the middle, the overly brutal (and experimental) violence. It reminds you of the two and half minute crane shot in Tenebrae, which was mostly pointless but great to look at. Performances are mostly good. Although a 21 year old Asia isn't very believable as a seasoned detective she does display a good range of emotions as she is really put through a lot. Kretschmann makes for a very loathsome character and he looks menacing enough, pretty good job I'd say. Supporting actors range from decent to downright embarrassing, that's at least one thing Argento is consistent with. The Stendhal Syndrome is an original, uncompromising and brutal viewing experience. Argento has created a very violent film with rich philosophy, psychological exploration and he has done it with style. That's my humble opinion. P.S. The Italian dub version is superior to the English language dub, which is simply atrocious.

Reviewed by dennis70 8 / 10 / 10

Pretty solid

Regarded as one of Argento's lesser works, I find this one much more plausible than any of his early films. Let's face it, Argento doesn't care much about plot or even acting. His films are probably the frustrating I've ever seen: There are things I love, and things I hate about them. I grew up watching much of his films mutilated by Italian Television. I was a kid back then, and strangely enough his films never scared me when they were supposed to. They were really over the top. But I loved the colours, the pictures and once in a while I found myself humming Claudio Simonetti's electronic scores. Now with this film Argento has Morricone, who is definitely a master and he does a great job here. Anna's character is really intriguing. Some people dismiss Asia's acting style, but I think it goes very well with her father's aesthetics. You wont find the crazy colours here. Everything is more restrained. The opening for example scene is great. But the film looses interest towards the end. Still I think is one of Argento's most solid pieces. The idea is truly interesting and Anna's relationship with the killer is fascinating. The hallucinations scenes of Anna going into the paintings are masterfully done. After the huge disappointment of Il Cartaio, I hope he truly returns to form, and start doing what he's good at: Going crazy with film. La Sindrome Di Stendhal is a pretty good step.

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