The Spiral: A Stylish But Superficial Horror That's More Faustian Than Fiendish

The Devil's In The Details (And They're All Dressed To Kill)

When I first saw the poster for Paolo Strippoli's 'The Spiral,' my initial thought was: Does the Devil actually wear Prada? Because, honestly, if she does, she's got impeccable taste. The film's Satan — played with her signature sultry flair by Valeria Bruni Tedeschi — arrives in a camel trench coat, perfectly coiffed hair, and a cigarette that seems to double as a laser pointer. This isn't your average demonic seductress; she's the type of femme fatale who'd make a high-end fashion editor swoon.

But let's be honest: we're not here for the fashion. We're here for the horror, and in 'The Spiral,' Strippoli delivers with all the grandeur of a grand guignol spectacle — which is to say, it's loud, it's flashy, and it's got that classic Italian flair for theatrical excess. The film opens with an ear-splitting assault of sound design, featuring natural and unnatural phenomena screaming in unison as we're thrust into the chaos of a turbulent flight. It's a bold choice — a way to immediately establish that this isn't going to be a quiet, contemplative horror experience.

The narrative follows Anna (Jasmine Trinca), a mother of two who finds herself at odds with her own family's fate. After a tragic incident involving her daughter Alice, she's faced with an impossible choice: save her child's leg or sacrifice another family member. Enter Bruni Tedeschi's unnamed Satan, who offers a devilish solution that's as morally ambiguous as it is visually striking.

'The Spiral' doesn't add up to much, but the sum of its parts is flashily entertaining enough — and that's a big part of what makes it so enjoyable. It's stylish hokum, and it knows exactly what it wants to be.

But here's where things get tricky for Strippoli: while 'The Spiral' is undeniably visually striking, it struggles with substance. The film's structure — a series of chapters named after different family members — feels more like a roadmap to the same emotional terrain rather than a journey into deeper psychological territory. The pacing often feels uneven, and despite its flashy exterior, the story lacks the kind of emotional resonance that could elevate it beyond mere spectacle.

More Than Just A Pretty Face

The real star here is Bruni Tedeschi, whose performance as the Devil is both captivating and chilling. She's got this way of making even the most absurd scenarios feel oddly plausible — like a character from a fever dream that's somehow more terrifying than reality. Her Satan isn't just about seduction; she's about manipulation, about playing the long game, and about making sure that the family's worst fears come true.

That said, there's something unsettling about how Strippoli uses the film to explore themes of ableism and body-shaming, particularly in the way he portrays the consequences of the family's choices. Is this a critique of Italian society's obsession with appearances? A commentary on Catholic guilt? Or is it simply a sick joke — one that feels too comfortable with its own dark humor?

What's clear is that Strippoli isn't trying to be subtle here. He wants us to enjoy the ride, and for the most part, he succeeds. But there's also something about the way he constructs his narrative that makes it feel like a missed opportunity — a chance to really dig into the complexities of family, trauma, and moral responsibility.

Where The Spiral Turns Into A Labyrinth

'The Spiral' is undeniably a step down from Strippoli's previous work, 'The Holy Boy,' which was a haunting, layered exploration of small-town trauma and faith. That film had depth, nuance, and a genuine sense of unease that lingered long after the credits rolled. In contrast, 'The Spiral' is more of a visual feast — an exercise in style over substance.

But here's what's interesting: even with its shortcomings, the film succeeds in establishing Strippoli as a horror virtuoso. His command of the genre is evident, and his willingness to push boundaries — both visually and narratively — shows promise for future projects. The question is whether he'll be able to bring that same level of complexity to his next endeavor.

For now, 'The Spiral' stands as a stylish, if shallow, entry into the horror genre. It's the kind of film that'll appeal to fans of atmospheric, visually-driven horror, but it's not going to win any awards for its philosophical depth. Still, it's a fun ride — especially when Bruni Tedeschi is on screen.

Final Verdict: A Devilish But Dull Spectacle

If you're looking for a horror film that'll keep you guessing and thinking about the deeper implications of its themes, 'The Spiral' isn't going to be your cup of tea. But if you're after something that's purely entertaining — a dazzling visual experience with a strong lead performance — then you'll find what you're looking for here.

Strippoli's new film may not be the masterpiece he once promised, but it's a solid effort from an artist who knows how to craft a compelling horror story. It's just a shame that the deeper layers of its narrative remain buried beneath a surface that's too busy trying to look good to really matter.