Saturnalia (2026): A Modern Take on Giallo Plus Simonetti’s Return

Claudio Simonetti is a renowned Italian composer in the horror genre. If his name doesn’t sound familiar, you might recognize the band Goblin—he is the keyboardist and founding member. Simonetti is known for composing memorable scores for horror films such as Suspiria (1977), Tenebrae (1982), and my personal favorite, Demons (1985). But that is only the tip of the iceberg. He has also enjoyed a long-standing collaboration with director Dario Argento, known for his many giallo films.

If you're unfamiliar with the term “giallo,” let me clarify: it typically refers to a murder mystery. This highly stylized subgenre reportedly originated in Italy in the early 1970s. It often features a shadowy killer, sometimes wearing black gloves, who murders their victims in various ways. Bright colors and eerie soundtracks are commonly used to portray descent into madness or dreamlike sequences. Notable examples include Blood and Black Lace (1964), The Bird with the Crystal Plumage (1970), and Deep Red (1975).

So, that’s why when I stumbled upon the new indie giallo thriller Saturnalia, I was incredibly intrigued. Not only is it a subgenre I am very interested in, but the score was composed by Simonetti, whose last original score was for Ballad in Blood (2016). It must be something special for him to return to scoring films after almost a decade's sabbatical.

Set in 1979, the movie follows an orphan named Miriam Basconi (played by Sophia Anthony) who is sent to Alstroemerias Academy. Right off the bat, she doesn’t get along with any of her classmates or the Headmistress, Ms. Hemlock (played by Velvet). Something strange is happening, though, as fellow students mysteriously disappear, especially when anyone tries to leave the facility. Miriam tries to uncover the truth while also trying to survive, despite vivid nightmares warning her of a possible fate.

Director Daniel John Lerch clearly loves Giallo films, and this entire movie is a love letter to the classic mystery genre. From the evocative soundtrack to the trippy, colorful visuals, Saturnalia is steeped in adoration for the style. I adore and respect that love. It brings a nostalgic vibe I crave now and then, one you don’t find in most modern cinema.

But sadly, having the vibes and style doesn’t always mean you have the substance. That is where the movie fails.

I found the story hollow and repetitive, especially in the first half. However, in the last 15 minutes, the story finally revealed its most exciting details. Throughout the film, some moments rekindled my interest, such as the wild dream sequences and the kills. Unfortunately, there wasn’t enough tension between scenes to heighten the shock factor, which led to a drop in momentum and left me less interested.

Most, if not all, of the characters were unlikeable, and even though Sophia Anthony gave a really solid performance, it was hard to root for someone who was so unpleasant. Obviously, that is how I assume her character was written, so she did her job; I enjoy having a heroine.

If I had to describe this movie to someone, I would call it “Diet Suspiria” because it closely resembles an indie, low-budget reinterpretation of the cult classic film. While it captures some of the atmospheric qualities and stylistic choices, it ultimately feels uninspired and unoriginal, lacking the depth and innovation of the original.

In case you're unaware, Goblin (featuring Simonetti) composed and performed the soundtrack for Suspiria in 1977. Simonetti’s score for Saturnalia is a quintessential Goblin piece—nothing too experimental or outside his usual heavy synth-and-piano style. It complemented the boarding school setting and vibrant visuals perfectly, reinforcing the stylish Giallo atmosphere, which I loved.

But in the end, with a predictable plot and dreary script, I unfortunately found the movie a labor to get through.

Overall, I give Saturnalia a 2 out of 5 stars. Kudos to the crew for the eye-catching visuals they achieved within the budget limits. However, when the themes, stakes, and character development are sacrificed for visual and sound effects, I lose interest.

I still recommend you check this out if you’re a fan of Suspiria (1977) or giallo films in general. While it didn’t fully appeal to me, you might find it more engaging than I did.

At the very least, it has motivated me to explore the subgenre further and learn more about giallos, which I am eager to do.

Now available to rent or buy exclusively at Amazon.

https://www.youtube.com/watch?v=WR82XY6pe3M