Horror is in a very weird place as of now. On one hand, the genre continues to push boundaries with defiance of expectation works and original compelling stories that are still being told for mainstream audiences. But, Hollywood thinks what will drive audiences in theaters is remakes/reboots/sequels to pre-established properties. Recent films like Malignant, Barbarian, and Nope among others, still make the genre alive more than ever and even push the limits of what the theatrical experience can have on the audience. However, it’s rare for mainstream filmmakers to tap into bygone horror subgenres. While many film enthusiasts wish for more of this kind of resurrection, it is difficult to tap into given the amount of pressure riding on a filmmaker’s shoulders.

Do you understand the subgenre or just know it from a surface level? What will make this subgenre resonate with audiences now? Could this be the last time this genre is utilized or will it grow a resurgence? These are the many questions being asked by both the filmmakers and studio executives. One of these subgenres is the Italian horror subgenre titled the "giallo". Giallos are nearly reminiscent of American slashers but place an emphasis on formal filmmaking and extensive detail in technical work. Practices like: neon coloring, ADR voice dubbing work, and sardonic humor are nearly always found within this subgenre. Some giallo filmmakers such as Dario Argento, Mario Bava, and the works of Lucio Fulci have paved the way for horror as a collective genre and their films have been known as some of the greatest of all time.

Keeping this in mind, it is tough for young filmmakers to differentiate themselves given how accessible film as a medium has grown over the years thanks to changing technology and teachings. However, filmmakers Justin Landsman and Charlie Compton‘s mission was not only to revitalize the "giallo" subgenre given their extreme love for the genre, as well as set it aside from being a "student" film with the duo’s latest film, The Five Fingers of A Dog.

The Five Fingers of A Dog stars Emerson College students: Qingshi Meng, Calvin Kertzman, Twyla Hunt, and Isabel DeGrandi, among others, and tells the story of a by-the-books detective on the case of a depraved killer on the loose, and as the nights continue, the more the killer transforms into something sinister. Leaving my bias towards the filmmakers aside, if there is one thing directors Justin Landsman and Charlie Compton understand is the giallo’s roots. Not only from a surface level with its technical ability but from its formalism. It feels so engrained in its genre from its hidden nuances to even the awkward, yet charming dialogue. With that being said, The Five Fingers of A Dog is an absolute delight, a true revitalization of the genre by two people who love it very dearly. Meng‘s performance as the Detective is such a standout, both whimsical and self-serious and completely understanding how the role was played. Kertzman as the bumbling near Columbo-esque Police Officer brings the humor fully into fruition, just from his dialogue and even physical humor. The cinematography is luscious and complimented with wonderful lighting. The score by Kyle Tierce harkens back to Goblin‘s Suspiria score work. And just wait for some of the wonderful practical effects.

The Five Fingers of A Dog is all killer, no filler. A true modern giallo that is not afraid of having fun with itself. Landsman and Compton‘s direction is riveting and tailor-made to be seen in a crowd. If there are young horror filmmakers that you should watch right now: it is Justin Landsman and Charlie Compton.

Rating: A

Given that the directors are close friends of this writer, the two were generous enough by providing time to discuss The Five Fingers of A Dog.

John Bizub for Film Inquiry: Thank you for meeting with me and talking about The Five Fingers of A Dog. I seriously cannot be more proud of the success and quality of that film, especially within the Final Cut being shown to a crowd within the past few weeks.

Justin Landsman: Thank you, thank you, we really appreciate it.

So right off the bat, where did this idea come from?

Justin Landsman: It really started with the two of us first meeting here at Emerson [College]. We, you know, are both into the same kind of stuff.

Charlie Compton: We talked about just a lot of, I mean, we kind of met through our similar interests. And I remember I was walking back from getting COVID tested, and I just thought –  just make a giallo movie.

Justin Landsman: Last year, and we have since become roommates. We were like we should make a movie together. And that kind of just permeated with us just like thinking of straight things. And we realized like the one subgenre that just got brought up in like nearly every conversation of ours in passing was giallo and then that kind of finally became, let’s just make one.

source: FilmFreeway

Both of your biggest influences seemingly come from Dario Argento and even noticing after the screeners that I’ve seen, I’ve noticed a lot, especially City of the Living Dead, a lot of Fulci, and a little bit of Kiyoshi Kurosawa’s Cure. Are there any standout pieces of media that kind of carry you throughout the entire production?

Justin Landsman: There was a lot I think, we made an inspiration list.  I definitely think one of them was Messiah of Evil, I feel especially with the kind of involvement of the moon in the plot.  That’s probably like, one of my favorite movies ever. And when we were first coming up with ideas for Five Fingers, I showed Charlie because he hadn’t seen it. And that movie implements the moon and its evolving and changing nature over the course of the film in a very cool lo-fi way. And that was a huge influence on that.

Charlie Compton: The whole film is very clearly shallow and weirdo in that way. But I think we don’t talk about as much as that we were also inspired by a lot of just classical surrealism stuff, I think watching it now, I get a lot of Meshes of the Afternoon.

So was this the first time you both kind of worked with heavy use of practical effects?

Justin Landsman: Yeah, I’d say so. This was for me. Both of us. Yeah. Prior to this, the only things I have made were you know, these little shorts I released on YouTube that I would make with like one other person or like two people in my basement. We made one shot.

So obviously there’s the huge talk of like, "oh, student film versus like a professional film". And it is such a tough argument nowadays in terms of accessibility of film and filmmaking. If you were to talk to someone who has never seen Five Fingers, how would you market it to make it not a student film?

Justin Landsman: I think like there is definitely a stigma regarding student films. I think one thing we want to deal with in this movie is kind of avoid that kind of label on us. Like it looks like one or whatever. Like, if it does, so why like there are so many movies I love that are low-budget made by students? Yes, we are inherently students making a movie. But we did this all independently and we want to release it even outside of our school’s community like we’re treating the release like a big movie.

The Five Fingers Of A Dog has a resounding cult following including nearly 100 viewers logged on to the app "Letterboxd" as well as many crowds appearing at the film’s public screenings. Audiences in the Boston area can check out what the buzz is about on January 21, 2023 at the "Coolidge Corner Theater". Tickets are currently on sale!

Tickets for The Five Fingers of a Dog: https://coolidge.org/films/five-fingers-dog