A Supernatural Nightmare Frozen in Time

Read Time:5 Minute, 46 Second

MOVIE REVIEW
The Mask of Satan [Blu-ray w/Exclusive Slipcover]
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Genre: Horror
Year Released: 1989, Severin Films Blu-ray 2025
Runtime: 1h 38m
Director(s): Lamberto Bava
Writer(s): Nikolay Gogol, Lamberto Bava, Massimo De Rita, Giorgio Stegani
Cast: Giovanni Guidelli, Debora Caprioglio, Eva Grimaldi, Alessandra Bonarota, Mary Sellers, Laura Devoti, Stanko Molnar, Michele Soavi, Stefano Molinari, Ron Williams
Where To Watch: available now, order your copy here: www.severinfilms.com

RAVING REVIEW: THE MASK OF SATAN resurrects an old curse, blending Gothic horror with supernatural possession to create a visually sinister, if sometimes uneven, experience. Lamberto Bava channels the spirit of his father’s work while injecting his 80s-inspired flair, crafting a film that thrives on haunting imagery and an unsettling sense of isolation. While the narrative struggles to maintain momentum, the film’s visuals, score, and surreal horror sequences make it a fascinating relic of its time. The young Bava was certain to clarify that this wasn’t a remake but an homage to his father's work (as he was notoriously known for hating remakes…)

The story follows a group of young vacationers who embark on what should be an exhilarating ski trip but quickly find themselves at the mercy of an ancient evil. Deep beneath the ice, they stumble upon a masked corpse, a discovery that proves to be their undoing. Unaware that they’ve just broken a centuries-old curse, they joke about the find, unknowingly awakening Anibas (Eva Grimaldi)—a vengeful witch executed in the Middle Ages. As her power grows, the group falls under her control one by one, leaving only Davide (Giovanni Guidelli) to resist the inevitable as his friends become something beyond human.

One of the film’s strongest elements is the atmosphere. The contrast between the vast, snow-covered landscapes and the decayed interiors of an abandoned church and village heightens the sense of isolation, making the group’s dilemma feel hopeless. The horror has a dreamlike quality, as though reality is unraveling under the weight of the supernatural. Bava’s use of light and shadow enhances this tone, reinforcing the feeling that something sinister lurks just out of sight.

Simon Boswell's synth-heavy score pulsates with otherworldly energy, adding to the film’s dread. The music plays a crucial role in shaping the film’s atmosphere, particularly in scenes where possession takes hold. It is almost hypnotic, pulling the viewer deeper into the film’s nightmarish descent.

Despite its strong opening, the film struggles to maintain its tension. After an effective first act, the middle section loses some of its bite, relying too heavily on repetitive possession sequences that don’t escalate the stakes meaningfully. Instead of increasing the sense of dread, the narrative stalls out, with characters wandering through ruins without much urgency. The pacing falters just when the film should be pushing forward, making the horror feel less immediate than it should.

The approach to possession also feels restrained compared to other films of the era. Rather than grotesque transformations, the victims of Anibas’s curse exhibit more subtle behavioral shifts—detached expressions and an unnatural sense of calm. While this could have been an effective tool for psychological horror, the film never fully capitalizes on the paranoia such an approach could have created.

The film also finds itself at a crossroads between two horror traditions. On one hand, it embraces the slow-burn tension and eerie atmosphere of Gothic horror. Conversely, it hints at the chaotic energy of more effects-driven 80s supernatural horror. Rather than fully committing to either approach, it hovers somewhere in between, unfocused.

The performances are serviceable, though few stand out. Guidelli plays Davide as the reluctant hero, but his character often feels more reactive than proactive, making it difficult to connect with his journey fully. Deborah Caprioglio’s Sabina is given more opportunities to shine, particularly as her connection to Anibas strengthens, but her character arc lacks the depth needed to leave a lasting impression. The rest of the cast serves primarily as vessels for the film’s possession-driven horror, with limited development before falling under the witch’s control.

For fans of Italian horror, particularly those drawn to late-80s supernatural films, there’s still plenty to appreciate. THE MASK OF SATAN leans into its strengths, crafting haunting imagery that lingers in the mind even when the narrative loses steam. The setting, score, and Bava’s stylistic flourishes make it a film worth experiencing, even if its storytelling doesn’t always keep up with its aesthetics.

Severin Films has done a remarkable job restoring THE MASK OF SATAN, offering a 2K scan from the original camera negative. The upgraded transfer presents the film in a way it has never been seen before, enhancing the colors and atmosphere with stunning clarity. The level of detail in the snowy exteriors and shadow-drenched interiors elevates the film’s already strong visual design.

THE MASK OF SATAN is a stylish but uneven entry in Lamberto Bava’s filmography. It boasts an unearthly atmosphere, strong visual direction, and a haunting score. It could have been truly unforgettable with a tighter script and a stronger commitment to its Gothic horror roots or supernatural chaos. It remains a fascinating, if flawed, piece of late-era Italian horror that captures the spirit of its predecessors while struggling to carve out its own identity.

Disc 1: Blu-ray
The Curse Of The Mask – Interview With Director Lamberto Bava
Una Americana A Roma – Interview With Actress Mary Sellers
Sabina The Teenage Witch – Interview With Actress Debora Caprioglio

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[photo courtesy of SEVERIN FILMS]

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