Five cult movies to rewatch this summer, handpicked by Domus

There is nothing real about the movie that made Almodóvar famous. Everything is reconstructed in the studio, which means that each element is purposefully chosen and placed. One standout gem of Almodóvar’s design prowess is Carmen Maura’s apartment, a quintessential example of what came to be known as Almodóvarian design – a fusion of vibrant colors, gleaming surfaces, pop culture objects, and unique spaces. These elements serve not only to reveal the characters’ personalities (as seen in how he depicts his home in Dolor y Gloria) but also pay homage to the iconic design of American comedies from the 1960s. 

In this movie, Almodóvar provides us with an extraordinary sense of his era, an homage to the rounded surfaces and artistry of the 1980s. Many have attempted to embrace Pop Art in cinema, but Almodóvar goes further by seamlessly integrating Pop Art aesthetics into his sets – so much so that one could say that his stories actually take place in the world of Pop Art. Even the taxi that frequently appears in the movie is decorated like a house. As Almodóvar himself famously said about the set of his movies, “If I’d had the money and the contacts, I would have asked David Hockney to design it”.

Gothic architecture is not among the dominant styles in Italy. When crafting his horror stories, Dario Argento could not imitate the British and the Americans, who until then had relied heavily on Gothic stories and therefore Gothic settings. Instead, he ventured into uncharted territory, creating a distinct Italian sense of fear with Art Nouveau elements. By infusing floral motifs, vibrant colors, stained glass windows, and buildings with overhangs with an unsettling aura, Argento transformed these features into something truly terrifying. He skillfully fashioned an imaginative fear-centric style from scratch. 

Suspiria stands as the culmination of this creative endeavor – a completely insane movie that is celebrated as a work of art in its own right, despite its seemingly unconventional plot involving a ballerina who studies at a dance school infested with witches. This cinematic masterpiece owes its greatness to the unbridled creativity of Luciano Tovoli, the director of photography, and Argento’s visionary madness, as he held sway over both the box office and the film’s production. Suspiria may be the only true Liberty movie ever made.

The film centers on the Recchi family and unfolds in the magnificent setting of Villa Necchi (the assonance is no coincidence), a rationalist masterpiece designed by Piero Portaluppi and commissioned by Italy’s educated industrial upper middle class in the 1930s. The villa was built with no spending limits. It boasts Milan’s second-ever swimming pool, following the municipal one. Despite the grandeur of the setting, the protagonist family is confronted with an unsettling element – a woman, portrayed by Tilda Swinton, who seems out of place and gradually begins to fall apart. 

The juxtaposition of her struggles against the backdrop of Villa Necchi’s marble staircases and luxurious rooms adds a touch of grandeur to the narrative. Although the story is set in modern times, the rationalist architecture of the villa seems to echo Italy’s past, suggesting a tale of constraint, violence, and overpowering forces.

The plot revolves around a young couple, the husband is an actor who may have done something to his pregnant wife, possibly with the involvement of their neighbors. Polanski allows us to easily imagine the layout of the couple’s apartment, familiarizing us with the location of each room, which becomes crucial as the story progresses. As the narrative delves into the interiors of neighboring apartments, the puzzle pieces fall into place and everything becomes clear.

Roman Polanski’s first American film is a masterful display of subtle interior design. Most, if not all, of the film takes place inside Manhattan’s iconic Dakota Building, which plays such a central role that the movie opens with an exterior view of the building. The neo-Gothic architecture of the Dakota Building foreshadows the neo-Gothic nature of the story that follows. The movie has the feel of a modern Poe story. 

A trip back in time. This delightful comedy starring Renée Zellweger and Ewan McGregor pays homage to the classic films featuring Doris Day and Rock Hudson. Inspired by these light-hearted stories set in upper-middle-class surroundings, filled with playful love skirmishes and battles of the sexes, the film captures the essence of these sophisticated settings. What truly sets it apart is its remarkable dedication to recreating 1960s American interiors, surpassing even the films that inspired it. 

By cleverly concentrating references, cues, styles, and gimmicks from various classic movies, it weaves together a seamless tapestry of colors, rounded shapes, and impeccably coordinated clothing and furniture. This unique blend of visual elements creates a delightful cinematic smoothie, a true celebration of the 1960s design aesthetic rarely achieved before.