The last house on the Hungarian modernist left (part two)

Two remarkable sequences. The first is the epic tracking shot from Tenebre (1982) that I wrote about in "Killer design" (and which I talked about in an earlier post).

The second is from La morte ha fatto l'uovo (Death laid an egg), Giulio Questi's incredible, underwatched giallo about a post-Fordist egg factory, highway motels, and the like. This is the opening sequence (after the title sequence of pulsating embryos and sepia toned fluid sliding about beneath the credits).

These sequences are, along with Fulci's Non si sevizia un paperino (Don't torture a duckling) the central films in my thinking about the intersections between modernist architecture and violence, as theorized (perhaps symptomatically or unintentionally) by the giallo film.