Federico Zampaglione's film is the true relaunch of Italian horror, like that beautiful cinema that made us fall in love with our great masters. At first viewing you don't immediately realize what you're looking at; you see it precisely as a journey on the carousel of horrors, a macabre dance of brutal and bloody scenes in a gothic narrative in which the ghosts of the collective imagination echo. Only on a second viewing do you discover those keys to understanding its true essence.

Federico Zampaglione, the director of horror films who sings romantic songs, here really tells us about his boundless love for the genre , especially the Italian one. His dark romanticism takes us by the hand in this dark fairy tale, where the monster is perhaps something different from what he appears to us. The director's ability lies precisely in disorientating the spectator, showing only one side of the moon, while behind it lies an underlying poetics that contrasts with the cruelty of a ruthless horror, right up to the end, which suggests that the true monstrosity is in the human soul, and that victims and executioners can also exchange roles. THE WELL is undoubtedly the Italian horror film we have been waiting for for a long time, which has already become a media phenomenon, which has involved many fans of independent genre cinema, and which is appreciated precisely for that bloody taste that only a true enthusiast like the director manages to represent with an international staging.

Is it Federico Zampaglione's masterpiece? Probably yes, also given the results at the Italian box office, which in the second week of programming continues to remain in the top ten and, almost simultaneously, is released in cinemas in New York and Los Angeles, so much so that a contagious enthusiasm explodes, immediately renamed THE WELL MANIA. On social media there is a carousel of images coming from various cinemas and arenas packed with audiences, all strictly with the celebratory vomit bag in their hands. Then there are many testimonies from masters, authors, admirers and the horror community who celebrate this film, not only because it is already a cult, but because it demonstrates that independent Italian cinema, made with passion, courage and great professionalism, manages to conquer and to still excite an audience who goes to the theater and wants to see a film like this, which does not betray expectations, without compromises, in short, a true, proudly Italian horror film.