"Mirada de Cristal" is carefully crafted and proves to be an enjoyable watch. The film successfully embodies the spirit of Italian horror films from the late seventies and eighties—something I found particularly appealing. It incorporates all the elements that made those movies so entertaining: a straightforward plot with enough mystery, memorable characters, inventive death scenes, a killer sporting a very distinctive mask, a vibrant color palette, and excellent music. While watching, it brought to mind other Italian horror films from the eighties that I enjoy, such as Michele Soavi’s "Deliria" (also known as "Stage Fright"), especially because of the colorful lighting, flamboyant characters with diva-like attitudes, and those creative death scenes. The characters are one of the many things I appreciated about this film; they're clearly intended to be exaggerated and somewhat campy, so credit goes to the actors for delivering their lines in a way that evokes those eighties films. I especially enjoyed seeing Silvia Montanari, who has passed away, and veteran actress Claudia Lapacó in a brief appearance near the end. To be fair, though, most of the cast members performed well, not just the more recognizable ones. Although the budget was limited (and it occasionally shows), directors Ezequiel Endelman and Leandro Montejano used it effectively for the most part. They attempted to recreate the look of the dance academy from "Suspiria" (1977), which is no easy feat with a smaller budget, but they managed to pull it off—we even get a quick glimpse of ornamental glass peacocks! I do have to say that at times, the scenery seemed a little too stiff and cartoonish. I'm not sure if this was intentional or not, but it wasn’t something I particularly liked. Still, I prefer artificial sets over poor CGI any day! Overall, the scenery was quite good. The photography and bold color scheme were very well done and reminded me of Dario Argento's "Inferno" (1980). Throughout the film, the killer is always wearing a patent leather trench coat, high heels, and a creepy mask depicting a woman with heavy makeup and lifeless eyes. When pursuing their victims, the killer walks like they’re on a runway, even striking glamorous poses—it's hard not to appreciate the deliberate campiness of it all. The chase scenes are well-executed, providing just the right amount of suspense without dragging on too long. As for the deaths, they are genuinely creative and intentionally over the top (the one with the crystal bird was perfect). Regarding the killer’s identity reveal, it wasn't very surprising, but honestly, who cares? Many older slashers were predictable to some degree anyway, so I don’t consider this a negative. I really enjoyed this movie, and I think those familiar with Italian or American horror films from the eighties will recognize that both directors have a strong passion for the genre and invested considerable effort into this project. They clearly cared about their film; nothing felt rushed, and they took the time and dedication to pay attention to even the smallest details—and it shows. When something is made with such care, it’s likely to earn the recognition it deserves.

Source on TMDB