"The Gorge", as the title of land, is a bifurcated film. It starts as a story of two career snipers, Levi (Miles Teller), a former Marine and Drassa (Anja Taylor-Hoy), a Lithuanian mercenary engaged by their respective governments to travel to an undisclosed location where the giant ravine is protected by the western And the Eastern forces for almost a century. Although a little is said about why this ravine should be kept and why no contact with the sniper on the other side cannot be formed, the duo connects as well as to hesitate.

What begins as a romantic allegory of a lonely, pandemic connected life and long -distance relationships quickly turns into a frightening, action -packed action, because Levi and Drass face the creatures in the gorge, to discover their relationship with the people they employed, and worked out how to escape as you eliminate the threat to the humanity that sets the place. For the first half of the film, Derickson and cinematographer Dan Laustsen shoot the film in a natural, beautiful, yet muted palette, aesthetics reminiscent of Christopher Nolan and Josephosef Kosinski. However, once in.

It is a bit of a "Alice in Wonder" switch, or it may be more appropriate to say "Snow White", the latest film is one of the influences on Argento while "Superza" is made. Argento was also a student and friend of the Italian genre Maestro Mario Bava, whose work as a special effect technician eventually saw him make his own visual imaginative (and multicolored) genres of films such as "Planet of Vampires" and "Black Sabbath". It is the work of Argentito and Bava that has largely inspired the color scheme of the "Gorge", as Derrikson /Jacecob Hall told Jacecob Hall:

"The look of it was very inspired by the Italian horror cinema, Bava and Argento and the colored atmosphere, the insolence of the appearance of the colorful spaces. And not just there for aesthetic purposes, but there is a story relevance, why the different colors are what are in the ravine. "

Asked about the "Supermia" to specifically influence the "ravine", Derikson confirmed, but is in a hurry to point out that he is not making reference to the reference:

"It was very intentional. But again, I was ready to do it if the presence of that color had reason to be there, which does it. And it's part of the widespread mystery of what that really is. "

Indeed, so much of the story of what really happens in the "gorge" is told through these visual signs, so it's no wonder why Dericson will turn to such a visual -rich sign as an Italian horror.