The journey through Dario Argento's filmography continues as Steven and Sean arrive at what many consider the director's creative peak: the 1980s. If the previous decade established Argento as the master of Giallo, this one saw him push his style into ever stranger, more operatic territory, blending murder mysteries with supernatural horror and some of the most astonishing visuals ever committed to film.

This fortnight, we revisit Inferno (1980), Tenebrae (1982), Phenomena (1985), and Opera (1987); four films we both regard as belonging firmly within Argento's golden era, albeit for very different reasons.

We discuss Mario Bava's invaluable visual contributions to Inferno, marvel at Argento's uncanny ability to turn cats, rats, dogs, chimpanzees, and a flock of ravens into arbiters of murder, and celebrate Tenebrae as one of the most endlessly rewatchable Gialli ever made, packed with ingenious clues, glorious red herrings, and enough razor-blade carnage to satisfy the most blood-thirsty of horror fans

Sean declares his undying affection for Phenomena, revelling in its gloriously unhinged moments and fearless commitment to absolute lunacy. Steven... would love to enjoy it more, but his lifelong fear of insects keeps getting in the way.

Finally, we arrive at Opera: a breathtaking technical achievement featuring some of Argento's most inventive set pieces and one of his strongest murder mysteries. Steven considers it one of the director's finest hours, while Sean finds himself wishing its final act had landed with a little more conviction... and sense.

Stylish, surreal, blood-soaked, and unapologetically excessive, this is Argento firing on all cylinders. Every murder is a set piece, every clue is a trap, and every frame is painted like a nightmare.