Of all the leading Italian horror filmmakers, including auteurs like Mario Bava and Lucio Fulci, Dario Argento is the most recognized and widely renowned. Known as the Master of Thrill and a Master of Horror, Argento made his directorial debut in 1970 and has since developed a reputation for graphic shocks and intense visual atmospheres. His mentor, Bava, might have pioneered the giallo, but it was Argento who honed the subgenre and claimed it as his own. For Argento, the gory passages of his movies are the best parts.

Born in 1940, Argento began his career as a critic and columnist for a local newspaper. From there, he transitioned into screenwriting, mostly spaghetti westerns which included notable credits like Once Upon a Time in the West. His 1970 debut, The Bird with the Crystal Plumage, marked the beginning of his exploration of giallo and what giallo could be. Throughout the decades, especially the ‘70s and ‘80s, Argento carved out an illustrious career with his unique brand of horror. But he also helped usher in emerging horror filmmakers with producer work and collaborations.

All of which is to say, Argento has left an indelible mark on the genre. Here are six of his most influential works.

Zombi (1978)

Or rather, the international cut of George A. Romero’s Dawn of the Dead. While not technically an Argento film, this movie wouldn’t exist without him. When Romero and his producer weren’t able to secure domestic investors for the sequel to Night of the Living Dead, Argento saw an opportunity. A fan and early proponent of Romero’s work, Argento helped secure financing in exchange for international distribution rights. And with it an alternate cut that released in Italy over six months ahead of the U.S. release. For the Euro version, Dario trimmed scenes- mostly the humor- to make a more serious film. With Goblin scoring, of course. Both versions were resounding successes; it allowed Romero to continue on to Day of the Dead and the Euro cut kickstarted a confusing Zombi franchise that continued with Fulci’s Zombi 2. Argento may not have directed, but his role in getting this film made created a lasting ripple effect in the zombie subgenre.

The Bird with the Crystal Plumage (1970)

Argento’s directorial debut is the first of his Animal trilogy; The Cat o’ Nine Tails and Four Flies on Grey Velvet followed. This film wasn’t just a big hit in native Italy, it was an international success as well. Moreover, it was the film credited to have popularized the giallo. It doesn’t get much more influential than that. As for plot, the film follows an American writer and his English girlfriend on vacation in Rome. Looking for inspiration on his next novel, the author becomes entangled in the case of a serial killer murdering women across the city. After directly witnessing one of the murders, he becomes emotionally invested as well. Suspense, dread, and entertainment collide in Argento’s first feature, with a lot of that style that would become his trademark.

Phenomena (1985)

Argento combined both giallo and supernatural horror with this ‘80s release. He also experimented with new technology, especially Steadicam used for the killer’s prowling and hunting shots. The film stars Jennifer Connelly as a young girl studying abroad at a Swiss academy for girls. She also happens to have a gift that allows her to telepathically communicate with insects; something that proves handy in solving a string of gruesome murders. Donald Pleasence also stars as a forensic entomologist with a chimp that befriends Connelly’s character. Phenomena, which was cut and retitled Creepers for its American release, received a lukewarm reaction upon initial release. Compared to other Argento titles, it likely doesn’t seem all that influential. At first. But the popular Clock Tower video game series owes considerable debt to the movie, and creator Hifumi Kono has cited it as a direct inspiration behind the first game.

Tenebrae (1982)

At this point in his career, Argento was well established in giallo and had already knocked out two-thirds of his Three Mothers trilogy. That means this giallo features nods to his previous works while also creating his most personal film yet. He’d been receiving death threats from a crazed fan unhappy with the director’s penchant to kill women in his films in brutal fashion. To show he wasn’t intimidated, he created Tenebrae, a film that followed an author stalked by a serial killer that slays anyone associated with his latest book. This film played a major influence on Eli Roth, especially in Hostel: Part II, as well as Tarantino, who paid homage to this giallo in Kill Bill: Vol 1. Tenebrae’s influence can also be seen in Scream, Raising Cain, High Tension, The Exorcism of Emily Rose, and more.

Deep Red (1975)

Often considered among the best giallo films ever made, Deep Red marked Argento’s first giallo after the conclusion of his Animal trilogy. A jazz pianist and a reporter are pulled into a web of mystery and murder after the pianist witnesses the brutal slaying of a psychic. In terms of plot and structure, this film didn’t reinvent the wheel, but it did push boundaries in terms of artistry and bloodletting. The film also marked the first time the director worked with progressive rock band Goblin, who would subsequently compose music for several other Argento films. A visual showcase of style and gore, the death scenes in this film are fantastic. Deep Red was highly influential on John Carpenter, specifically in creating Halloween. This giallo also inspired Saw, specifically in creepy puppet Billy and the doll in Saw III.

Suspiria (1977)

A bonafide horror classic, Suspiria marks the first entry in Argento’s Three Mother’s trilogy and his first foray into the supernatural. A sumptuous visual feast, the director blends the occult with fairy tale, bathed in a gorgeous vivid color palette. Jessica Harper stars as Suzy Bannion, an American dance student newly arrived at a prestigious dance academy in Germany. She quickly comes to realize something is very wrong with the place after a string of grisly murders occurs. It’s not just the fevered dream visuals that made Suspiria a beloved favorite among Argento’s works, but the iconic score by Goblin as well. Both of which proved extremely influential. The score from films like Beyond the Black Rainbow and The Void drew major inspiration from this film. Edgar Wright listened to the score when writing Shaun of the Dead. The film itself influenced filmmakers like John Carpenter and Guillermo del Toro. There are countless homages, references, and Easter eggs to this film throughout horror, and Suspiria received its own remake last year. All of which makes this one Argento’s most influential film.