It is within Inferno though that this notion of an ‘impossible place’ is most evidently realized. The architecture of the building becomes a hellscape (Dante’s Inferno is obviously evoked in the film’s title) made up of different levels that seem to be leading ever downwards. There is a movement in this space away from a physical reality into an occult underworld. The first character that we follow, Rose, begins her descent at the beginning of the film as she enters the building’s basement and dives even further down into an underwater ballroom. […] Water also plays a symbolic role in Wicca and in magical ceremonies, and in Jungian psychoanalysis it is a symbol of the unconscious mind. The connection to Jung is significant, as this places Inferno within an unconscious landscape. This descent into water that Rose makes in one of the film’s first scenes is symbolic of the film itself journeying into the unconscious realm.  — Lindsay Hallam, ‘Why are there always three?’: The Gothic occult in Dario Argento’s Three Mothers Trilogy, 2017.

Tori Amos - Boys For Pele Photoshoot 1996