An article written for the dossier Nocturno currently on newsstands.
thirty-seven years after his fleeting appearance on the screen - just enough time to catch a Golden Leopard at the Locarno Film Festival, only to vanish oblivion - They changed the face has become one of those cult fed by years of unavailability, but then, once emerged, they prove able to survive the vision. Hard to say if it's all about the film or a historical situation like the present one, where most of those who then might seem paradoxical narrative have long become reality. Paraphrase stokeriana filtered through the theories of Marcuse - as well as several years of experience in the advertising and troubled author of the economic boom - have changed the face is a vampire story in which the metaphorical game, which outlines the ways in where the progeny of dracula has learned a indossare il doppio petto del potere economico e politico o il gessato dei capimafia (una categoria, quest’ultima, che, come ben sappiamo, ha saputo a sua volta cambiare faccia e uniforme, mescolandosi irreversibilmente alla prima) e abbia saputo ricavarsi nuovi spazi, consolidando il proprio potere e anzi incrementandone la portata in modo esponenziale. Così, il supervillain Giovanni Nosferatu è descritto come un potente uomo d’affari con un controllo pressoché assoluto su importanti settori dell’industria, che da tempo ha allungato i suoi tentacoli su banche e assicurazioni, che possiede giornali e televisioni e, pur non esponendosi in prima persona (e qui la realtà ha da tempo superato la fantasia) is the owner of certain political parties. 
yet be wrong to reduce They changed the face a political pamphlet (especially since this film was just as charged, politicized by the fringes of film criticism at the time, a point of view sufficiently revolutionary). Because if there is no doubt that vampires have changed their appearance to continue to perpetuate their control over mankind occult, we can similarly argue that the metaphorical element of the film is essentially a new face that enables a vampiric kind of renew and the resumption of basic mechanisms in a novel way otherwise exploited until the last drop of blood. The fact that the monsters guarding the Villa Nosferatu are a bunch of cars can be lethal and sixteenth white bed so allusive, but it is still a ferocious mastiffs guard. What hypnotic language of the vampire has become a pervasive advertising that comes out even from the showers does not mean that it is an effective method of conditioning the will. The servants of the Count - pardon, the engineer - are in a suit and tie when not in cardinal stole, does not make them less dangerous and devotees. The secret of the enduring charm of They changed the face is mostly this: It is not a political film disguised by vampire movie, but quite the opposite - work that uses the translation of the myth of Dracula in terms of sociological satire to make, without realizing and getting out to many of the traps of those who are merely following established recipes, genre films . And that, precisely for this reason, it still works today on both floors.
