Whether it's beguilement, conscience or sheer pity that stays his hand, the previously merciless killer begins some inner journey and Rita hostage rather than murdering her. It's the sequence in the house with Salvo and Rita that provides the film with its stunning highlight; a showcase of technique and tension in which the young woman slowly becomes aware that there is someone else silently stalking the building. It's a disorientating change of pace after the explosive gunfight and acts as the catalyst for some form of ecstatic transformation in Rita. Serraiocco's performance during the scene is excellent and at its culmination Daniele Ciprì's camera shifts to her point of view where she - and we - begins (perhaps for the first time) to see shapes.
The sensory is where Salvo is at its strongest with the direction and cinematography employed both to play with what is, and what is not, seen whilst complementing some superb sound design. Through visual and aural cues, the audience experiences the world as Rita whilst continuing to observe it as the laconic lead. Sadly, whilst the film shows some real style in its technique, it ultimately lacks the meat on its bones to truly excel. Once Rita's life has been spared, Grassadonia and Piazza's script doesn't seem to know what to do with itself and meanders before a typical climactic showdown. As such, Salvo ends up feeling like a very bright start for its creators but never quite finds a narrative or thematic drive to match its artistic verve.