[3] Fatal Frames was conceived by music video director Festa and his wife, the singer Stefania Stella.

[3] Critic and film historian Roberto Curti described that this style had "almost totally vanished" from Italian cinema in the 1990s, and that it was confined to "bottom-of-the-barrel footnotes" such as Dario Micheli's Il gioco della notte (1993) and Pierfranceso Campanella's Bugie rosse (1994).

[5] Funding was found through Silvio Berlusconi's Media set production company, but re-writing had to be done on the film to deal with the death of two actors.

[5] In the 1999 book Blood & Black Lace, author Adrian Luther-Smith described the film as an "overblown trash epic", comparing it to Indian films which takes breaks from the narrative to feature extended dance and song sequences which he referred to as "bland numbers".

[7] Troy Howarth, in his book So Deadly, So Perverse (2015) echoed Luther-Smiths's statements about the films breaks for music sequences, and stated that "all the references in the world are not enough to make for a compelling thriller" stating the writers forgot to include "interesting characters" describing the casting as a"bizarre.

[5] In his book overviewing Italian gialli, Curti declared the film to be "incoherent and naive, full of plot holes, and plagued by an unnecessary exhibition of flashy technique but desperately lacking suspense.